HIEU 104A: the Byzantine Empire, I (3Rd to 7Th Centuries)
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DONALD NICOL Donald Macgillivray Nicol 1923–2003
DONALD NICOL Donald MacGillivray Nicol 1923–2003 DONALD MACGILLIVRAY NICOL was born in Portsmouth on 4 February 1923, the son of a Scottish Presbyterian minister. He was always proud of his MacGillivray antecedents (on his mother’s side) and of his family’s connection with Culloden, the site of the Jacobite defeat in 1745, on whose correct pronunciation he would always insist. Despite attending school first in Sheffield and then in London, he retained a slight Scottish accent throughout his life. By the time he left St Paul’s School, already an able classical scholar, it was 1941; the rest of his education would have to wait until after the war. Donald’s letters, which he carefully preserved and ordered with the instinct of an archivist, provide details of the war years.1 In 1942, at the age of nineteen, he was teaching elementary maths, Latin and French to the junior forms at St-Anne’s-on-Sea, Lancashire. He commented to his father that he would be dismissed were it known that he was a conscientious objector. By November of that year he had entered a Friends’ Ambulance 1 The bulk of his letters are to his father (1942–6) and to his future wife (1949–50). Also preserved are the letters of his supervisor, Sir Steven Runciman, over a forty-year period. Other papers are his diaries, for a short period of time in 1944, his notebooks with drawings and plans of churches he studied in Epiros, and his account of his travels on Mount Athos. This material is now in the King’s College London Archives, by courtesy of the Nicol family. -
Intertextuality and Symbolism in the Legend of Hagia Sophia Vencer A
Defeating Solomon: Intertextuality and Symbolism in the Legend of Hagia Sophia Vencer a Salomón: intertextualidad y simbolismo en la leyenda de Santa Sofía VICTORIA GERHOLD Summary 1. Introduction 2. The Emperor, the Angels and the Church 3. Hagia Sophia, the Final Temple 4. Conclusion Abstract: One of the main literary topics of the Byzantine legend of Hagia Sophia is the comparison between the church built by Emperor Justinian and the temple of Solomon. Previous studies have shown that this topic is elaborated through an intertextual connection between the legendary description of the construction of Hagia Sophia and the biblical description of the construction of the temple of Jerusalem (2 Kings 24: 1, 25; 3 Kings 5: 15-9: 25; 1 Paralipomena 21: 1-8: 16). In the present article, we will argue that the legend also presents intertextual connections with other biblical texts (such as Ezekiel) and even para- biblical texts (such as the Testament of Solomon). Keywords: Hagia Sophia; Solomon; legend; Testament of Solomon; Ezekiel Resumen: Uno de los principales temas literarios de la leyenda de Santa Sofía es la comparación entre esa iglesia (re)construida por el Emperador Justiniano y el templo de Salomón. Estudios previos han demostrado que la elaboración literaria de este tema estuvo basada en una relación intertextual entre la descripción legendaria de la construcción de Santa Sofía y la descripción bíblica la construcción del templo de Jerusalén (2 Reyes 24:1:25; 3 Reyes 5:15-9:25; 1 Paralipomena 21:1-8:16). En el presente trabajo propondremos que la leyenda presenta además conexiones intertextuales con otros textos bíblicos (como Ezequiel) e incluso para-bíblicos (como el Testamento de Salomón). -
Byzantine Iconoclasm
Byzantine Iconoclasm %rom &i'ipedia, the free encyclopedia The Byzantine Iconoclasm )*reek: Εἰκονομαχία, Eikonomachía) refers to t,o periods in the history of the Byzantine -mpire ,hen -mperors, bac'ed by imperially-appointed leaders and councils of the *reek /rthodox Church, imposed a ban on religious images or icons. The 0%irst Iconoclasm0, as it is sometimes called, lasted bet,een about 123 and 141, ,hen a change on the throne reversed the ban. The 05econd Iconoclasm0 ,as bet,een 4#6 and 467. Iconoclasm, *reek for 0image-brea'ing0, is the deliberate destruction ,ithin a culture of the culture's own religious icons and other symbols or monuments, usually for religious or political motives. People ,ho engage in or support iconoclasm are called iconoclasts, a term that has come to be applied figuratively to any person ,ho brea's or disdains established dogmata or conventions. Conversely, A simple cross: example of people ,ho revere or venerate religious images are iconoclast art in the Hagia derisively called 0iconolaters0 )εἰκονολάτραι+. (hey Irene Church in Istanbul. are normally 'nown as 0iconodules0 )εἰκονόδουλοι+, or 0iconophiles0 )εἰκονόφιλοι+. Iconoclasm may be carried out by people of a different religion, but is often the result of sectarian disputes bet,een factions of the same religion. In Christianity, iconoclasm has generally been motivated by an 0/ld.Covenant0 interpretation of the Ten Commandments, ,hich forbid the ma'ing and ,orshipping of 0graven images0, see also Biblical la, in Christianity. The t,o serious outbrea's of iconoclasm in the Byzantine -mpire during the 4th and !th centuries ,ere unusual in that the use of images ,as the main issue in the dispute, rather Byzantine Iconoclasm, Chludov than a by-product of ,ider concerns. -
Bourbouhakis Curriculum Vitae
Curriculum Vitae Emmanuel C. Bourbouhakis Assistant Professor Department of Classics Princeton University 141 East Pyne Princeton, NJ 08544 Tel: 609-258-3951 Email: [email protected] Current Position 2011- Assistant Professor, Department of Classics, Princeton University Previous Employment 2008-2010 DFG Teaching–Research Fellow, Department of History, Albert-Ludwigs Universität Freiburg 2007-2008 Lecturer, Department of the Classics, Harvard University Education 09/1999-10/2006 PhD in Classical and Byzantine Philology, Harvard University 09/1997-06/1999 MA in Classical Philology, University of Western Ontario 09/1989-06/1993 BA in History, McGill University; Liberal Arts College, Concordia University Ancient Languages Latin, Greek (classical & medieval) Modern Languages Greek (modern), English, French, German, Italian Awards, Honours, Fellowships 2010 Gerda Henkel Stiftung Fellowship 2008 Deutsche Forschungsgemeinschaft Forschungsstipendium (German National Research Foundation Fellowship) at the Albert-Ludwigs Universität Freiburg 2005 Harvard University Humanities Dissertation Fellowship 2004 Dumbarton Oaks Junior Fellowship 2003 DAAD Doctoral Fellowship at the Byzantinisch-Neugriechisches Institut, Freie Universität Berlin 2 2002 Canadian Social Sciences and Humanities Research Council Doctoral Grant Academic Service Princeton University 2011-2012 Search Committee, Byzantine Art and Archaeology 2012-2013 Forbes College Academic Advisor 2012-2013 Department of Classics Seniors Adviser 2012-2013 Department of Classics Undergraduate -
Sex, Lies, and Mosaics: the Zoe Panel As a Reflection of Change in Eleventh-Century Byzantium*
SEX, LIES, AND MOSAICS: THE ZOE PANEL AS A REFLECTION OF CHANGE IN ELEVENTH-CENTURY BYZANTIUM* Brian A. Pollick, University of Victoria Abstract The stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a case study about such change and how a unique set of social forces in the early eleventh century induced cultural change that resulted in new visual forms. The subject of this case study is the mosaic known as The Zoe Panel, located in the South Gallery of the Hagia Sophia in Constantinople. The panel depicts the Emperor Constantine IX presenting a bag of money to the enthroned Christ, while the Empress Zoe presents an imperial scroll probably signifying an ongoing grant. Although there has been much written about this mosaic, the fact that the moneybag and imperial scroll represent two new iconographic elements in imperial portraits has gone largely unnoticed. This study argues that the appearance of these new iconographic features is a direct reflection of the specific dynastic, economic and social circumstances in the Byzantine Empire in the early eleventh century. he stereotype of Byzantine art as static and unchanging still compels Byzantine specialists to emphasize that change is readily evident in Byzantine art if one knows where and how to look for it. This paper is a Tcase study about such change and examines how a unique set of political, economic and social forces in the early eleventh century induced socio-cultural change that resulted in new visual forms. -
The Developmentof Early Imperial Dress from the Tetrachs to The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Archive, E-theses Repository University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. The Development of Early Imperial Dress from the Tetrarchs to the Herakleian Dynasty General Introduction The emperor, as head of state, was the most important and powerful individual in the land; his official portraits and to a lesser extent those of the empress were depicted throughout the realm. His image occurred most frequently on small items issued by government officials such as coins, market weights, seals, imperial standards, medallions displayed beside new consuls, and even on the inkwells of public officials. As a sign of their loyalty, his portrait sometimes appeared on the patches sown on his supporters’ garments, embossed on their shields and armour or even embellishing their jewelry. Among more expensive forms of art, the emperor’s portrait appeared in illuminated manuscripts, mosaics, and wall paintings such as murals and donor portraits. Several types of statues bore his likeness, including those worshiped as part of the imperial cult, examples erected by public 1 officials, and individual or family groupings placed in buildings, gardens and even harbours at the emperor’s personal expense. -
Iconoclasm: a Christian Dilemma
ICONOCLASM: A CHRISTIAN DILEMMA - A BYZANTINE CONTROVERSY By STEPHEN CHARLES STEACY •• Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1969 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS December, 1978 ICONOCLASM: A CHRISTIAN DILEMMA - A BYZANTINE CONTROVERSY Thesis Approved: '. ~- Dean of the Graduate College 1019541 ii P~F~E This thesis is concerned with Iconoclasm, the religious upheaval which troubled the Byzantine conscience for over a century. There have been numerous theories adduced by his torians to account for this phenomenon. It is the purpose of this study to view the varying interpretations, analyze their shortcomings, and to put forth a different view of the controversy, one that more adequately expresses the deeply rooted religious nature of the movement, a movement not only of the eighth and ninth centuries but an idea which was nurtured in fertile soil of the Old Testament and Apostolic Christianity. The author wishes to express heartfelt appreciation to his thesis adviser, Dr. George Jewsbury, whose unflagging solicitude, support, and inspiration were instrumental in the preparation of this work. A note of thanks is given to Mrs. Karen Hoyer, whose typing expertise, in the final analysis, made the difference between success and failure. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION AND HISTORIOGRAPHICAL ESSAY 1 II. THEOLOGICAL AND PHILOSOPHICAL COURSES OF THE CONTROVERSY. • • . • . • • . • . 13 Genesis of the Cult of Icons .•.• 13 The Scriptures as the Foundation of Iconoclasm. 26 Precursors of ·the Iconoclast Movement . 30 Origen . 31 Eusebius . -
Farewell to Cyril A. Mango
ΧΡΙΣΤΙΑΝΙΚΗ ΑΡΧΑΙΟΛΟΓΙΚΗ ΕΤΑΙΡΕΙΑ / CHRISTIAN ARCHAEOLOGICAL SOCIETY S C I E N T I F I C S O C I E T Y F O R T H E S T U D Y O F B Y Z A N T I N E A N D P O S T - B Y Z A N T I N E A R C H A E O L O G Y A N D A R T , F O U N D E D I N 1 8 8 4 Farewell to Cyril A. Mango (1928-2021) It is with great sadness that the Christian Archaeological Society announces to its members and friends the loss, on the 8th of February 2021, of the eminent Byzantinist Cyril Alexander Mango, honorary member of the Society since 2013. Cyril Mango was born on the 14th of April 1928, in Constantinople the son of a Greek father and a Russian mother and grew up in the multicultural environment of this city. He completed his university studies in Scotland (Classical Studies, University of St. Andrews, 1949), and his postgraduate studies in France, where he defended his doctoral dissertation on Byzantine history in Paris (Université de Paris-Sorbonne, 1953). He began his long and multifaceted career in the United States of America, first at the Dumbarton Oaks Byzantine Center, Harvard University, Washington DC (1955-1963 and 1968-1973), and then at the University of California, Berkeley (1960-1961). He continued his career in England, initially in London as the Koraes Professor of Modern Greek and Byzantine History, Language and Literature at King’s College, University of London (1963-1966) and later in Oxford as the Bywater and Sotheby’s Professor of Byzantine and Modern Greek at Oxford University (1973-1995). -
37 in Memoriam Ciril Mango.Indd
Ni{ i Vizantija XVIII IN MEMORIAM611 CYRIL MANGO (1928 – 2021) The celebrated Byzantinist Cyril Mango died on February 8, 2021. One of the greatest Byzantinists of the modern age, Mango was from a background of specific origin for his later expertise in Byzantine history. Descended on the paternal side from a Genoese family with ties to Chios with a father (Alexander Mango) who became a British citizen, and with Russian ancestry on his moth- er’s side (Ada Damanov), it was perhaps inevitable that he would grow up in the great imperial city of Constantinople/Istanbul. Born in Istanbul in 1928, he was brought up multi-lingual, speaking Greek to his father, Russian to his mother and French as a family. Equally he was comfortable in Turkish, Italian and 612 IN MEMORIAM Spanish, an array of languages that any Byzantinist can only dream of. A na- tive of Istanbul, Mango developed a great knowledge of the city’s churches and other monuments. Cyril Mango was educated at the University of St. Andrews, M.A. in 1949, and earned his doctorate in History from the University of Paris in 1953. He taught at King’s College London where he held the Chair of Koraes Professor of Modern Greek and Byzantine History, Language and Literature from 1963 to 1968, and was Bywater and Sotheby Professor of Byzantine and Modern Greek Language and Literature at the University of Oxford from 1973 to 1995. He was affiliated with Dumbarton Oaks, the Harvard Center for Byzantine Studies in Washington, D.C. At Dumbarton Oaks, Cyril Mango was a Junior Fellow (1951–1953), Fellow (1953–1954), and Research Associate (1954–1955) of Byzantine Studies, Instructor in Byzantine Archaeology (1955–1958), Lecturer in Byzantine Archaeology (1958–1962), Associate Professor of Byzantine Archaeology (1962–1963), Executive Editor of Dumbarton Oaks Publications (1958–1963), member of the Board of Scholars for Byzantine Studies (1967– 1972), and member of the research staff (1972–1973). -
Manuel II Palaiologos' Point of View
The Hidden Secrets: Late Byzantium in the Western and Polish Context Małgorzata Dąbrowska The Hidden Secrets: Late Byzantium in the Western and Polish Context Małgorzata Dąbrowska − University of Łódź, Faculty of Philosophy and History Department of Medieval History, 90-219 Łódź, 27a Kamińskiego St. REVIEWERS Maciej Salamon, Jerzy Strzelczyk INITIATING EDITOR Iwona Gos PUBLISHING EDITOR-PROOFREADER Tomasz Fisiak NATIVE SPEAKERS Kevin Magee, François Nachin TECHNICAL EDITOR Leonora Wojciechowska TYPESETTING AND COVER DESIGN Katarzyna Turkowska Cover Image: Last_Judgment_by_F.Kavertzas_(1640-41) commons.wikimedia.org Printed directly from camera-ready materials provided to the Łódź University Press This publication is not for sale © Copyright by Małgorzata Dąbrowska, Łódź 2017 © Copyright for this edition by Uniwersytet Łódzki, Łódź 2017 Published by Łódź University Press First edition. W.07385.16.0.M ISBN 978-83-8088-091-7 e-ISBN 978-83-8088-092-4 Printing sheets 20.0 Łódź University Press 90-131 Łódź, 8 Lindleya St. www.wydawnictwo.uni.lodz.pl e-mail: [email protected] tel. (42) 665 58 63 CONTENTS Preface 7 Acknowledgements 9 CHAPTER ONE The Palaiologoi Themselves and Their Western Connections L’attitude probyzantine de Saint Louis et les opinions des sources françaises concernant cette question 15 Is There any Room on the Bosporus for a Latin Lady? 37 Byzantine Empresses’ Mediations in the Feud between the Palaiologoi (13th–15th Centuries) 53 Family Ethos at the Imperial Court of the Palaiologos in the Light of the Testimony by Theodore of Montferrat 69 Ought One to Marry? Manuel II Palaiologos’ Point of View 81 Sophia of Montferrat or the History of One Face 99 “Vasilissa, ergo gaude...” Cleopa Malatesta’s Byzantine CV 123 Hellenism at the Court of the Despots of Mistra in the First Half of the 15th Century 135 4 • 5 The Power of Virtue. -
Abstracts of Papers
45th Annual Byzantine Studies Conference Abstracts of Papers October 17-20, 2019 University of Wisconsin-Madison Sponsored by: UW Madison Anonymous Fund Department of History Department of Classics and Ancient Near East Studies Department of Folklore and Comparative Literature Program in Medieval Studies Program Committee Annie Labatt, Chair, Sweet Briar College Elena Boeck, DePaul University Jeff Brubaker, SUNY Geneseo Craig Gibson, University of Iowa Anthony Kaldellis, Ohio State University Thomas Lecaque, Grand View University Brenda Llewelyn Ihssen, Pacific Lutheran University Jordan Pickett, University of Georgia at Athens Luis Sales, Scripps College Local Arrangements Committee Leonora Neville, Chair Jefferey Beneker Thomas Dale Christopher Livanos 2019 BYZANTINE STUDIES CONFERENCE PROGRAM WEDNESDAY, OCTOBER 16TH 6:00 PM Mike Clover Memorial Lecture “The Contagion of the Gaze: A Persistent motif in Medieval Art and Modern Theory” Professor Anthony Cutler, Penn State Department of Art History, Elvehjem Building THURSDAY, OCTOBER 17TH 3:00 PM, Russian Icons in the Chazen Museum of Art The Chazen Museum of Art has a collection of approximately 40 Russian icons ranging in date from the 16th to 20th centuries. The core of the collection (23 examples) was given to the university by Joseph Davies, who served as ambassador to the Soviet Union (1937-38). This informal workshop will introduce participants to the collection including works not on view in the main galleries and will discuss issues of iconography, authenticity and collecting. 4:30-8:00 PM, Conference Registration Begins The Chazen Museum of Art 5:30-6:30 PM, Public Lecture, The Chazen Museum of Art "Re-Claiming The Original 'Degenerate Art': Disability, Alterity and Byzantine Studies." Professor Elena Boeck, DePaul University, Department of the History of Art and Architecture Mellon-Borghesi Workshop on Thinking Race: Migration, Representation, and Appropriation in the Middle Ages and Beyond. -
Alice-Mary Talbot on the Kitzinger Years At
THE KITZINGER YEARS AT DUMBARTON OAKS In his masterful obituary notice of Ernst Kitzinger written for publication in Dumbarton Oaks Papers 57 (2003), Henry Maguire wrote as follows: "More than any other person, he [Ernst Kitzinger] was responsible for creating at Dumbarton Oaks the world's foremost institution for the study of Byzantium." I want to take the opportunity of this colloquium in his memory to investigate somewhat further exactly what Kitzinger was able to accomplish during his many years at Dumbarton Oaks, especially during the eleven years that he served so ably as Director of Byzantine Studies. By the time Kitzinger first arrived at Dumbarton Oaks late in 1941, at the age of 28, he was well accustomed to the uncertain life of an émigré from Nazi Germany. Born in Munich in 1912, he was educated at the University of Munich, rapidly completing his doctoral studies in 1934 in one year's time, under pressure from the Nazi threat that Jewish students would no longer be awarded the doctorate. He departed from Germany almost immediately, making his way to London where he found employment of a modest sort in the Department of British and Medieval Antiquities at the British Museum. One result of his labors there was a small book entitled Early Medieval Art in the British Museum; first published in 1940 it attained great acclaim and was republished in subsequent editions and eventually a German translation. When Britain declared war on Germany, Kitzinger was declared an enemy alien, despite his refugee status, interned and evacuated to Australia. He spent nine months in a desert camp, putting his time to good use by studying Russian, until his release in 1941, when he received a 1 most welcome invitation to come to Dumbarton Oaks.