LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587 IN THE DIONYSIOU MONASTERY, MOUNT ATHOS
Tomoyuki MASUDA*
The Dionysiou Lectionary (Cod.587 in the Dionysiou Monastery on Mount Athos) possesses not only the largest illustrations among the seventeen manuscripts with th~ narrative cycle of Christ's life, but also the greatest variety of pictorial forms according to the importance of the texts and feasts. To grasp the characteristics of its iconographic program, I discuss on the illustrations for Holy Week. The miniature depicting Christ s Prayer at Gethsemane is placed at the top of the Twelve Evangelia for the Passion of Holy Thursday. Why is Christ depicted three times in different motions? Why the miniature of the Conference of the Chief Priests before Caiaphas for the Liturgy of Holy Thursday has the same composition as the Conference of the Chief Priests before Pilate for the Orthros of Holy Saturday? Why the Betrayal of Judas is selected for the Holy Friday Liturgy? To solve these questions, we have to interpret whole texts of the church services for the Passion and surviving illustrated lectionaries. Our painter depicted the Prayer at Gethsemane in the composition of Moses Receiving the Law to emphasize Christ as New Moses and to visualize the typological correspondence between the Old and the New Testament. The Conference of the Chief Priests, an insignificant episode at a glance, is regarded as the important event which connects the Gospel typologically with the Psalter in the context of the liturgy. To emphasize the point visually, the Dionysiou Lectionary selected the Conference of the Chief Priests with the same composition as the Psalter illustrations of the conference of the kings, in spite of the Gethsemane scene originally suitable for the place. Though the Betrayal is suitable for the twelve Evangelia, being pushed out by the Gethsemane, it is moved to the next position of the Holy Friday Liturgy. The main interest of the planner of the manuscript consists in the liturgy and the typology, and not in the correspondence
* Professor, School of Letters, Arts and Sciences, Waseda University
Vol. XLI 2006 91 with the text. The program of Holy Week in the Dionysiou Lectionary is deliberated carefully. Keywords: Byzantium, lectionary, Mount Athos, illuminated manuscript, liturgy
The relation between liturgy and art is one of the most controversial issues among Byzantinists. The Gospel lectionary is supposed to be mostly influenced from church ritual in the field of the manuscript illustration. A detailed analysis on liturgical influence is, however, still a matter for future research, since few of the illustrated lectionaries are fully published. I discuss here some illustrations of Holy Week in the Dionysiou Lectionary (Cod. 587 in the Dionysiou Monastery on Mount Athos), 1 which is the most richly illustrated of the middle Byzantine lectionary manuscripts. The impact of the liturgical texts on the lectionary illustration will be demonstrated. The text of the Gospel lectionary is divided into two major parts: the movable feasts from Easter (Jn 1: 1-17) to Holy Saturday (Mt 28: 1-20), and the immovable feasts from 1 September (St. Symeon the Sty lite, Lk 4: 16-22) to 31 August (commemoration varied by manuscripts). I restrict my argument to the illustrations for Holy Week. So far, the seventeen lectionary manuscripts with narrative Christological illustrations are known from the middle Byzantine period, and the forms of their illustration contain full-page, half-page, column picture, initial, marginal and their incorporations. 2
1. Monastery of St. John the Theologian on Patmos, Cod. 70 (1oth century, marginal miniatures )3 2. State Library in Sanct Petersburg, Cod. gr.21 (1oth Century, half-page miniatures )4 3. Lavra Monastery on Mount Athos, Cod. A86 (loth century, marginal miniatures)5 4. Lavra Monastery on Mount Athos, Cod. Skevophylakion (11th century, full-page miniatures )6 5. Iviron Monastery on Mount Athos, Cod. 1 (11th century, full-page miniatures) 7 6. Dumbarton Oaks in Washington, D.C., Cod. 1 (11th century, marginal miniatures )8 7. Pierpont Morgan Library in New York, Cod. M639 (II th century, column and initial miniatures)9
92 ORIENT LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587 8. Vatican Library, Cod. Vat.gr.1156 (11th century, various miniatures of full page, column, margin, etc.) 10 9. National Library in Athens, Cod. 190 (11th century, initial and marginal miniatures) 11 10. Hellenic Institute in Venice, Cod. gr.2 (11th century, various miniatures of full page, margin, initial, etc.) 12 11. Dionysiou Monastery on Mount Athos, Cod. 587 (11th century, various miniatures of full page, half page, column, margin, initial, etc.) 12. National Library at Athens, Cod. 68 (ll-12th century, miniatures of full page and column) 13 13. Bibliotheque Nationale in Paris, Cod. Paris.suppl.gr.27 (ll-12th century, miniatures of column, initial and margin) 14 14. Panteleimon Monastery on Mount Athos, Cod. 2 (12th century, miniatures of full page and initial) 15 15. Ecumenical Patriarchate in Istanbul, Cod. 8 (12th century, marginal and initial miniatures) 16 16. Pierpont Morgan Library in New York, Cod. M692 (12th century, miniatures of full page, margin and initial) 17 17. Iviron Monastery on Mount Athos, Cod. 111m (13th century, miniatures of full page, half page, initial and margin) 18
The Dionysiou Lectionary possesses not only the largest illustrations among the seventeen manuscripts cited above, but also the greatest variety of pictorial forms, selecting the full-page, half-page, column, and initial, according the importance of the texts and feasts. Several feasts are omitted partly due to the actual difficulty giving miniatures to all the feasts of the year in the restriction of one volume, and partly due to the programmatic reason that the donor wished to reflect his intention in the selection of the illustrations, such phenomenon not being rare in the lectionary manuscripts. Let us begin by examining the miniature depicting Christ s Prayer at Gethsemane (f.66, fig. I), illustration for the Twelve Evangelia for the Passion of Our Lord Jesus Christ, read as the matin lessons of Holy Thursday. The picture occupying two thirds of the folio is splendorously framed by a polychrome floral pattern. On the upper left stands Christ on the mountain ridge raising his hands toward heaven. In the center of the picture, slightly right, Christ makes proskynesis at the top of the mountain, an angel flying down from His back. We recognize the representation of heaven in the upper-right comer, filtering through which the rays of God come. On the other hand, eleven disciples are
Vol. XLI 2006 93 sleeping in the foreground with the exception of St. Peter on the right end being awakening and listening to his master. Christ on the right end of the foreground, holding a scroll in the left hand and raising the right hand, admonishes His sleeping disciples. Underneath the scene is the row of a schematic representation of plants. The subject of the miniature is, without doubt, the Prayer at Gethsemane, or the Agony in the Garden, 19 narrated between the Last Supper and the Betrayal of Judas in the synoptic Gospels. According to Matthew (26:36-46) and Mark (14:32-42), the disciples accompanying Christ are three, while Luke (22:39-46) simply reports that "disciples" followed Him. Since the description of an angel appearing from heaven is found only in Luke, we can assume that our picture owes its basic elements to Luke's Gospel. A problem remains however: Why is Christ depicted three times in different motions? Matthew and Mark relate that Christ prayed three times, and this description of three different prayers may be a source of inspiration for the painter. But this does not explain fully the iconographic details. The Evangelists witness that Christ prayed repeatedly on three occasions, so it is a little hard to consider that the painter depicted it by three representations of Christ with different poses. Two manuscripts from the eleventh century with frieze illustrations depict Christ's prayer comparatively faithful to the text, and in a few scenes, Christ appears twice emphasizing the repetition of the prayer.20 Although it may be possible that our picture is a result of the conflation of the narrative ascendants, a positive explanation is required to explain why in this scene the conflation is made. In addition, the accompanying text of John 13:31- 18: I does not refer to the Prayer at Gethsemane. Why is the picture attached to the irrelevant text, and what's more, why is Christ represented three times in diverse manners? To answer these questions, we have to consider the whole program of Holy week in the Dionysiou Lectionary. Surveying the program of Holy week,21 we will confirm the accord of the text and the illustration. The texts from Holy Monday to Holy Wednesday are omitted in our manuscript.
Holy Thursday, Washing of the Feet I (Jn 13:3-11): a column picture22 of the Washing of the Feet (f.52) - the contents of the text and the illustration coincide. Holy Thursday, Washing of the Feet II (Jn 13:12-17): a column picture of the Last Supper (f.53)- the description of the Last Supper is found in Jn 13:21-31, so, in a strict sense, the contents of the text and the illustration do not coincide.
94 ORIENT LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587 Holy Thursday, Liturgy (Leitourgia) (Mt 26:1-20; Jn 13:3-17; Mt 26:21- 39; Lk 22:43-44; Mt 26:40- 27:2): a column picture of the Chief Priests and the Elders in the House of Caiaphas (f. 54, fig.2)- just a beginning part (Mt 26:3- 5) of the long text telling the various events coincide with the miniature. Although the text and the illustration do not conflict, it seems peculiar that the painter selects such a small matter among much more important events. Holy Thursday, the First Lesson of the Twelve Evangelia for the Passion of Christ (Jn 13:31-18:1): a half-page picture of the Prayer at Gethsemane (f.66, fig.l)- As noted above, it does not accord with the text. The dimension of the half page derives from the painter's intention to make it a headpiece for the whole twelve lessons. The Second Lesson of the Twelve Evangelia (Jn 18: 1-28): no picture. The Third Lesson of the Twelve Evangelia (Mt 26:57-75): no picture. The Fourth Lesson of the Twelve Evangelia (Jn 18:28- 19: 16): no picture. The Fifth Lesson of the Twelve Evangelia (Mt 27:3-32): Judas Giving Back the Silver (f.91 v) in the initial and the margin- the contents of the text and the illustration coincide. The Sixth Lesson of the Twelve Evangelia (Mk 15: 16-32): Two Soldiers Bringing Christ to Pilate (f.95) in the initial and the margin- the text tells the bringing of Christ to the court of Pilate, but the representation of Pilate does not accord with himself on f.113, rather close to the physiognomy of Caiaphas on f.54. It seems likely that the picture of the Bringing of Christ to Caiaphas described in Mt 26:57, Mk 14:53, and Lk 22:54 is appropriated. The Seventh Lesson for the Twelve Evangelia (Mt 27:33-54): The Cruclfzxion (f. 97) in the initial and the margin - the contents of the text and the illustration basically coincide. Some elements from other Gospels are used in the details. The Eighth Lesson of the Twelve Evangelia (Lk 23:32-49): no picture. The Ninth Lesson of the Twelve Evangelia (Jn 19:25-37): no picture. The Tenth Lesson of the Twelve Evangelia (Mk 15:43-47): no picture. The Eleventh Lesson of the Twelve Evangelia (Jn 19:38-42): no picture. The Twelfth Lesson of the Twelve Evangelia: the text is omitted since it is identical with the Orthros lesson of the Holy Saturday. Holy Friday, Liturgy (Mt 27: 11-38; Lk 23:39-43; Mt 27:39-54; Jn 19:31- 37; Mt 27:55-61): a column picture of the Betrayal ofJudas (f.l04v, fig.3)- an account of the Betrayal is found in Mt 26:47-56, etc., so the content of the miniature conflicts with the text.
Vol. XLI 2006 95 Holy Saturday, Orthros (Mt 27:62-66): a column picture of the Chief Priests and the Pharisees before Pilate (f.l13, fig.4) - the contents of the text and the illustration coincide. Holy Saturday, Liturgy (Mt 28: 1-20): a column picture of the Two Holy Women Visiting Christ's Tomb (f.ll3v) - the contents of the text and the illustration coincide.
Let us again enumerate the main disagreements of the text and the illustration, marshaling the problems of each case. The adoption of the Last Supper in the second lesson of the Washing of the Feet can be considered an attempt to visualize two important events that occur continuously, so the discord between the text and the image would make sense. As the picture for the Liturgy of Holy Thursday, the placement of a less important matter among many impressive affairs needs to be interpreted. Moreover, the Conference of the Chief Priests before Caiaphas (fig.2) for the Liturgy of Holy Thursday has the same composition as the Conference ofthe Chief Priests before Pilate (fig.4) for the Orthros of Holy Saturday. This is not due to the painter's negligence, but a deliberated artifice which will be discussed later. The Illustrations for the Twelve Evangelia for the Passion of Christ correspond, except for the Prayer at Gethsemane (fig. I) under argument, with the contents of the texts. In the case of the Betrayal, it is irrelevant to the text of the Holy Friday Liturgy, so we need some explanations. The reason for the selection of the pictures disregarding the text should be searched for within the iconographic program of Holy Week. Before proceeding to this problem, we should examine the Holy Week pictures in other surviving lectionary manuscripts (see the table). Nine manuscripts with the Passion-Week pictures including the Dionysiou Lectionary survive from the eleventh and twelfth centuries. The largest Christological cycle is found in the Cod. gr.2 of the Hellenic Institute in Venice, the miniatures of which coincide completely with the description of the text. A Morgan Lectionary, Cod. M639 in the Pierpont Morgan Library, New York, depicts the Denial and the Repentance ofSt. Peter at the beginning of the fourth lesson of the twelve Evangelia. Since the applicable description can be seen at the end of the third lesson, we consider the picture as the headpiece for the third lesson, not for the fourth. There is no problem concerning the relation of the text and the images in the manuscripts Cod. 8 in the Ecumenical Patriarchal Library in Istanbul, Cod. M692 in the Pierpont Morgan Library, and Cod. 1 in the Dumbarton Oaks Institute in Washington, D.C.. The Placement of Christ on the throne at the beginning of the twelve Evangelia for the Passion in
96 ORIENT LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587 Dumbarton Oaks Cod. I, though lacking a narrative element which corresponds actively with the text, coincides with the content on the teaching of Christ. The Vatican Lectionary, Cod. gr. I I 56, arranges a full-page miniature at the top of the twelve Evangelia. The picture contains six episodes: Gethsemane, the Betrayal, Christ Before Pilate, the Crucifzxion, the Threnos, and the Anastasis. These six scenes represent the climax of Christ's life from the Passion to the Resurrection, and the selection is quite suitable for the headpiece for the twelve Evangelia. Although a parallel with the text is not considered here, we should note that the picture includes the Prayer at Gethsemane. Two manuscripts, Cod. 68 of the National Library in Athens and Cod. gr.supp1.27 of the Bibliotheque Nationale in Paris, choose the Betrayal ofJudas as the headpiece for the twelve Evangelia. Although the description on the Betrayal is found in the second lesson, not in the first lesson, the selection of the most dramatic moment before the Crucifixion is satisfactory for the headpiece of the whole twelve Evangelia. Comparing the other eight manuscripts with the Passion cycle illustrations, the discrepancy between the texts and the images of Holy Week in the Dionysiou Lectionary becomes obvious. To interpret the triple representations of Christ at Gethsemane and the discord between text and image in the Holy Week cycle, we have to consider the variety of text read in the church service; on . Holy Thursday, after the two lessons for the Washing of the Feet, following texts from the Old Testament are read: 23
Exodus 19:10-19. Psalm 139:2-3: Rescue me, 0 Lord, from the evil man; deliver me from the unjust man. Who have devised injustice in their hearts; all the day they prepared war. Job 38:1-21: Lord spoke to Job through the whirlwind and clouds, saying ...... Psalm 58:2-3: Deliver me from mine enemies, 0 God; and ransom me from those that rise up against me. Deliver me from the workers of iniquity, and save me from bloody men. Isaiah 50:4-11: ...... Behold, the Lord, the Lord, will help me ...... Psalm 40:2, 6, IOb-lla: ...... But thou, 0 Lord, have compassion upon me, and raise me up ......
Two fundamental characters common to these verses are a prayer to God for salvation in a crisis (Psalms and Isaiah) and an answer from God (Exodus
Vol. XLI 2006 97 and Job). That is to say, they are verses with the theme of communication between God and men. Some expressions in Exodus should be noted in particular; in the short text which narrates the exchange between Moses and God, the number three is repeated four times: against the third day ... for the third day ... against the third day ... on the third day. This phrase has evidently influenced the painter to represent Christ three times. In addition, the text telling God's revelation to Moses easily reminds us of the following description of the investment of the Law to Moses. In Byzantine manuscript illuminations, Moses Receiving the Tablet of the Law widely prevails, not only for the narrative illustration of the Octateuchs, but also for the Psalter illustration. 24 Our iconography of the Gethsemane has four points in common with the scene of Moses Receiving the Law: three sequences are depicted, namely, two on the top of the mountain and one at the foot of the mountain; Moses' pose receiving the Tablet is close to Christ's proskynesis; on the upper part the representation of God or heaven is seen; on the mountain foot the crowds are listening to the protagonist. In the surviving Psalter manuscripts, Cod. 3807 in the Berlin University Library (f.118v, fig.5)25 and Cod. W530b in the Walter Art Gallery in Baltimore (f.lllv of Cod. 761, Vatopedi Monastery on Mount Athos)26 represent Moses three times with a similar composition to our Gethsemane. The painter of the Dionysiou Lectionary depicted the Prayer at Gethsemane in the composition of Moses Receiving the Law, being incited by the theme of the communication with God on Holy Thursday, and especially by the phrases of Exodus. Doing so, he successfully emphasizes Christ as a New Moses and visualizes the typological correspondence between the Old and the New Testament. We are not sure if this contrivance belongs to the Dionysiou painter himself or not, since there are no dated manuscripts available. 27 It would be reasonable to think that the Dionysiou painter followed a past model. Byzantine art from the twelfth century depicts Christ three times in the Prayer at Gethsemane as a fixed form. The iconography was obviously formed in the frame of the lectionary illustration, since the positive cause to represent Christ three times is never explained without the influence of the Holy Thursday services. Another liturgical character of the Gethsemane scene should be noted here. In the Holy Thursday service, a verse from I Corinthians is read: for this cause many are weak and sickly among you, and many sleep (that is, dead). 28 This will correspond to the sleeping disciples at Gethsemane. The above discussion will suffice for the interpretation of the iconographic peculiarities of the Gethsemane scene. Still remaining is the problem of the
98 ORIENT LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587 inconsistency between text and image, and further, the pictures of the Holy Thursday Liturgy and of the Holy Friday Liturgy should be explained in connection with their texts. First, we begin with the miniature for the Holy Thursday Liturgy. The Liturgy of Holy Thursday contains a long lesson centering on chapter 26 from Matthew's Gospel, and many dramatic events are told there such as the Last Supper, the Prayer at Gethsemane, the Betrayal of Judas, Christ before Caiaphas, and the Repentance of St. Peter. Nevertheless, the Dionysiou Lectionary adopted such less important scenes as the Conference of the Chief Priests and the Elders in the House of Caiaphas (fig.2) referred to in the beginning of the text. This is an independent attempt which is not found in the other three manuscripts with illustrations for the day (see the Table), and if it is not the painter's dereliction to appropriate the composition of the Conference of the Chief Priests before Pilate (fig.4) for the Holy Saturday Orthros, we have to determine some positive reason. As two manuscripts, Cod. gr.2 in Venice and Cod. 8 in Istanbul, adopt the theme of the Prayer at Gethsemane as the headpiece for the Holy Thursday Liturgy, the place here is quite suitable for the Gethsemane scene. But the Dionysiou painter dares neglect the disagreement with the text, that is, lower the Gethsemane scene to the next twelve Evangelia for the Passion, and place the picture of the Conference of the Chief Priests as the headpiece for the Liturgy. This Liturgy picture represents the description of the Gospel (Mt 26:3-5) that the chief priests and the elders counsel on Christ's disposal before the Passover in the house of Caiaphas. On the right, in front of a building sits Caiaphas, and on the left, five discuss with raised hands. As noted above, the Holy Saturday Orthros (Mt 27:62-66) adopts the same composition; on the right sits Pilate instead of Caiaphas, and the left crowds are the chief priests and the Pharisees. This composition, used in various contexts, can be regarded to mean fundamentally "the pagans before the king." The Paris Gospel, Cod. gr. 74, makes use ofthis composition twice (ff.3v, 52),29 and the Florence Gospel, Cod. Laur.VI.23, once (f.53).30 The reason why this composition is selected as the picture for the Holy Thursday Liturgy should be researched in the liturgical texts of the day; before the reading of the Liturgy lesson, the verses from Psalm 2: 1-5 are read as the third Prokimenon. 31 A series of so-called monastic Psalters depict here, in accordance with the verses "the kings of the earth sttod up, and the rulers gathered themselves together, against the Lord ... ," the Conference of the Kings with the same composition as ours (the Khuldov Psalter f.2v; the Barberini
Vol. XLI 2006 99 Psalter f.7; the Bristol Psalter f.9; the Theodore Psalter f.2). 32 In short, the Conference of the Chief Priests in the Dionysiou Lectionary, an insignificant episode at a glance, is regarded as the important event which connects the Gospel typologically with the Psalter in the context of the liturgy. To emphasize the point visually, the Dionysiou Lectionary selected the Conference ofthe Chief Priests with the same composition as the Psalter illustrations, in spite of the Gethsemane scene originally suitable for the place. The positive acceptance of the liturgical elements and the visual emphasis on the typology are recognized obviously in the Dionysiou Lectionary, the trend which coincides with Byzantine art in the eleventh century in general. We can cite the Betrayal of Judas as an appropriate subject for the headpiece to the twelve Evangelia for the Passion as found in the manuscripts Cod. 68 in Athens and Cod. gr.suppl.27 in Paris. Although in the Dionysiou Lectionary, too, the Betrayal (fig.3) is suitable for the twelve Evangelia, being pushed out by the Gethsemane, the Betrayal is moved to the next position of the Holy Friday Liturgy. As a result, two pictures of the Gethsemane and the Betrayal contradict the accompanying texts, but the main interest of the planner of the manuscript consists in the liturgy and the typology, and not in the correspondence with the text. The program of Holy Week in the Dionysiou Lectionary, though it seems to be extraordinary at first sight, is deliberated carefully as discussed above. Lastly, I would like to introduce an interesting fact which corroborates my argument. On the left side of the picture for the Holy Thursday Liturgy, the Conference of the Chief Priests (fig.2), is depicted an old man making a strange gesture. His head in profile is unnaturally united with the body, his garment is too artificial, and the legs appearing from it are also unnatural. However, almost the same person including the garment is found in at least four other manuscripts:
( 1) Psalter Cod. 3807 in the Berlin University Library, f.ll8v: Moses Receiving the Law (fig.S) (2) Psalter Cod. gr.342 in the Vatican Library (AD I 087 /88), f.l33v: Moses Receiving the Law33 (3) Psalter Cod. 760 in the Vatopedi Monastery on Mount Athos, f.270: Moses Receiving the Law34 (4) Four Gospels Cod.gr. 64 in the Bibliotheque Nationale in Paris, f.103: Zacharias and the People35 (fig.6)
100 ORIENT LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587 Two manuscripts, (1) and (4), can be certified, judging from iconography, style, technique, and so on, as the products of the scriptorium of the Dionysiou Lectionary.36 The manuscripts (2) and (3) have so different style that they are influenced, directly or indirectly, from manuscript ( 1). Research on the genealogy of this old man with the strange pose will throw light on the relation of the middle Byzantine scriptoria, or on the actual circumstances of the iconographic diffusion, but it is not the present issue. The fact that the Dionysiou Lectionary and the Berlin Psalter ( 1) were produced in the same scriptorium, and that they used the same model to depict the crowds, will, however, corroborate our argument. The Dionysiou Lectionary substitutes the Conference of the Chief Priests intentionally for the Gethsemane as the picture for the Holy Thursday Liturgy, and the composition of the Gethsemane is derived from Moses Receiving the Law. It seems to me that the old man with the strange pose, represented commonly in the Conference of the Chief Priests (fig.2) and Moses Receiving the Law (fig.S), reveals this complicated secret to us.
Notes The present article is based on my unpublished dissertation, Eucovoypact>llCHl 'tOU XEtpoyacpou apt9.587 'tllS JlOVTtS Atovucriou cr'to 'Ayto 'Opo;. l:uJ.1(3oA.i) c:T't'l JlEA.tnl 't01V (3u~
Vol. XLI 2006 101 and the Prayer at Gethsemane), Walters Art Gallery in Baltimore, Cod.W 535 (A.D.I594, miniatures of full page and half page). See Lappa-Zizica, Rizou-Couroupou 1991, 221 f., no.l 08, pls.I50-2; Vikan 1991, 181-222. 19 Wessel 1971, cols.783ff.. 20 Cod. Pars. gr. 74, ff.54, 54v, 95v, 96, 158 (Omont 1908, pls.45, 83, 84, 135); Florence, Cod.Laur.Vl.23, ff.54v, 158 (Velmans 1971, figs.l11, 261). 21 On the Holy Week liturgy of Hagia Sophia, see Mateos 1963, 66ff.. Cf. Triodon 1984, 511fT.. 22 Our manuscript has two text columns. 23 Mateos 1963, 74. 24 Belting 1972, 17ff.; Aliprantis 1986. 25 Cultler 1984, fig, I 04. 26 Ibid., fig. 71. 27 In my opinion, the Dionysiou Lectionary was made between 1065-85, most probably in 1070's. Masuda 1990, 177ff.. 28 Mateos 1963, 74. 29 Omont 1908, pls.5, 42. 30 Vel man 1971, fig. I 08. 3l Mateos, loc.cit.. 32 Walter 1986, 286, with further bibliography. 33 Cutler 1984, fig.283. 34 Ibid., fig.386. 35 Omont 1929, pi.LXXXVI, 2. 36 Masuda 1990, 182ff..
Bibliography Aliprantis, Th.Ch. 1986: Moses auf dem Berg Sinai, Munich. Anderson, J.C. 1973a: Cat.no.25, in G. Vikan (ed.), Illuminated Greek manuscripts from American Collections. An Exhibition in Honor of K. Weitzmann, Princeton 1973, 112-3, figs.43-4. Anderson, J.C. 1973b: Cat.no.28, in Vikan (ed.), American Collections, 118-20, figs.48-50. Anderson, J.C. 1992: The New York Cn1c~{orm Lectionmy, Pennsylvania. Belting, H. 1972: "Zum Palatina-Psalter des 13. Jahrhunderts," JOB, 21, 17ff. Canart, P., Peri, V. 1970: Sussidi bibliographici peri manoscritti Greci della Biblioteca Vaticana, Vatican. Cotsonis, J. 1989: "On Some Illustrations in the Lectionary, Athos, Dionysiou 587," Byzantion, 59,5-19. Cultler, A. 1984: The Aristocratic Psalters in Byzantium, Paris. Damaskinos 1989: To 0tKOUf.l£VtK6 na:tpuxpxeio. H MeyaAll 'tO\) XptO''tOU EKKAllO'tCX, Athens, 141, figs.135-50. Dorezal, M.-L. 1991: The Middle Byzantine Lectionary: Textual and Pictorial Expression qf Liturgical Ritual, diss., University of Chicago. Galavaris,G. 1987: H ~roypcx
102 ORIENT LITURGICAL ILLUSTRATIONS IN THE BYZANTINE LECTIONARY COD.587
Lappa-Zizica, E., Rizou-Couroupou, M. 1991: Kc:xtciA.oyoc; EAATlVtKOOV X£tpoypcicprov tou Moua£iou Mx£VcXICTl (10oc;-16oc; c:xt.), Athens. Lazarev, V.N. 1986: 11cTOpH.M BH3aHTHikKOH >KHBOnHCH, Moscow. Likhachova, V.D. 1977: Byzantine Miniature, Moscow. Marava-Chatzinicolaou, A .• Toufexi-Paschou, Ch. 1978: Catalogue of the Illuminated Byzatrtine Manuscripts ofthe National Library of Greece, vol.l, Athens. Masuda, T. 1990: EtKovoypci$110'11 tou XEtpoyacpou c:xpt8.587 'tTl<; J..IOVT\<; dtovumou ato 'Ayto 'Opoc;. LUJ.lf3oA.l\ O''tl'l J.lEAE'tl'l trov f3u~C:XV'ttvrov £uc:xyy£AtO'tc:xpirov, Thessaloniki University. Mateos, J. 1963 : Le typicon de Ia grand eglise, vol.2, Rome. Morey, C.R. 1929: "Note on East Christian Miniatures," Art Bulletin, II. 53-92. Mouriki, D., Paterson Sevcenko, N. 1988: "Illuminated Manuscripts," in A. Kominis (ed.), Patmos. Treasures ofthe Monastery, Athens 1988,282-4,375, figs.9-14. Omont, H. 1908 : Evangiles avecs peintures byzantines du Xle siec/e, Paris. Omont, H. 1929: Miniatures des plus anciens manuscrits grecs de Ia Bibliotlu!que Nationale, Paris. Pelekanidis, S. et al. 1974: Ot 8110'C:XUpoi tou Ayiou 'Opou<;, vol.l, Athens. Pelekanidis, S. et al. 1975: Ot 8110'C:Xupoi tou Ayiou 'Opou<;, vol.2, Athens. Pelekanidis, S. et al. 1979: Ot 8110'C:Xupoi tou Ayiou 'Opou<;, vol.3, Athens. Soteriou, G. 1938: KetJ.ll\AtC:X 'tO\) OtKOUJ.lEVtKO'\) nc:x'tptc:xpxeiou, Athens, 86-92, figs.60-62, 64a. Spatharakis, I. 1976: Corpus of Dated llluminated Greek Manuscripts to the Year 1453. Lciden. Spatharakis, I. 1980-81: "An Unusual Iconographic Type of the Seated Evangelist," DXAE. 4-10. Triodon 1984 : The Lenten Triodon, London 1984( 1978). Tsuji, Sh. 1973: "Byzantine Lectionary Illustration," in Vikan (ed.), American Collections, 34ff.. Velmans, T. 1971 : Le Tetraevangile de Ia Laurentiemre, Florence, Law: V/.23, Paris. Vikan, G. 1991: "Walters Lectionary W.535 (A.D.1594) and the Deluxe Greek Manuscript Production After the Fall of Constantinople," in J.J. Yiannias (ed.), Tire Byzantine Tradition After the Fall of Constantinople, University of Virginia, 181-222. Walter, Ch. 1988: "Christological Themes in the Byzantine Marginal Psalters from the Ninth to the Eleventh Century," REB, 286. Walter, Ch. 2000: "The Date and Contents of the Dionysiou Lectionary," rep.in Pictures as Language. How the Byzantines Exploited Them, London, 132-52. Weitzmann, K. 1935: Die byzantinisdre Buc:hmalerei des 9. und 10. Jahrlnmderts, Berlin. Weitzmann, K. 1980a: "Das Evangelion im Skevophylakion zu Lavra," rep.in Byzantine Liturgical Psalters and Gospels, London 1980. Weitzmann, K. 1980b: "The Constantinopolitan Lectionary, Morgan 639," rep.in Psalter and Gospels, art.XIV. Wessel, K. 1971: "Gethsemane," RBK, vol.2, Stuttgart, cols. 783ff.. Xyngopoulos, A. 1932: latoptJ..IEVC:X £uc:xyy£A.tc:x Movi)<; lf3i)prov Ayiou 'Opouc;, Athens. Xyngopoulos, A. 1962: To tO'tOPTlJ..IEVov £uc:xyy£A.tov tou EAATlVtxou lvantoutou BEVE'tic:xc;, 9110'C:Xupi O'J..IC:Xtc:x, I, 63-88, figs.1-13
Source of Illustrations Vol. XLI 2006 103 Fig. I: Dionysiou Monastery, Mount Athos, Cod.587, f.66 (Pelekanidis et al. (1974), fig.226). Fig.2: Dionysiou Monastery, Mount Athos, Cod.587, f. 54 (Pelekanidis et al. ( 197 4), fig.225). Fig.3: Dionysiou Monastery, Mount Athos, Cod.587, f. I 04v (Pelekanidis et al. (1974), fig.233). Fig.4: Dionysiou Monastery, Mount Athos, Cod.587, f.113 (Pelekanidis et al. ( 1974), fig.230). Fig.S: Berlin University, Cod. 3807, f.ll8v (Cutler (1984), fig.l 04). Fig.6: Bibliotheque Nationale de Paris, Cod. Paris.64, f.103, Zacharias and the People (H.Omont ( 1929), pl. LXXXVI).
104 ORIENT < Dionysiou Lectionary Venezia 2 Morgan 639 Istanbul8 Morgan 692 Dumbarton Vatican 1156 Athens 68 Paris 27 ~ Thursday Orthoros Cock ~ I for Washing Washing of Feel Washing of Feet Washing of Feet Washing of Feet Washing of Feet 1:...:1 2 for Washing Last Supper t: 0 ~ 0)0 Liturgy Conference of Gethsemane, Gethsemane Repentance of Chief Priests Betrayal. Christ Peter ~ before Caiaphas. 0 Repentance of Peter I for Passion Gethsemane Christ and Christ on Gethsemane, Betrayal. Betrayal ~ ~ Desciples. Last Throne Betrayal, Christ Christ and t"' Prayer of Christ Before Pilate, Disciples Crucifixion. @ Threnos. Anastasis ~ 2 for Passion Betrayal ~ 3 for Passion Christ and Two Cock. Repentance ~ Soldiers Repentance of of Peter 0z Peter r:n 4 for Passion Christ Before Repentance Pilate of Peter z 5 for Passion Judas Returning Judas Returning =a Silver Silver, Suicide of t:.2 Judas, Pilate Washing 6 for Passion Pilate, Christ and Two Soldiers ~ Crucifixion 7 for Passion ~ 8 for Passion £; 9 for Passion Crucifixion (") o-3 10 for Passion 0 II for Passion Joseph of Arimatea Descent from z and Pilate Cross, Threnos 12 for Passion ~ (") Friday Liturgy Betrayal Christ Before 0 Pilate 0 01 Saturday Orthoros Conference of Chief Priests OJ Before Pilate -.) Liturgy Two Women at the Two Women at Tomb the Tomb, Chairete
1-& 0 Table : Illustrations for Holy Week in middle-Byzantine lectionaries 01 Fig. I. Christ s Prayer at Gethsemane Dionysiou Monastery, Mount Athos, Cod.587, f.66
Fig.2. The Chief Priests and the Elders in the Ho11s e ofCaiaplws Dionysiou Monastery, Mount Athos, Cod.587, f.54 106 ORIENT LITURGICAL ILLUSTRATIONS IN T HE BYZANTIN E LECTIONARY COD.587
Fig.3. Betrayal ofJ udas Dionysiou Monastery, Mount Athos, Cod.587, f. I 04v
Fig.4. The Conference ()( the Chief Priests before Pilate Dionysiou Monastery. Mount Athos. Cod.587. f.l l 3
Vol. XLI 2006 107 Fig.5. Moses Receiving the Law Berl in University, Cod. 3807, f. ll 8v
Fig.6. Zacharias and the People Bibliothequc Nationalc de Paris, Cod. Paris.64, f. I 03
108 ORIENT