DOCSLIB.ORG

Naspeuringen Van Paul Theelen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Naspeuringen Van Paul Theelen Naspeuringen van Paul Theelen: Helios and the Emperor/THE POLITICS OF MEMORY AND VISUAL POLITICS/Constantinople, history and monuments/The Statuary-Art-Gathering Policy Helios and the Emperor in the Late Antique THE POLITICS OF MEMORY AND VISUAL POLITICS: Constantinople, history and monuments The Statuary-Art-Gathering Policy of the Early Peloponnese THE POLITICS OF MEMORY Byzantine Emperors, 4th–5th Centuries. COMPARING THE SELF-REPRESENTATIONS OF SARAH E. BASSETT GEORGIOS DELIGIANNAKIS CONSTANTINE AND AUGUSTUS Professor Liliana Simeonova Located on a hilly peninsula at the confluence of the waters of the (Institute of Balkan Studies & Thracology at the Bulgarian Academy This paper discusses a badly damaged over-life-sized marble head Mariana Bodnaruk Golden Horn, the Sea of Marmora, and the Bosphorus, of Sciences) with radiate headgear found in the Roman theater of Gytheum. It Constantinople covered an area of approximately 14 sq km at its probably belonged to a public statue or shield monument of the god Augustus primus primus est huius auctor imperii, largest extent and was, by dint of its lavish urban infrastructure, In Late Antiquity, public spaces and monuments played an important Helios and is thought to be late antique. It is here argued that this et in eius nomen omnes velut quadam adoptione among the most impressive cities of the later Roman world. This role in the life of cities. Statues, reliefs, honorific columns, arches monument was in fact intended to pay honor to the ruling emperor, aut iure hereditario succedimus. entry outlines the city’s historical fortunes and urban development and every other type of public monument added an element of who was associated with the god Helios. It is also suggested that the The first Augustus was the first founder of from the period of its initial settlement as a Greek colonial outpost in embellishment to the city and gave character and meaning to place. association of the new Flavian dynasty with the solar god represents this empire, and to his name we all succeed, the seventh century BCE through its Late Antique heyday in the Also, as political, social and cultural arenas, public spaces with their a particular way by which the people of Greece, among other either by some form of adoption or by sixth and early seventh centuries CE. Three major phases, each design played a role in the staging of important events in public life. provincials, chose to express their loyalty to the emperor along hereditary claim. independently named, define this development: Because, in Late Antiquity, both pagans and Christians were raised traditional religious lines. (Scriptores Historiae Augustae, Alexander Severus 10.4) Byzantion (seventh century BCE to second century CE), Colonia in an urban environment that was filled with visual imagery, late Antonina (second to fourth century CE) and, finally, New Rome or antique urbanism focused on the public display of art, which was as Description and Identification I begin with political history. To understand what happened after the Constantinople (fourth to seventh century CE). much a part of the classical legacy as an efficient means of The head is carved of local beige marble, with a height of 0.52 Battle of Milvian Bridge on 28 October 312 CE and how the new Known formally as Istanbul from 1930, the city has been propaganda, especially as regarded the ruler’s connection to his meters and a width of 0.37 meters. It has a strong frontal rendering political order of theempire was constituted I start with the question: continuously inhabited since its initial foundation. Construction in people and the assertion of the established order. and cursorily curved features. It may be reworked from a previous What does Constantinian artsay about imperial politics in the the later Middle Ages together with development as the Ottoman When Constantine the Great (306-337) decided to move his capital piece (Figs. 1–5). It now appears severely damaged due to later re- aftermath of the year 312 CE? This article addresses this question at imperial capital from 1453 and the explosivegrowth ofmodern to the East, he found a city the location of which was both use; the back side is hollowed out. It seems that the head was later the intersection of art, politics, and ideology, comparing Istanbul in the last fifty years means that, apart from scattered strategically important and spectacular. But in an imperial capital it placed upside-down and the newly carved concavity used as a Constantine’s visual self-representation with that of the first monuments, very little of the ancient city survives. Reconstruction of would have been necessary for public Roman ritual to continue, with fountain urn. It features large almond-shaped eyes, wide-open. emperor, Augustus. The visual image Constantine created its earliest development therefore depends largely on textual sources. all its trappings. Therefore, the reconstruction and enlargement of the Boldly emphasized eyelids frame the eyeballs. The damaged nose is incorporated a variegated mixture of messages that echoed These sources include a variety of genres, among them histories and city of Byzantium required more than simple urban planning: to wedge-shaped and crudely modelled. The mouth simply appears as a contemporary trends in the equally complex eulogistic writing. traveler reports, and range in date from the fourth through the make the city meet the requirements of a capital architects and urban horizontal sharpcut across thickly modeled lips. The ears are It all began with the Constantinian Arch in Rome. Constantine had sixteenth centuries. [...] planners undertook the design of particular spaces and structures. rendered by curved incisions invery low relief. The hair projecting in just overcome the army of the usurper Maxentius and captured The very novelty of the capital allowed the fourth- and fifth-century front of the forehead is a compact mass, defined against the flesh by Rome. Maxentius died disgracefully and his head was paraded in CONSTANTINOPLE (FOURTH TO SEVENTH CENTURIES) emperors freedom in the crafting of public ritual sites, as a setting for a continuous chisel-line above the forehead. The hair is rendered in a triumphal procession exhibited to the populace of Rome, his military In 324, after the defeat of his last major rival to the imperial throne, the imperial ceremonial. cursory way as being thick and long and brushed back-wards on all forces – the equites singulares and Praetorian Guard – were his co-emperor Licinius, Constantine I (305–337) occupied the site And, in order to give the capital a distinct identity of its own, sides of the head; superficially incised chisel lines on the left and dissolved, and his memory was obliterated. In the exultation of of Colonia Antonina and re-founded the city as New Rome. A formal Constantine and his successors imported antique statuary, relics right temple can be discerned; below the left ear the head is broken victory, the time was ripe for Constantinian revenge, yet the Roman dedication on 11 May 330 reconfirmed this name; however, by the and sacred objects. The import and re-use of classical sculpture off. Seven rectangular mortises (0.02 m×0.03 m) are still visible, senators, the very aristocrats who had supported Maxentius, retained end of the century the city was established both in popular and enabled Constantinople to develop a civic identity – the identity of a chiseled above the hairline for the support of metal inserts. Their their offices. Like young Octavian, who chose to exercise the politics official nomenclature as Constantinople. New Rome. Also, in the course of time, the organi- number, size, and near rectangular shape suggest that these deep of clementia towards supporters of Mark Antony after his Actian The foundation of Constantinople created a new seat of imperial zation of religious life in Constantinople, the setting and shaping of mortises were most probably intended for the insertion of metal rays. victory, Constantine sought to maintain good relations with the most government. This action was consistent with the Tetrarchic policy of the processional liturgy and the import of relics and Christian sacred Near the center of the cranium, a thin metal spike is still preserved. If influential members among the senatorial aristocrats. At that time he decentralization that had established imperial residences in such objects helped the city become one of the most this is a feature of the head and not a later addition, it may be a appeared to be a glorious winner over the common enemy and as major cities of the empire as Trier, Thessalonike, and Nicomedia. important spiritual centers of Christendom – a New Jerusalem. dowel for the attachment of a separate piece of stone to complete the such received the triumph traditionally granted by the senate. However, unlike these earlier residences, and as the name New In other words, Constantine the Great set in motion the process by top of the head. The head gives the impression that it was left What is more, around 315 CE the emperor also received a Rome suggests, Constantine’s foundation probably was intended to which, in the space of a century or two, Constantinople would unfinished. Yet the sockets for metal rays and the metal spike on the commemorative monument from the senate, the triumphal Arch; supersede the functions of the capital at Rome. become the capital of the civilized world. top of the head leave little doubt that this piece, together with the rest Constantine’s defeat of his enemy was therefore put in the context of This intent was also borne out by such administrative choices as the For centuries to come, Constantinople boasted a collection of antique of the monument of which itpresumably was a part, had been placed previous famous imperial victories.
Load more

Recommended publications
  • 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.
    [Show full text]
  • The Hagia Sophia in Its Urban Context: an Interpretation of the Transformations of an Architectural Monument with Its Changing Physical and Cultural Environment
    THE HAGIA SOPHIA IN ITS URBAN CONTEXT: AN INTERPRETATION OF THE TRANSFORMATIONS OF AN ARCHITECTURAL MONUMENT WITH ITS CHANGING PHYSICAL AND CULTURAL ENVIRONMENT A Thesis Submitted to the Graduate School of Engineering and Sciences of İzmir Institute of Technology in Partial Fulfillment of the Requirements for the Degree of MASTER OF SCIENCE in Architecture by Nazlı TARAZ August 2014 İZMİR We approve the thesis of Nazlı TARAZ Examining Committee Members: ___________________________ Assist. Prof. Dr. Zeynep AKTÜRE Department of Architecture, İzmir Institute of Technology _____________________________ Assist. Prof. Dr. Ela ÇİL SAPSAĞLAM Department of Architecture, İzmir Institute of Technology ___________________________ Dr. Çiğdem ALAS 25 August 2014 ___________________________ Assist. Prof. Dr. Zeynep AKTÜRE Supervisor, Department of Architecture, İzmir Institute of Technology ____ ___________________________ ______________________________ Assoc. Prof. Dr. Şeniz ÇIKIŞ Prof. Dr. R. Tuğrul SENGER Head of the Department of Architecture Dean of the Graduate School of Engineering and Sciences ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisor Assist.Prof.Dr.Zeynep AKTÜRE for her guidance, patience and sharing her knowledge during the entire study. This thesis could not be completed without her valuable and unique support. I would like to express my sincere thanks to my committee members Assist. Prof. Dr. Ela ÇİL SAPSAĞLAM, Dr. Çiğdem ALAS, Assoc. Prof. Dr. Erdem ERTEN and Assist. Prof. Dr. Zoltan SOMHEGYI for their invaluable comments and recommendations. I owe thanks to my sisters Yelin DEMİR, Merve KILIÇ, Nil Nadire GELİŞKAN and Banu Işıl IŞIK for not leaving me alone and encouraging me all the time. And I also thank to Seçkin YILDIRIMDEMİR who has unabled to sleep for days to help and motivate me in the hardest times of this study.
    [Show full text]
  • Costantino Da Bisanzio a Costantinopoli(*)1
    EUGENIO RUSSO Costantino da Bisanzio a Costantinopoli(*)1 Abstract Constantine was a Christian. Of that there can be no doubt. The surviving signs of paganism visible in Constantine are rather the result of his education and culture. They in no way whatsoever constitute evidence for the continu- ing imperial worship of pagan divinities in the Constantinian period. Examination of the literary sources and ar- chaeological remains allows us to conclude that it is possible to recognize traces of the former Byzantium of Sep- timius Severus in the archaeological sites of the Strategion and a building beneath the Baths of Zeuxippos. In AD 324-330, the city on the Bosporus underwent a radical revolution: the city of Constantine went beyond the walls of the third century AD and it expanded to the west along the east-west axis. The previous city within the third- century walls was completely undermined in its north-south and east-west axes; there arose a new diagonal axis running northeast/southwest, which departed from the column of the Goths and arrived at the Augustaion, at the Hippodrome, and at the Palace (all Constantinian constructions, with St. Irene included). The centre of power (Palace-Hippodrome) was intimately linked to the Christian pole (St. Irene as the first cathedral and the pre- Justinianic St. Sophia that lay on the same axis and even closer to the Palace). According to the Chronicon Pas- chale, the church of St. Sophia was founded by Constantine in AD 326. The emperor deliberately abandoned the acropolis of Byzantium, and Byzantium was absorbed by the new city and obliterated by the new diagonal axis.
    [Show full text]
  • Pu1cheria's Crusade A.D. 421-22 and the Ideology of Imperial Victory Kenneth G
    Pulcheria's Crusade A.D. 421-22 and the Ideology of Imperial Victory Holum, Kenneth G Greek, Roman and Byzantine Studies; Summer 1977; 18, 2; Periodicals Archive Online pg. 153 Pu1cheria's Crusade A.D. 421-22 and the Ideology of Imperial Victory Kenneth G. Holum .. 'EST qu'en effet l'empereur byzantin, comme son ancetre Cl'imperator des derniers siecles de Rome, est essentiellement, aux yeux de son peuple, un maitre victorieux." This pointed definition (from the pen of Jean Gagel) underscores a theme of imperial ideology which receives such insistent emphasis in the offi­ cial art, ceremonial and panegyric of late antiquity that it must correspond to a chilling reality. The defeat of an emperor threatened not only the integrity of the frontiers but internal stability as well and the ascendancy of the emperor and his friends. Conversely, if a weak emperor could claim a dramatic victory, he might establish a more effective hold on the imperial power. In A.D. 420-22 this inner logic of Roman absolutism led to innovations in imperial ideology and to a crusade against Persia, with implications which have escaped the attention of scholars. The unwarlike Theodosius II made war not to defend the Empire but to become "master of victory," and, as will be seen, to strengthen the dynastic pretensions of his sister Pulcheria Augusta. I The numismatic evidence is crucial. Between 420 and early 422 the mint of Constantinople initiated a strikingly new victory type, the much-discussed 'Long-Cross Solidi' (PLATE 2):2 Obverse AELPVLCH-ERIAAVG Bust right, diademed, crowned by a hand Reverse VOTXX MVLTXXX~ Victory standing left, holding a long jeweled cross, CONOB in the exergue 1 "l:Taupoc VLK01TOLbC: la victoire imperiale dans l'empire chretien," Revue d'histoire et de philosophie religieuses 13 (1933) 372.
    [Show full text]
  • Medieval Mediterranean Influence in the Treasury of San Marco Claire
    Circular Inspirations: Medieval Mediterranean Influence in the Treasury of San Marco Claire Rasmussen Thesis Submitted to the Department of Art For the Degree of Bachelor of Arts 2019 2 TABLE OF CONTENTS Page CHAPTER I. Introduction………………………...………………………………………….3 II. Myths……………………………………………………………………….....9 a. Historical Myths…………………………………………………………...9 b. Treasury Myths…………………………………………………………..28 III. Mediums and Materials………………………………………………………34 IV. Mergings……………………………………………………………………..38 a. Shared Taste……………………………………………………………...40 i. Global Networks…………………………………………………40 ii. Byzantine Influence……………………………………………...55 b. Unique Taste……………………………………………………………..60 V. Conclusion…………………………………………………………………...68 VI. Appendix………………………………………………………………….….73 VII. List of Figures………………………………………………………………..93 VIII. Works Cited…………………………………………………...……………104 3 I. Introduction In the Treasury of San Marco, there is an object of three parts (Figure 1). Its largest section piece of transparent crystal, carved into the shape of a grotto. Inside this temple is a metal figurine of Mary, her hands outstretched. At the bottom, the crystal grotto is fixed to a Byzantine crown decorated with enamels. Each part originated from a dramatically different time and place. The crystal was either carved in Imperial Rome prior to the fourth century or in 9th or 10th century Cairo at the time of the Fatimid dynasty. The figure of Mary is from thirteenth century Venice, and the votive crown is Byzantine, made by craftsmen in the 8th or 9th century. The object resembles a Frankenstein’s monster of a sculpture, an amalgamation of pieces fused together that were meant to used apart. But to call it a Frankenstein would be to suggest that the object’s parts are wildly mismatched and clumsily sewn together, and is to dismiss the beauty of the crystal grotto, for each of its individual components is finely made: the crystal is intricately carved, the figure of Mary elegant, and the crown vivid and colorful.
    [Show full text]
  • Notitia Urbis Constantinopolitanae
    The Notitia Urbis Constantinopolitanae University Press Scholarship Online Oxford Scholarship Online Two Romes: Rome and Constantinople in Late Antiquity Lucy Grig and Gavin Kelly Print publication date: 2012 Print ISBN-13: 9780199739400 Published to Oxford Scholarship Online: May 2012 DOI: 10.1093/acprof:oso/9780199739400.001.0001 The Notitia Urbis Constantinopolitanae John Matthews DOI:10.1093/acprof:oso/9780199739400.003.0004 Abstract and Keywords The first English translation of the Notitia Urbis Constantinopolitanae, a crucial source for understanding the topography and urban development of early Constantinople, is presented here. This translation is accompanied, first, by an introduction to the text, and then by detailed discussion of the fourteen Regions, and finally by a conclusion, assessing the value of the evidence provided by this unique source. The discussion deals with a number of problems presented by the Notitia, including its discrepancies and omissions. The Notitia gives a vivid picture of the state of the city and its population just after its hundredth year: still showing many physical traces of old Byzantium, blessed with every civic amenity, but not particularly advanced in church building. The title Urbs Constantinopolitana nova Roma did not appear overstated at around the hundredth year since its foundation. Keywords: Byzantium, Constantinople, topography, Notitia, urban development, regions, Notitia Urbis Constantinopolitanae Page 1 of 50 PRINTED FROM OXFORD SCHOLARSHIP ONLINE (www.oxfordscholarship.com). (c) Copyright Oxford University Press, 2017. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a monograph in OSO for personal use (for details see http://www.oxfordscholarship.com/page/privacy-policy).
    [Show full text]
  • The Porphyry Column in Constantinople and Тhe Relics of the True Cross
    Studia Ceranea 1, 2011, p. 87-100 Sławomir Bralewski (Łódź) The Porphyry Column in Constantinople and Тhe Relics of the True Cross The Porphyry Column standing in Constantinople has been given many names over the past centuries . It was called the Great Column, the Column of Constantine, at the end of the Byzantine Empire – The Column of the Cross . In today’s Turkey, howev- er, it is called the Burnt Column1 or the Hooped Column . The multiplicity of the names itself indicates its long history . Erected during the reign of Constantine the Great in 324–3302, it occupied a unique place in the history of Constantinople . It became a sym- bol of the city, featured in many legends . When the Tabula Peutingeriana was made, the original of which dates at the turn of the fourth and fifth century3, it showed the person- ification of Constantinople4 seated on a throne with an outline of a column on the right side, identified with the porphyry column of Constantine the Great5 . The monument was an important landmark where imperial victories were celebrated . Triumphal pro- cession would arrive at the Forum of Constantine to march around the Column chant- ing the canticle of Moses6 . It was at the foot of the Column citizens would find salvation when their world, destroyed by enemies pillaging the city after breaking the defensive lines, would be turned into ruin . Later, it was believed that when the Turks would be storming the city, an angel with a sword will descend from the top of the Column and hand it to an unknown passer-by at the foot of the column, who will then lead the citi- zens of Constantinople and defeat the enemies7 .
    [Show full text]
  • Byzantion, Zeuxippos, and Constantinople: the Emergence of an Imperial City
    Constantinople as Center and Crossroad Edited by Olof Heilo and Ingela Nilsson SWEDISH RESEARCH INSTITUTE IN ISTANBUL TRANSACTIONS, VOL. 23 Table of Contents Acknowledgments ......................................................................... 7 OLOF HEILO & INGELA NILSSON WITH RAGNAR HEDLUND Constantinople as Crossroad: Some introductory remarks ........................................................... 9 RAGNAR HEDLUND Byzantion, Zeuxippos, and Constantinople: The emergence of an imperial city .............................................. 20 GRIGORI SIMEONOV Crossing the Straits in the Search for a Cure: Travelling to Constantinople in the Miracles of its healer saints .......................................................... 34 FEDIR ANDROSHCHUK When and How Were Byzantine Miliaresia Brought to Scandinavia? Constantinople and the dissemination of silver coinage outside the empire ............................................. 55 ANNALINDEN WELLER Mediating the Eastern Frontier: Classical models of warfare in the work of Nikephoros Ouranos ............................................ 89 CLAUDIA RAPP A Medieval Cosmopolis: Constantinople and its foreigners .............................................. 100 MABI ANGAR Disturbed Orders: Architectural representations in Saint Mary Peribleptos as seen by Ruy González de Clavijo ........................................... 116 ISABEL KIMMELFIELD Argyropolis: A diachronic approach to the study of Constantinople’s suburbs ................................... 142 6 TABLE OF CONTENTS MILOŠ
    [Show full text]
  • Balicka-Witakowska Constantinople.Pdf
    The Urban Mind Cultural and Environmental Dynamics Edited by Paul J.J. Sinclair, Gullög Nordquist, Frands Herschend and Christian Isendahl African and Comparative Archaeology Department of Archaeology and Ancient History Uppsala University, Uppsala, Sweden 2010 Cover: NMH THC 9113 Artist: Cornelius Loos Panorama over the southern side of Istanbul facing north east. Produced in 1710. Pen and brush drawing with black ink, grey wash, water colour on paper. The illustration is composed of nine separate sheets joined together and glued on woven material. Original retouching glued along the whole length of the illustration. Dimensions (h x b) 28,7 x 316 cm Photograph © Erik Cornelius / Nationalmuseum English revised by Laura Wrang. References and technical coordination by Elisabet Green. Layout: Göran Wallby, Publishing and Graphic Services, Uppsala university. ISSN 1651-1255 ISBN 978-91-506-2175-4 Studies in Global Archaeology 15 Series editor: Paul J.J. Sinclair. Editors: Paul J.J. Sinclair, Gullög Nordquist, Frands Herschend and Christian Isendahl. Published and distributed by African and Comparative Archaeology, Department of Archaeology and Ancient History, Uppsala University, Box 626, S-751 26 Uppsala. Printed in Sweden by Edita Västra Aros AB, Västerås 2010 – a climate neutral company. 341 009 Trycksak 13. Constantinople in the Transition from Late Antiquity to the Middle Ages Ewa Balicka-Witakowska Contact details Dr Ewa Balicka-Witakowska Department of Linguistics and Philology Byzantine Studies Uppsala University Box 635 751 26 Uppsala, Sweden <\\\¬<< ABSTRACT This chapter gives an overview of the transformations which took place in Constantinople from the time of its foundation in the early 4th century as a Late Antique metropolis and $#$#Áth century when it was changed to a medieval town, perhaps less splendid in some respects but well adapted to new geopolitical and economic circumstances and still the centre of imperial power.
    [Show full text]
  • The Porphyry Column in Constantinople and the Relics of the True Cross
    http://dx.doi.org/10.18778/2084-140X.01.06 Studia Ceranea 1, 2011, p. 87-100 Sławomir Bralewski (Łódź) The Porphyry Column in Constantinople and Тhe Relics of the True Cross The Porphyry Column standing in Constantinople has been given many names over the past centuries . It was called the Great Column, the Column of Constantine, at the end of the Byzantine Empire – The Column of the Cross . In today’s Turkey, howev- er, it is called the Burnt Column1 or the Hooped Column . The multiplicity of the names itself indicates its long history . Erected during the reign of Constantine the Great in 324–3302, it occupied a unique place in the history of Constantinople . It became a sym- bol of the city, featured in many legends . When the Tabula Peutingeriana was made, the original of which dates at the turn of the fourth and fifth century3, it showed the person- ification of Constantinople4 seated on a throne with an outline of a column on the right side, identified with the porphyry column of Constantine the Great5 . The monument was an important landmark where imperial victories were celebrated . Triumphal pro- cession would arrive at the Forum of Constantine to march around the Column chant- ing the canticle of Moses6 . It was at the foot of the Column citizens would find salvation when their world, destroyed by enemies pillaging the city after breaking the defensive lines, would be turned into ruin . Later, it was believed that when the Turks would be storming the city, an angel with a sword will descend from the top of the Column and hand it to an unknown passer-by at the foot of the column, who will then lead the citi- zens of Constantinople and defeat the enemies7 .
    [Show full text]
  • Lo Spazio Monumentale Nella Città Tardoantica
    LO SPAZIO MONUMENTALE NELLA CITTÀ TARDOANTICA Architettura e immagine di piazze e vie colonnate nei grandi centri del Mediterraneo Orientale Paolo Baronio Locri in età romana: nuove osservazioni sull’Edificio Orsi a Petrara, Chiara Giatti 223 Department of Civil Engineering and Architecture (DICAR) Architecture: Innovation and Heritage (in consortium with the University Roma Tre) Ph.D. Program SSD: ICAR/18 – STORIA DELL’ARCHITETTURA SSD: L-ANT/07 – ARCHEOLOGIA CLASSICA Final Dissertation The Monumental Space in the Late Antique City Architecture and perception of squares and colonnaded streets in the cities of the Eastern Mediterranean by Paolo Baronio Supervisors: Prof. Arch. Monica Livadiotti Prof. Roberta Belli Prof. Arch. Marco Canciani Coordinator of Ph.D. Program: Prof. Arch. Anna Bruna Menghini Course n°31, 01/11/2015-31/10/2018 Department of Civil Engineering and Architecture (DICAR) ARCHITECTURE: INNOVATION AND HERITAGE Ph.D. Program SSD: ICAR/18 – STORIA DELL’ARCHITETTURA SSD: L-ANT/07 – ARCHEOLOGIA CLASSICA Final Dissertation The Monumental Space in the Late Antique City Architecture and perception of squares and colonnaded streets in the cities of the Eastern Mediterranean by Paolo Baronio Referees: Supervisors: Prof. Norbert Zimmermann Prof. Arch. Monica Livadiotti Prof. Arch. Elio Hobdari Prof. Roberta Belli Prof. Arch. Marco Canciani Coordinator of Ph.D Program: Prof. Arch. Anna Bruna Menghini Course n°31, 01/11/2015-31/10/2018 LO SPAZIO MONUMENTALE NELLA CITTÀ TARDOANTICA Architettura e immagine di piazze e vie colonnate nei grandi centri del Mediterraneo Orientale Paolo Baronio a Leopoldina e Lucrezia Sommario Introduzione p. 9 1. Costruire la ricerca: metodo e problematiche di una analisi in itinere p.
    [Show full text]
  • Constantinople Were Built Under the Byz- Seemingly Represents a Break in Ceremonial Typography During Antine Emperor Theodosius II (R
    Edirne Kapı and the Creation of Ottoman Ceremonial Iconography and Topography Christopher Timm The land walls of Constantinople were built under the Byz- seemingly represents a break in ceremonial typography during antine emperor Theodosius II (r. 408-50) in the early fifth the transformation of Byzantine to Ottoman Constantinople. century.1 The Golden Gate, a fourth-century triumphal arch Scholarship has recognized the Ottoman appropriation incorporated into the walls, was the ceremonial entrance for of Byzantine architecture as an assertion of its role as succes- the Byzantine city until its transformation into a fortress in sor to both the Roman and Byzantine Empire.5 R.J. Mainstone the fourteenth century.2 Edirne Kapı is a gate at the highest identifies the seventeenth-century Ottoman Sultan Ahmet point along these walls and served as the public gate for the Mosque as an architectural response to the sixth-century northern branch of the central Constantinopolitan street, the Byzantine church of Hagia Sophia.6 Edirne Kapı illustrates Mese.3 After the Ottoman sultan Mehmet II’s (r. 1444-46, the extent of such appropriation. Its Ottoman additions and 1451-81) conquest of the city in 1453, Edirne Kapı replaced the rise in the gate’s ceremonial importance have been the the Golden Gate as the ceremonial entrance to the city.4 This focus of limited scholarship.7 I thank my advisor, Professor Lynn Jones, for her tireless guidance at Triumphal Way of Constantinople and the Golden Gate,” Dumbarton all stages of this project, and Brad Hostetler and Emily Timm for their Oaks Papers 54 (2000): 173-88; and Michael McCormick, Eternal helpful comments as the paper evolved.
    [Show full text]