Zsuzsanna D‟Albini CHANGING ICONOGRAPHY in ELEVENTH

CEU eTD Collection

MIRIAM’S DANCE AS DANCE MIRIAM’S CHANGING ICONOGRAPHY IN ELEVENTH IN ICONOGRAPHY CHANGING AND TWELTFH AND MA Thesis in Medieval Studies inMedieval MAThesis Central Central AN Zsuzsanna D‟Albini Zsuzsanna EXPRESSION OF PERSONAL DEVOTION PERSONAL OF EXPRESSION European University European May 2013 May Budapest - CENTURY

PSALTERS: PSALTERS:

CEU eTD Collection

MIRIAM’S DANCE AS DANCE MIRIAM’S Central European University, Budapest, inCentralUniversity, European partial requirementsofBudapest, the fulfillment CHANGING ICONOGRAPHY IN ELEVENTH IN ICONOGRAPHY CHANGING Accepted in Accepted CEU. withconformance standards the of the Thesisto Department the ofsubmitted Medieval Studies, ______AND TWELTFH AND of the Master Master ofthein ofdegreeArts Medieval Studies. Chair,Examination AN EXPRESSION OF PERSONAL DEVOTION PERSONAL OF EXPRESSION ZsuzsannaD‟Albini ThesisSupervisor (Hungary) - May2013 Examiner Examiner Budapest CENTURY by

Committee

PSALTERS: PSALTERS:

CEU eTD Collection

MIRIAM’S DANCE AS AN AN AS DANCE MIRIAM’S Central European University, Budapest, inCentralUniversity, European partial requirementsofBudapest, the fulfillment CHANGING ICONOGRAPHY IN ELEVENTH IN ICONOGRAPHY CHANGING Accepted in Accepted CEU. withconformance standards the of the Thesisto Department the ofsubmitted Medieval Studies, ______AND TWELTFH AND of the Master Master ofthe of EXPRESSION OF PERSONAL DEVOTION PERSONAL OF EXPRESSION ZsuzsannaD‟Albini

Arts degree indegreeArts Medieval Studies. ExternalReader (Hungary) - May Budapest CENTURY CENTURY by 2013

PSALTERS: PSALTERS:

CEU eTD Collection

MIRIAM’S DANCE AS AN AN AS DANCE MIRIAM’S Central European University, Budapest, inCentralUniversity, European partial requirementsofBudapest, the fulfillment CHANGING ICONOGRAPHY IN ELEVENTH IN ICONOGRAPHY CHANGING Accepted in Accepted conformance Thesisto Department the ofsubmitted Medieval Studies, ______AND TWELTFH AND of the Master Master ofthe ofdegree Arts EXPRESSION OF PERSONAL DEVOTION PERSONAL OF EXPRESSION ZsuzsannaD‟Albini ExternalSupervisor Supervisor (Hungary) - May 2013 May Budapest CENTURY PSALTERS: PSALTERS: CENTURY

with the standards of the CEU. with standardsthe of the by

inMedieval Studies.

CEU eTD Collection May17 Budapest, 2013 educati higher of institution other any to academicdegree. form this in submitted the of been part no has that thesisdeclare also I copyright. institution‟s or person‟s any on infringes thesis uniden no that declare I bibliography. and notes in credited properly as research information my external such on based only and work, own my exclusively is thesis present the that herewith declare undersigned, the I, tified and illegitimate use was made of the work of others, and no part of the the of part no and others, of work the of made was use illegitimate and tified

Zsuzsanna

D’Albini , candidate for the MA degree in Medieval Studies, Studies, Medieval in degree MA the for candidate ,

______Signature

n o an for on CEU eTD Collection to worldtheof dance. references. citations, the generalpointingfor issuesmethodology.myto regarding and topic publications. relevantmost the meto directed issuesand emerging g He encouragement. and input perceptive Gaul Niels articles. greek her for to gratitude sincere First of all, I wish to thank my three supervisors supervisors three my thank to wish I all, of First Furthermore, I Furthermore, never ending support, support, ending never Anna Christidou and Christidou Anna

wish to wishto Finally

assisted me immensely with his continuous support and guidance, and support continuous his with immensely me assisted thank Judith Rasson for cor for Rasson Judiththank aeu cretos n omn m argumen my forming in corrections careful , I would l would I , ACKNOWLEDGMENTS Niels Gaul. Gaul. Niels ike to thank Túri Virág Réka who Réka Virág Túri thank to ike uided me carefully through the continuously continuously the through carefully me uided

I am much obliged to to obliged much am I for their guidance and support. I owe I support. and guidance their for recting my grammar and formatting and my grammar recting

I thank I

Szakács Béla Zsolt Zsolt Béla Szakács ts and help with with help and ts

Anna Christidou Christidou Anna opened

my eyes eyes my CEU eTD Collection LISTII:APPENDIXOF MANUSCRIPTS FIGURES I: APPENDIX BIBLIOGRAPHY CONCLUSION personaldevotion II: CHAPTER Triumphalilluminationsconnotations roleofthedanceof and thein of psalters I:RepresentationsCHAPTER innineofdance eleventh INTRODUCTION OF ABBREVIATIONSLIST OF FIGURESLIST OFTABLE CONTENTS Text and image:andilluminations Text of Illuminationsof Theroleinof psalters personaldevotion Spiritualdancetriumphsoul ofandthe imperialTriumphal danceat banquets formchangingofrepresentation earlierComparisonimages: iconographyconsiderationsfurther to andregarding the Detailedninethe descriptionsrepresentations of

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70 65 60 57 50 46 45 37 36 27 19 14 12 iv

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CEU eTD Collection Fig. 15.: Florence, Biblioteca Medicea Biblioteca Florence, 15.: Fig. 19 fol. 851, MS Vatopedi, Athos, Mt. 14.: Fig. Athos, Mt. 13.: Fig. gr. MS Saray, Topkapı Istanbul, 12: Fig. 11: Fig. 10.: Fig. 9.: Fig. Athos, Megistefol.8.: Fig.Lavra, 26, BMS ( 262r. 7.: Fig. (Cutler, 298r. fol. 11836, Add. MS Library,British London, 6.: Fig. (Biblithèque 327r. fol. 1335, gr. Suppl. MS France, de national Bibliothèque Paris, 5.: Fig. (Cutler, fol. Add.146v. 40753, MS Library,BritishLondon, 4.: Fig. 3.: Fig. 2.: Fig. (Cutler, 204r. fol. 24, B MS Lavra, Megiste Athos, Mt. 1.: Fig. Byzantium, Byzantium, PrincetonChristianArt,University. http://ica.princeton.edu) Byzantium, PsaltersByzantium in Byzantium, PsaltersByzantium in University.http://ica.princeton.edu) (http://www.zeno.org/nid/20004343147) http://phaidra.univie.ac.at/o:188960) Photograp Vienna, Cat. no.142.) 1997), 843 A.D. era, Byzantine Middle eds. Wixom, D. William and Evans, Aristocratic PsaltersByzantium, in Byzantium,in nationalFrance,dehttp://www.mandragore. Byzantium,in

Mar Saba Psalter. London, British Library, MS Add. 36928, fol. 279v. (Cutler, 279v. fol. 36928, Add. MS Library, British London, Psalter. Saba Mar (Cutler, 265v. fol. 13, gr. MS Saray, Topkapı Istanbul,

Vatican Psalter, Biblioteca Apostolica Vaticana, MS gr. 752, fol 449v. (Helen C. C. (Helen 449v. fol 752, gr. MS Vaticana, Apostolica Biblioteca Psalter, Vatican Psalter of Queen Costanza. Palermo, Fondo Museo, MS 4, fol. 287v. (Index of of (Index 287v. fol. 4, MS Museo, Fondo Palermo, Costanza. Queen of Psalter Khludov Psalter, Moscow, Historical Museum, MS 129 D, fol. 148v. (University of of (University 148v. fol. D, 129 MS Museum, Historical Moscow, Psalter, Khludov abrn Patr Bbitc Aotlc Vtcn, S ab g. 7, fol. 372, gr. Barb. MS Vaticana, Apostolica Biblioteca Psalter, Barberini fig.87 fig.131 fig.41)

fig.162 fig.183 oatr of Monastery )

)

h Collection of the Department of Art History, History, Art of Department the of Collection h , fig. , 120. , ) )

fig.80

LISTOFFIGURES aoei M 851, MS Vatopedi, )

) - - Laurenziana, MS Plut. 6.36. (Cutler, 6.36. Plut. MS Laurenziana, 1261 fig.178 8 The Glory of Byzantium: Art and Culture of the of Culture and Art Byzantium: of Glory The , fol. 194v. (Index of Christian Art, Princeton Princeton Art, Christian of (Index 194v. fol. , ( ii New York, NY: Metropolitan Museum of Art, Art, of Museum Metropolitan NY: York, New

) v (Cutler, 0v. bnf.fr)

Αρχαιολογια

o. 184v. fol.

& The Aristocratic Psalters in in Psalters Aristocratic The The Aristocratic Psalters in in Psalters Aristocratic The The Aristocratic Psalters in in Psalters Aristocratic The Τεχνες

(Cutler, The Aristocratic Psalters Psalters Aristocratic The The Aristocratic Psalters Psalters Aristocratic The

91 (2004), 47.)91 (2004), The Aristocratic Aristocratic The The Aristocratic The

249r. 249r.

The CEU eTD Collection 16.: Fig. PsaltersByzantium in

Psalter ofPsalter Queen Costanza, Palermo, Fondo M Fondo Palermo, Queen Costanza, , fig. , 244.) iii

useo 4, useo

293v.

(Cutler, The Aristocratic The CEU eTD Collection REG REB PG ODB JÖB DOP CahArch

Revue des Études GrecquesdesÉtudesRevue ByzantinesdesÉtudesRevue PatrologiaeCursusCompletus. Dictionary of ByzantiumOxford JahrbuchderÖsterreichischen Byzantinistik DumbartonOaksPapers CahiersArchéologiques LISTOFABBREVIATIONS

Series Graeca, ed. ed. J.Graeca,Series . 3 vols.,. ed.

Alexander P. Kazhdan.Alexander P. - P. Migne.P.

CEU eTD Collection necessarilytooriginreferthe of dance.the 5 158. Byzantium, in Senses the and Ritual, Space, 2011), 4 Medieval o Creation of Paradigm term the ofconnotations more For 3 2 Idem., 1 ofByzantine dances images of interpretation the that clear is it above, the all Considering Psalters. in found be to appe this been have which in context the dances by affected deeply is these image an of how interpretation The them. andto explained with familiar are they dances of type the up, brought ofpeople. group a by performed activity team a of elements constituent are and in partake dancers individual sophistication.Thechoral dance evoke generally tango the instance, For viewers. the of mind the to comes knowledge common or connotations certain image the at looking head. a of twist a or hand of holding the as such step, characteristic a instance, for madis motion.This of types identifyspecific viewerssignifierscan convincingly visual these Through recognizable. image the in included dance depict the render to order in enough and select should artist an refer that I postures signifiers and visual instances term characteristic the By movement. denote that signifiers” “visual uses does. photographer a like movements of sequence afrom moment a isolate

I use term the NicolettaIsar, Ibid.,35 Recently TilmanRecently By the term “ term the By

“IconographyDance and Research,” 26 The

- - Russia 28. 36. ars. In this respect, the images of Miriam‟s dance on which I focus in my thesis are are thesis my in focus I which on dance Miriam‟s of images the respect, this In ars.

On metamorphosis and participation in the choral dance, Bissera V. Pentcheva,V.dance,Bissera choral the participationmetamorphosisOn and in portrayal of dance is a complex task for artists. They are not required to simply to required not are They artists. for task complex a is dance of portrayal “ Byzantine dance” I refer to refer I dance” Byzantine ΧΟΡΟΣ , choral dance” to torefer a collective dance. The form of choral the dance is specificallycircular.

ed.

Seebassdeal 4

Alexei Certain :DanceThe ofAdam.The Making of ByzantineChorography, f Sacred Space in Byzanti in Space Sacred f

ischallengingendeavor. a

L idov ly, these evocations depend on the culture in which the viewers were inthe which culture the on evocationsly,depend these t

with the issue of depiction of dance. For a short introduction to this issue, see:issue, this tointroduction short a For dance. of depiction ofissue the with

(Moscow: choros

isideamuchlinkedin withcloselyofparticipation, the as as

see: Nicoletta Isar, Nicoletta see: Yearbook Traditionalfor Music dances performed by the subjects of Byzantine Empire. It does not not does It Empire. Byzantine of subjects the by performed dances INTRODUCTION

(University Park: The Pennsylvania State University Press, 2010), UniversityPress, State Pennsylvania The Park: (University Indrik um,” ,

2006),

1 Hierotopy.

59 s passion, while the ballet can suggest suggest can ballet the while passion, s - “ 61. Chorography(

Creation

29(1991): 33

of Chôra, Chorós Chôra,

Sacred e possible by recognizing, byrecognizing, possible e (Leiden:Alexandros Press,

Spaces - 51. 1

A painted image painted A )

The SensualIcon: The in –

A PerformativeA Byzantium 2

While

and to to

CEU eTD Collection 9 “ Psalter Utrecht dem auf Rücksicht besondered mit Mittelalter Byzantium, in Psalters 8 Hörander andJohannes Koder (Vienna: Österreichischen Akademie der Wissenschaften, 2004), 287 mittel der in Tanz “Der Bildmotivs eines Aussage “ Idem., dance. of 7 Art,1997) Byzantium,of Glory The 6 deviationsnumerousilluminations itstheiraristocraticamong allusion to wh and patronage scholars. other by used Thi psalters.” manuscriptsofAppendixsee I) participants. of number different a by performed dance, circle) (or choral a portray trumpet featuring costumes in clad companions her and Miriam of dance choral the involves This appeared. dance Miriam‟s of type iconographic new a century eleventh the of middle the After cymbals. small holding while head, her above raisin depicted is who Miriam of dance solo the portray ninth images Such in psalters. also appears matter subject particular The psalters. century eleventh from Miriam‟s dance imagesof focuseson Mythesis Miriam. danceof Sea. Red the of crossing the after sung was which Moses of ode first the of miniatures and Jerusalem frequent Most as such imagery, religious in also appear dancing portray frequently caskets ivory on

TowardaHistory ofByzantine Psalter For a general introduction tous the objectstheseonwith moreFormythological decorated representationssee: J.J. Tikkanen,J.J. ThomasSteppan‟s articlemiddleand onlate Byzantine images essential regardingofis iconography thedance In Byzantium images of da of images Byzantium In Of these nine p nine these Of ,219 7

h ilmntos f h frt o first the of illuminations The - DiePsa 223. s category s ly dancers are depicted in illustrations of David‟s triumphal Entry into into Entry triumphal David‟s of illustrations in depicted are dancers ly azaselne dr mittel der Tanzdarstellungen

lterillustrationMittelalterin Prs Picard, (Paris: -

ed. n sp und , ” salters

CahArch Hele 9 was coined at the end of the nineteenth century nineteenth the of end the at coined was

t h sm time same the At tyatnshn Kunst,” ätbyzantinischen n C. Evans and William D. WixomD.William and Evans C. n ,

eof terminologythe see eight are frequently included amo included frequently are eight

45 (1997 45 ” 1984)

(PhDDissertation, Univ ncers appear in secular and religious contexts. The images images The contexts. religious and secular in appear ncers 8 Ad lo y . Springer, A. by also And 8. , ):

- 141

in n s und de frequently portray the thanksgiving triumphal triumphal thanksgiving the portray frequently de

(

- Helsinki,1895 the illuminations of the Octateuch and psalters. psalters. and Octateuch the of illuminations the 167. Further observations were made by Angeliki Liveri, Angeliki by made wereobservations Further 167. , meneads

h tr ws lo ujc t dbt de to due debate to subject also was term the

äbzniice Knt Usce Etikug und Entwicklung Ursache, Kunst. pätbyzantinischen Wiener Byzantinistik und Neogräzistik und Byzantinistik Wiener

Cutler, ersityof Chicago,2004), 2. Parpulov, R. Georgi by cited 1880), (Leipzig,

- and lee. Th sleeves. The Aris ), citedbyAnthony), Cutler,

(New York: The Metropolitan Museumof Metropolitan The York: (New puttos tocraticPsalters inByzantium Ioli Kalaverzou, “LuxuryKalaverzou,Ioli Objects,” Die so the ng . 6

e nine psalters I discuss discuss I psalters nine e

Representations of dance dance of Representations Psalter - 8 -

- called “aristocratic “aristocratic called lutain m frühen im Illustration and was later also later was and n tenth and

- TheAristocratic

g her hands hands her g and twelfth and e. W ed. , - 298. (for a list a (for - century century

olfram , 9. , ich

CEU eTD Collection Cyprus as is it impliedby includedtheir 17 16 15 14 ofStudya Provincial Tradition 13 manuscripts,for alist see: Century,” Twelfth the from Manuscripts 2400,” Weyl Annamarie Minia Its and 12 Add. 40753. 11 Lowden,“Observations on Byzantine Illuminated Psalters,” Manuscrip 10 dy costlythe implyilluminationsaristocratic elite, patronage. manufactures, provincial to points Jerusalem. neighbor cultural closest its in or Cyprus Weyl workshop. common a of products were levels.invarious related are they thirty so the to connected are psalters five mentioned above The the proposed has Carr the ninep of the th psalters eight the regarding possibility feasible a is patronage aristocratic self taken be not should issue this while patronage, the to refers group. the in psalters all for presumable not is

The featuresThe of the Ibid.,14. varietiesThe of relationswere discussed indetail: Ibid. Ibid.,13 varioussub the on details more For The place of production is suggested on t suggestedon is production ofplace The Mt o example For nasty aiy 2400 Family Athos, Athos, - Carr proposes that the manuscript of the “Chicago the of manuscript the that proposes Carr n mnsrps f hs ru so dvriy n ie lnain n ilmnto, yet illumination, and lineation size, in diversity show group this of manuscripts one REB The majority of the discussed Psalter discussed the of majority The

- Oaks,” Dumbarton at t

14. (1081

Palermo, 4 17) 281 (1976): 34 Megiste tures,”

salt ,

eea dfeecs ee hw b Srri dr Nersessian, der Sirarpie by shown were differences several

Carr - ers 1185) aucit i trs f tl, aegah ad ult, naai Weyl Annamarie quality, and paleography style, of terms in manuscripts Family 2400 Family r Bulletin Art Lavra Fondomuseo, MS4.Paris, Bibliothèque national deFrance, MSS 11 “h Patr eai 43 A Upbihd luiae Mnsrp fo te Family the from Manuscript Illuminated Unpublished An 34.3. Benaki Psalter “The ,

are connected to sothe to connected are . Ibid.,40.

categorization , MS B 26. London, British Library, MS Add. Add. MS Library, British London, 26. B MS , - 2. t a frhr lbrtdb Annam by elaborated further was It 323. This period in Byzantium is generally characterized by the the by characterized generally is Byzantium in period This (Chicago,London: University ofChicago Press, 1987).

manuscriptswere describedHaroldR. Willoughby,byfirst Codex “The 2400 5 13) 3 (1933): 15 DOP

- groups see, Annamarie Weyl Carr, Carr, WeylAnnamarie see, groups 15

ins

9 (1965): 19 what Although theyAlthough criptions.Ibid., 20. DOP he evi he

these provincial manuscripts into various sub various into manuscripts provincial these 16

is more impo more is - The origin of these manuscripts is quite ambiguous. quite is manuscripts these of origin The dence of three manuscripts, threeof dence 39 (1982): 36 4 Te ru ws ae dsusd y nhn Cte and Cutler Anthony by discussed later was group The 74. -

called 167 was 3

, - 12

7. h ise f h tr was term the of issue The 177.

I avoid using the term because it implicitly it because term the using avoid I produced during th during produced The Art Bulletin present - 28. Family2400

17 - rtant to the subject of my thesis is thesis my of subject the to rtant

81. 81. Although the origin of the manuscripts the of origin the Although

group” may have been produced o produced been have may group”

similarities, itsimilarities, h Fml 20 cmrss vr eight over comprises 2400 Family The re el ar “ Gop f Provincial of Group “A Carr, Weyl arie - By ald Ciao group”. “Chicago called 11836. London, British Library, MS Library,British London, 11836. 70:2(1988): 255 . zant

12 which -

evident. At the same time, time, same the At evident. “ Because of the diversity of of diversity the Becauseof Patr n Nw Testament New and Psalter A ine Illumination, 1150 Illumination,ine e rule of the Komnenian the of rule e wereprobably

is not likely that they likelythat not is uppl.gr. 1335. at I discuss. Five discuss. I at

- icse by discussed 256.

produced on produced - groups.

- 1250: A1250: 14

John The The that that 13 n y

CEU eTD Collection Images. 23 22 21 20 University2007)Press, 19 Centuries 18 The dance. contemporary a portray psalters nine the in dance Miriam‟s of representations B in dance on views the discuss of appearance Byzantine of issue in the investigate dance I First, psalters. of representations the regarding consideration into taken be should withcertainty. answered be cannot patronage of question the thus dynasty, Komnenian the to clearly refer chapter) first the imperial in iconography on section held icons d Komnenian these the of members because the by venerated practices, were they and connotations devotional their meet to and demands psalters these middle may mercha of group influential and rich a for probably and aristocracy urban the for export, for centers urban new in produced were items Luxury demands. increasedsatisfy to products luxury and Balkan the in towns books illuminated or metalwork precious silks, as such items goods. manufactured to led markets Western of up opening the with growth economic growth. economical and provinces the of urbanization the state, of decentralization

AnnamarieWeyl Carr, “ The term The Laiou and Ibid. Alexander P. Kazhdan and Ann Wharton Eppstein,Wharton Ann and Kazhdan P. Alexander Angeliki

have been members of these latter two groups: the urban aristocracy and the wealthy wealthy the and aristocracy urban the groups: two latter these of members been have , 132. , - ByzantineMaterial Culture and ReligiousIconography (11 nts who who nts fe ti gener this After ls o te iis Te ersnain o te cn o te ign ih th with Virgin the of icons the of representations The cities. the of class

(Berkeley,Los London:Angeles, University of California, 1985), 31

“

. ao ad éie Morrisson, Cécile and Laiou E. Morrisson, realia

may ” refers to contemporary ” refersartefacts,toG. Parani, secular see: Maria could afford could

imply that they were produced for the ruling aristocracy to gratify their their gratify to aristocracy ruling the for produced were they that imply

134.

The ByzantineEconomy region 19 DiminutiveByzantine Manuscripts”

l nrdcin to introduction al osatnpe had Constantinople

and in Asia Minor emerged as centers of production of both bulk both of production of centers as emerged Minor Asia in and

these costly codices. costly these

yzantium. In the first chapter of my thesis I argue that the that argue I thesis my of chapter first the In yzantium. The ,

141.

y visu my

yatn Economy Byzantine o ls is motne n auatrn luxury manufacturing in importance its lost not .

22 Change in Byzantine Culture Byzantine Changein 4

However, the majority of the psalters do not do psalters the of majority the However, 21 al sources, I discuss here two issues that that issues two here discuss I sources, al

The patrons of these illuminated psalters psalters illuminated these of patrons The CodicesManuscripti th realia - 15 th

Centuries) Cmrde Nw ok Cambridge York: New (Cambridge, 23 . 20

in religious imagery, the imagery, religious in -

46. A a te ae time same the t

n Reconstructing ofRealitythe

6 in t in (Leiden:Brill, 2003), 1. nrae dmn for demand increased (1980):132. he Eleventh and Eleventh he ynasty

Cid in Child e

(see the the (see several several 18 Twelfth

The

n I I n CEU eTD Collection 26 25 Wissenschaften,2007) (400 Byzantium in 24 incases, so more characteristics general holding and(steps, handsetc.) costume.the its by identified be can dance certain A iconography. religious in beittreate can but an object, not is be entirely cannot t While scenes the make would that approach realistic more a for of inclusion the have would “ explains, Parani As models. standardized follows it prototype, ideal an reflects traditionally r in objects without problems.is suggestionnot This dance. contemporary to referred these that possibility the exclude cannot one images, reconstru to possible not in is it namely Although, art, life. everyday outside model a for search perhaps should one model, common a to back traced be cannot they Since source. iconographic common substantiate to enough strong not dance, same the to refer to enough similar are they while that argue I hands. their whichhold level these to the or dancers number of in theinstance for differences, similaras such features, same the portray generally they that reveal images the of descriptions detailed h fihu rpeetto o te surroundin the of representation faithful The

Ibid.,181. Parani Maria G. Parani, “ Parani, G. Maria , “Byzantine , Material Culture,” T Maria ee images hese he

dress, similar steps, similar holding of hands. At the same time there are significant are there time same the At hands. ofholding similar steps, similar dress,

representation lgos iconography. eligious resulted

aai a dat ih h ise f h apaac o cneprr material contemporary of appearance the of issue the with dealt has Parani -

1453) material objects in these representations allows the impression of an attempt attempt an of impression the allows representations these in objects material

Byzantine Material Culture and Religious IconographyReligious and CultureMaterial Byzantine

image dismissed as source as dismissed ,181

, in ant e eadd as regarded be cannot

ed. Michael G Michael ed. - 192 s involving s images too specific in terms of time and space.” and time of terms in specific too images

. of of

profane profane

181. rünbart 24 d similarly to material objects in terms of its representation inmaterialof terms similarly d objects to

dancers

h pit ot ht ic te yatn iconography byzantine the since that out points She s subject

of and Ewald Kislinger ( Kislinger Ewald and

informati . The most frequently cited passages frequentlycited most The .

s accurate 5

in religious cont religious in

mtra wrd a t b avoi be to had world material g on on on

ersnain o eeya life, everyday of representations ct a Byzantine dance based on these these on based dance Byzantine a ct

Byzantine more recognizable to the viewers. the to recognizable more Vienna: Österreichischen Akademia der AkademiaÖsterreichischen Vienna: , ext ”

Material Culture and Well and Culture Material

can be problematic; even even problematic; be can

culture. their visual affinity in affinity visual their 25

At the same time, same the At

Of course, dance dance course, Of on Byzantine Byzantine on ded since it it since ded - Being they they 26

CEU eTD Collection 31 30 Religionsgeschichte 29 28 Dancers:Performance inLate Antiquity, 1997), Routledge, 27 twelfth the of middle the in reappeared novel Byzantine the of genre The dancing. and these investigate positiveofByzantine contexts dance. should one dance Miriam‟s of portrayal the of message the understand dance psalters in dances against condemnatory was there positive or negative Their themselves. in bad connotation or good not were dance or nudity like rhetoric they However, nature festivals. derogatory public and private of part still was dance that reveal effective: restrict to v of sight the of effect (398 danceunderline iewer‟s mind and deceive the spectator‟s the deceive and mind iewer‟s

Ibid HenryMaguire, “ CyrilMango, “ Webb, Ruth “Salome‟s Sisters Anthony - ., 0) n fmu oao, criticized orator, famous and 404) dpce teen formed therein depicted s 197. Byzantine novels of love and adventure often describe luxurious banquets with music music with banquets luxurious describe often adventure and love of novels Byzantine

views

the twelfth the dancing during dancing , however, ,

difference Kaldellis, swere

DailyLife Byzantium” in

in pagan context and context pagan in comments dance from a more positive perspective positive more a from dance attitude the reflect not do

the condemnation of dancers. John Chrysostom, the bishop of Constantinople Constantinople bishopof Chrysostom,the Johndancers. of condemnation the 133. The ProfaneThe Aesthetic inByzantine Art andLiterature,” 13 (2012):13 192

dependent on the context in which these imagesincontextthe on appear. these whichdependent f ac i Bznim elc te official the reflect Byzantium in dance of

- “

h hs xesvl dsusd h sca sau o dnes n Idem., in dancers of status social the discussed extensively has She century commentariescentury h Klns n yatu, 400 Byzantium, in Kalends The stage performer stage ewe te as, ba harsh, the between do not seem to portray t portray to seem not do

private and public festivals. public and private of the church fathers and the legislative acts of the church were were church the of acts legislative the and fathers church the of , ” in in -

194. Women, Men and Eunuchs:Byzantium,Women,Menand in Gender

(Cambridge,M.A.: Harvard University 2008).Press, part of joyful banquets and triumphal ceremonies. To To ceremonies. triumphal and banquets joyful of part

JÖB judged the seductive the judged

s , dancer ,

and experiences of the Byzantine society. society. Byzantine the of experiences and danc

, no. soul. on the eight the on cchic 6 r ad hi audiences their and ers s: their s: 1 (1981):1

hese pagan dances. Rather dances. pagan hese

Several Acts of Church C Church of Acts Several acs a dances - 20 D A e Interpretation,” New A AD: 1200

moves, gestures, glances remain in the the in remain glances gestures, moves, 349

- . These prohibitions were prohibitions These centuryA As Henry As - elements of elements 35 d h slm movements. solemn the nd 1 .

DOP cts of the Council of Trullo CouncilofTrullo the cts of viewpoint 29

53(1999): 203. Maguire argues, Maguire

hs pass These H elaborated He . dance. ed. Liz James, (London:James, Liz ed. , 30

it appears that that appears it

ouncils attempted ouncils Regarding

Images of dance dance of Images

of the church. church. the of

probably ages on the the on ages eos and Demons

Byzantine Byzantine rhv für Archiv

subjects

on the the on 31 dance,

The not the the

CEU eTD Collection φοπο σ ς 38 157 Idem., see: century,twelfth the in experiences 37 36 FourByza 35 Makrembolites’“Hysmine andHysminas” 34 JamesTatum (Baltimore: JohnThe Hopkins University 1994),Press, 339. 33 translatedby ElizabethJeffreys, Manasses: Constantine 32 Charikles Eugenianos‟ Niketas in Dinoysos of festival a on companions her and Drosilla of dance circular the to refers which passage one only cite I Here Dionysos. of festival the in appear dance of Descriptions past. distant in place took banquets these stories the to according although banquets, Byzantine century dancing. and joking, drinking, audience contemporary their marriage issue of the piratesor fightingwith battlesand the t languageof and plot Althoughthe Greece. in Ancient past, distant placeinthe take adventure theatron Constantinople. in class middle educated the of sociolect Atticizing the in written was novels Byzantine the of text the to through second today. known are them of four century; Δι’ hese novels are bound to the past, the novels reflect the concerns of their time, for instance for time, their of concerns the reflect novels the past, the to bound are novels hese ὸ ὺ Eugenianos, MacAlister,“Ancient andContemporary Byzantine in Novels,” 310. MacAlsiter,Suzanne “Ancient andContemporary Byzantine in Novels,” ν σα yi Mango, Cyril σε oin Juno icse te eaieay enn o banquet of meaning metaliterary the discusses Jouanno Corinne Ingela hooe Prodromos: Theodore - ἣ 184. ῦ Ὲ ν φορ

Ὲ καλ ἑ ρ κασ’ α οπσ

ἤ

ntineNovels, ὴ Nils δη σ : n rn o Cntniol‟ sca elite. social Constantinople‟s of front in ὴ ν σόπνψςιν

ν κα and started the fairand thestarted ofdance. circling hadleftwallalreadythe city,of the maidenswithgirlsherthewere and companions,who wasfor It this D&C ὐ son, son, ῆ σ ρ πολίφνηρ ὴ ὶ Rome, New the of Empire the Byzantium:

ν κα Δποςίλλα παπθένορ 1:116.119.: rtc ahs Reoia Pesr: artv Tcnqe n Mmss n Eumathios in Mimesis and Technique Narrative Pleasure: Rhetorical Pathos, Erotic ὶ 14.

ἐ κόπαιρ κα rsado ad Kallithea and Aristandros νςσηςαμένη

fourth century and frequently cite cite frequently and century fourth hdnh ad Dosikles and Rhodanthe ἐ 34 ξέδτ,

festival the maidenfestival too, Drosilla the It implies that probably these novels were meant to be presented in presented be to meant were novels theseprobably that implies It

FourByzantine Novels ὶ

36 παπθένοιρ

37 .

The banquets in these n these in banquets The

It is likely that these descriptions were inspired by twelfth twelfth by inspired were descriptions these that likely is It (Uppsala, 2001), 20

“Sur un “Sur 32 ad iea Eugeniaos: Niketas and ;

hy rw n ae niu novels Antique Late on draw They Emtis Makrembolites: Eumathios ; a Dionysiac context; on banquets organized for organized banquets on context; Dionysiac a 7 (Li topos

38 verpool:Liverpool University 2012).Press,

Lno: hei, 94, 237. 1984), Phoenix, (London: oublié: les scènes de banquets,” de scènes les oublié: 35 - 21. These fictional narratives of love and and love of narratives fictional These

ovels appear ovels

topoi topoi

- , and the conceptual framework of of framework conceptual the and , cns n ter luin t everyday to allusions their and scenes

The SearchThe for Ancient the from ancient literature. ancient from rsla n Charikles and Drosilla ed to abound in of food of in abound to ed ymn ad Hysminias and Hysmine

lzbt Jeffreys, Elizabeth REG Drosilla and and Drosilla dated to the to dated

109 (1996),109 Recently .

Novel 33

The ,

ed. - , ; CEU eTD Collection 42 41 Χ 1995), Press, University 40 39 trans. ElizabethJeffreys, Conca, Fabrizio the of context the in times several mentioned was dance traditions. popular ancient with connected probably was and liturgy in funeral.the outsidenarthex the gestures or during church the their performed women times, later In flute. the of sound the to dance of gestures blasphemy. for women mourning accused century moirologia lamentati oral the antiquity late In funeral. during was context ritual in place take could dance which on occasion other The weddings. Orthodox of part still is it and Isaiah” wedding ceremony,couple the During extensively. issue this discuss to not chose I reason this For unclear. Go of will the triumphalinmoredetailconnotations oflater. dance by world the rules who emperor victorious the joy with The connotations. triumphal had celebrating were dancers banquets the that underline banquets imperial during acclamations prescribed imperial official in performed dances the thus of joy the and fairness the praise to possible context. the on dependent was appreciation positive;its negative or not itself was in dance argues, AsMaguire church. the bycondemned d passage the that noteworthy is It iscussed above, this dance has nothing to do with harsh, bacchic movements which were were which movements bacchic harsh, with do to nothing has dance this above, iscussed Touliatos ωξνπο Angold Maguire, Michael providing a context seeminglyprovidingfrom context fara twelfth

In addition, the addition, In [ByzantineDance inSecular andSacred Places],” and few is evidence though Byzantium, in context ritual in also appears Dance ,

Church and Society, - Angold, Miles, “ByzantineMiles, Dance inSecular and “ The ProfaneThe Aesthetic Byzantine in Art andLiterature ,

were recited by women in responsorial form. John Chrysostom in the fourth fourth the in Chrysostom John form. responsorial in women by recited were Il Romanzo bizantino del XII secolo XII del bizantino Romanzo Il Church and Society in Byzantium under the Comneni, 1081 Comneni, the under Byzantium in Society and Church s go around the altar with the priest three times. This is called the “Dance of “Danceof the called is times.three This priest the with altar the around sgo

FourByzantine Novels 453. Book of Ceremonies of Book n Dae Touliatos Diane And

443 .

describes

, 355. , SacredPlaces,” -

39 Miles, “ Miles,

of C of (Turin: Unione TipograficoUnione (Turin:

dance

8 h dne s fi crl dne A I have I As dance. circle fair a as dance the

It seems that in twelfth in that seems It

onstantine VII Porphyrogennetos Porphyrogennetos VII onstantine Αρχαιολογια - Ο . T .

century Byzantium century

40 Β he events take place in the distant past distant the in place take events he πδαληηλνο

,” They were yelling and made wild wild made and yelling were They 32.

197. ode first The Christ. of resurrection

Τεχνες 41

νξνο partwas not It official ofthe

- -

1261, 91(2004): 29 Editrice Torinese, 1994), 312 1994), Torinese, Editrice

42 Σ - .

century Triumphal and joyful joyful and Triumphal

Κ (Cambridge: Cambridge(Cambridge: νζκηθνπο d. I discuss the the discuss I d.

- novels it was was it novels 36.

Κ shows that that shows

sorrowful sorrowful αη n, the ons,

Η ηεξνπ ο ;

CEU eTD Collection ResearchLibrary Collection, and 2010 Byzantium in Testament 48 47 46 45 42. [ 44 prefaces. 43 several in implied as life devotional personal in role prominent a played Psalter recently.it Parpulovdiscusses R. Georgi as contemplationand personalprayer for used Byza In time. the at Psalters of role and use to the necessary investigate is it in reason, found this For dance piety. of personal in images function the their and of psalters role Byzantine possible the trace to attempt I dance. of images frequentlywasjoy seen ofasact antriumph evenin and context. religious a dance that suggests, proverbs popular in mentioned is hell to descent the over dance joyous Christ. of arrival the upon dance to started period Testament Old the of men righteous women andhell.andother the welcome atofall gate to Hethe supposed Christ dancing.” were others) (the all and John long,and so lingered have we soul me dances. sacral Greek ancient to back goes feature particular this of depiction the that argues Isar Nicoletta respectively. Eve and Adam feat characteristic of images in depicted frequently were Eve and Adam of salvation the and hell to descent Christ‟s death. over triumph his and resurrection e The Easter. and Week Holy the vigil. Easter Moses of “Wrist Holding” or the Route of an Iconographic Holding”Time],”of“Wrist Motif Routethean or Through

Ibid.,461. Angold Isar, Isar, Parpulov, Ibid., 52. A 52. Ibid.,

ntioned in ntioned ). 45 ΧΟΡ ΧΟΡΟΣ

Having discussed the above literary evidence on Byzantine dances, dances, Byzantine on evidence literary above the discussed Having At the same time, Christ‟s triumph over Hades inspired proverbs such as: “Thereinspiredweresuch as: proverbs sameHades thetime,Christ‟s triumph over At , Church and Society – ΟΣ

Toward a History of History a Toward

with the dance of Miriam of dance the with 43 nd : The: Dance ofAdam, : The: Dance of Adam,

Easter homilies and hymns (see in section in (see hymns and homilies Easter

The The Antonia Roumbi, “ Roumbi, Antonia ure of the the of ure Lenten Triodion Lenten

d Pu Mgaio n Rbr S Nelson S. Robert and Magdalino Paul ed. ,

461. Byzantine Psalters Byzantine Anastasis

Κεηξ 57 58 ) ,77 - - 62. 61.

provided the texts for the l thefor texts the provided Επη - 105.

vents of the Easter celebrations culminate in Christ‟s Christ‟s in culminate celebrations Easter the of vents

–

image is the way in which Christ holds the wrists of of wrists the holds Christ which in way the is image Καππψ

was part of the canon of the of canon the of part was , and “ and ,

44 ῾ 9 Η

Το Isar points out, that triumphal dance was was dance triumphal that out, points Isar Anastasis Psalters and Person and Psalters

Ταθιδι

Ενορ Spiritual triumph and triumph Spiritual

on church on (

tu,Patr ee frequently were Psalters ntium, ahntn DC: ubro Oaks Dumbarton D.C.: Washington, iturgy during the weeks prior to prior weeks the iturgyduring Εικονογπαυικοτ Αρχαιολογια al

Piety in Byzantium in Piety Lenten Triodion Lenten - 46 A psalters. in or walls

& Joh 47 Τεχνες

That the topic of of topic the That n the Baptist was Baptist the n Μοσιβοτ rtr t the to return I

the

91 (2004): 37 (2004): 91

Σσο ,” dance of of dance

and the the and The OldThe 48

Χπονο

The -

CEU eTD Collection 51 (1990):45. 50 49 co Iconography on I chapter thedetails. In depicted the largeof quantityquality and the reveal images nine the comparisonof and observationClose representations. the detailsof the visu with descriptionthe of start I them. for suitable are dance Miriam‟s of images the that confirms Psalter the realia consider to necessary supposed the of also rendering the in details of quantity the is and quality the context, iconographic It objects. contemporary reproduce actually artists fo are features same the if light, this In life. everydayfrom drawn were features visualdistinct supportthat to grounds provide can models standardizedfrom deviations pictorial that assumption the on argument mybase I centurypsalters.Inwasthisan there modelstheir roleon period emphasisas of devotion. eleventh in included dance Miriam‟s of images the reception and articulation tenth narratives. primarily remained ode eleven tenth in frequently more and more appeared prayer of themes that out, points Walter association p in included in discussed be should dance Miriam‟s of images the that spiritualfor usedashandbooks setting guidance over to helpedhymns Psalmsreaders and

Ibid.,52. KurtWeitzmann, “The Ode Pictures ofAristocratic the Psalter Recension,” hitpe Wle, “ Walter, Christopher -

. Theacqui . th and eleventhand In the first chapter I discuss visual sources, namely images of dance. The text of the the of text The dance. of images namely sources, visual discuss I chapter first the In follow th examineto choose I to above, theIn order - century psalters. century

ih h acmayn tx wr dsusd y ut Weitzmann. Kurt by discussed were text accompanying the with salters. The narrative framework of the images of Miriam‟s dance dance Miriam‟s of images the of framework narrative The salters. red informationbewritten red viewedagainst can sources. -

century psalter century h Aitcai Patr ad d Ilsrto i Byzantium,” in Illustration Ode and Psalters Aristocratic The al and textual contents of the nine psalters. Subsequently, I focus on the the onfocus I psalters.Subsequently, nine the of contents textual and al

At the same time, he suggests suggests he time, same the At

und in other contemporary images, one can assume that the the that assume can one images, contemporary other in und s he discusses,he s 51

hl aren wt hs on o ve a regards as view of point his with agreeing While come their passions and lead a moral life. They were moralTheylife.were alead comepassionsand their 10

at samethetime at

I argue that there was a ch a was there that argue I conjunction e methodology of Maria G. Parani. Parani. MariaG. methodology of e that that DOP the illuminations of the first first the of illuminations the ,

models of devotion. I arguemodels I of devotion. 30(1979): 69

with the other portraits portraits other the with

ange in the visual visual inthe ange Byzantinoslavica 49 -

and twelfth and 71. Christopher mpare the

and their their and -

and and

the 51 - CEU eTD Collection personalattemptinterpret imagesto inI devotionlight.their this namely context, overall their in images the investigate I Subsequently, Byzantium. in connotations triumphal had and appreciated were choraldances that shows, latter the of examination The sources. written contemporarydance. ninth eleventh the in images -

and tenth and In the second chapter I attempt to co to attempt I chapter second the In - century. I argue that the above research suggest research above the that argue I century.

n twelfth and in the Psalter. Since the Psalter constituted the prominent tool for for tool prominent the constituted Psalter the Since Psalter. the in - century psalters with those of earlier psalters from the the from psalters earlier of those with psalters century ntextualize the images of dance with the help of of help the with dance of images the ntextualize 11

that the artist portrayed a a portrayed artist the that CEU eTD Collection Macrides(Farnham: Ashgate, 2010), 145 Romance InstituteCodex5 Hellenic 53 52 the of structure the and size (date, information general the Regarding Psalters. Byzantine choralcostumesdancethe and dancers.of the of connotations the discuss examplesandearlier to dance Miriam‟s ofrepresentations century subchapt concluding the in Third, patronage. and manufacture of question the discuss and dance Miriam‟s of illuminations nine the compare and describe I considerations these following Second, odes. surrounding the of image the between relation the as well as image, and text of relation the discuss first I dance, Miriam‟s of interpretation the in transformation this demonstrate to order In centuries. twelfth and eleventh the in dance Miriam‟s of image the of interpretat the in shift aimplies dance choral as dance Miriam‟s of representations t unclear, fourt example for dance choral same the of depictions later are There centuries. twelfth the and eleventh i dance Miriam‟s their because Psalters these portrayalof innoveltythe a appearedas whichchoral, circulara dance chosen illuminationsto allude have I thesis. my of argument the informing dance

Berlin, eie Hlei Isiue M 5 fl 11. ioet Taola “ Trahoulia, Nicolette 131r. fol. 5, MS Institute, Hellenic Venice, et cnuy Te oncin ewe tee w ad h ear the and two these between connection The century. eenth In this first Chapte first this In y eerh ol nt ae en osbe ihu Atoy Cut Anthony without possible been have not would research My Pcoil artv ad h At f eln Stories,” Telling of Art the and Narrative Pictorial : StaatlicheMuseen, M n h Hmlo Psalter, Hamilton the in he issue would worth further investigation. The relatively great number of the the of number great relatively The investigation. further worth would issue he n the eleve the n

” in in

(PhD Dissertation, University of Harvard, 1997) and Idem., “The Venice“TheIdem., and 1997) Harvard,Dissertation, Universityof (PhD n CHAPTER I: Representations ofCHAPTER Representations I: S78 A r I present present I r ine nth century. All nine p nine All century. nth

e leventh 9 , fol. 243v., - 166. r n cngah, cmae h eleventh the compare I iconography, on er 52

in detail the nine p nine the detail in r n h Vnta Aeadr Romance Alexander Venetian the in or

and

t 12

welfth

salters are dated to the second half of the the of half second the to dated are salters - of Miriam‟s dance and the illuminations the and dance Miriam‟s of c itr a Ltrtr i Byzantium, in Literature as History ent salters and their images of Miriam‟s of images their and salters ury h Gek lxne Rmne Venice Romance: Alexander Greek The d p ance salters

lier representations is is representations lier ler‟s catalogue on on catalogue ler‟s -

n twelfth and 53 ive scheme scheme ive

rm the from Alexander d Ruth ed. - CEU eTD Collection of P cm; 12 x 18 24: B Lavra, cm; 63 62 61 60 59 58 57 56 55 Trahoul 54 large similarly has Psalter Vatican The table. Lowden‟s to according height, in cm a ofseven Only Psalters.among rare is which size a cm, 23.7 x 34.2 at large rather is manuscript Saray Topkapı the codices, small rather are seven height. in centimeters 25 than less are manuscripts nine the of Seven text. the of recitation or study the for table or lectern a on placed be to designed were ones larger manuscr smaller Generally, illuminations. Megiste24 Athos,B MSLavra, 4; MS Museo, Fondo 40753 Add. MS MS Sarai, centu twelfth the of half second 1090. ca. dated 36928), Add. MS Library, British (London, 1058/59. (Biblioteca Psalter Vatican the is dance circle usuallyilluminativehisThesystem) earliest manuscriptI publication. rely represents on that a alermo, Fondo alermo,

Cat.no.10 inibid., 22. Cat.no.41 inibid., 76. Cat.no.38 inibid., 62. Cat.no.31 inibid., 50. Cat.no.29 inibid., 46. Cat.no.23 inibid., 39. Cat.no.12 inibid., 24. Cat.no.30 in

the size ofsizethe Psalt h dt i bsd n h Pshl tables Paschal the on based is date The London, BL,London, ia andiaShalom Sabar, “Critique of Emperorthe inthe Vatican Psalter gr.752,” h sz o te oie my elc ter rgnl s, n crany fet the affects certainly and use, original their reflect may codices the of size The 54

gr. h nx mnsrp, n hoooia odr i te so the is order, chronological in manuscript, next The

Cutler,

museo 4: 21.6 x 16 cm. Most of the illuminated Psalters are around this size. For a comparison a For size. this around are illuminatedPsalters the of Most cm. 16 x 21.6 museo4: 40753 Add. 13 erssee fourththe tablein 59 ; 57 ). Two codices are dated to the last quarter of the twelfth century (Palermo, century twelfth the of quarter last the to dated are codices Two ).

The AristocraticPsalter

London, British Library, MS Add. 11836; Add. MS Library, British London,

, measuring less than 12 cm in height. In contrast to these pocket these to contrast In height. in cm 12 than less measuring , 60 : 8.6 x 6.4 cm; London, BL, Add. 36928: 12.0 36928: Add.BL,London, cm; 6.4 x 8.6 :

Paris, Bibliothèque national de France, MS Suppl. gr. 1335 gr. Suppl. MS France, de national Bibliothèque Paris,

London, BL,London,

62 ll eighty ll ry (Mt Athos, Megiste Lavra, MS B 26; B MS Lavra, Megiste Athos, (Mt ry

is the to twelfthdated century.

Lowden,“Observations on I Ad

run sinByzantium, d. 11836: 18.8 x 13.5 cm; 13.5 x 18.8 11836: d. - three illuminatedp three ning ipts could have been held in the hand while the the while hand the in held been have could ipts

13 rm 1059 from

psoia aiaa M g. 5) dtd to dated 752), gr. MS Vaticana, Apostolica 48 .

ni 19, see: 1090, until 55 lluminat salters preserved today excee preservedtoday salters

Cutler dates four codices to the to codices four dates Cutler 58 Paris, S Paris, – 11.5 x 9.5 cm; Lavra, B 26: 17 x 12x 17 26: BLavra, cm; 9.5 x 11.5

and London, British Library, British London, and

edByzantine Psalters,” - uppl. gr. 1335: 21.5 x 15 cm; 15 x 21.5 1335: gr. uppl. ald a Sb Psalter Saba Mar called

oi aarzu Nicolette Kalavrezou, Ioli DOP 56

Istanbul, Topkapı Topkapı Istanbul,

47 (1993) 63

Two of these these of Two :

197.

61 248. - ). Mt. ). sized d 30 30 d

CEU eTD Collection 70 69 68 67 66 Journalof JewishArt see: others, containsPsalterSaba Mar The xi Septaguint, Marcellinus, to Athanasios of letter the P ofcommentary the contains Psalter Vatican The 1988),Press, 28. eleventh century, see: 65 64 in detail in topic this discuss (I Bible the of studythe for prepared was manuscript) whole the the Psalter, a black. in commentariesby followed are ink purple in as to referred regularly passages biblical Short emphatic. quite is is commentary Zigabenos‟ Euthymios accompanying manuscript Saray Topkapı the Although Josephus, of Old the Testament: from books containing codices three another to companion a was It piece. alone commentaries. contain manuscrip Saray Topkapı the of volume the that convincingly 36928) (Add. Psalter Saba Mar sized pocket the also and Psalter Vatican the manuscript, Saray Topkapı the manuscripts, sized 24 B Lavra Odes: and Psalms the only comprise manuscripts Two books. Testament New or commentaries as such well, as texts other incorporate they i and Text laterindiscussed chapter. this cm. 27 x 33.5 measures itdimensions;

- Lowden, Oxford,Bodleian Library, Athens,National Library, Oxford,New College Lowden, Kalavrezou,Trahoulia and xii. Saray Topkapı The

As Psalters, the manuscripts contain the text of the psalms and the odes. In many cases manycases In psalmsofodes. thethe and text manuscriptsthecontain theAsPsalters, IlluminatedProphet Books, IlluminatedProphet Books III Anthony mage 66 , Psalms and Odes, Odes, and Psalms ,

67 the Minor and Major Prophets, the Maccabees and excerpts from thefrom excerpts and Maccabees the Prophets, Major and Minor the

aiu Od etmn books, Testament Old various : illuminations : of

6 (1979): 40. John Lowden,John Cutler,

manuscript

MSgr.

MS S A sle fo Mr aa n te vlto o te yatn Dvd Cycle David Byzantine the of Evolution the and Saba Mar from Psalter “A

abar,“Critique of Emperor,”the prolegomena on the prolegomenaon

44. 44 Auct. 2.16E. Part 2: 2: Part

otis h cmetre o Etyis iaeo from Zigabenos Euthymios of commentaries the contains Illuminated Prophet Book , , 28. 30.

see: the the Vaticanus752 Graecus

Ernest T. De Wald, Wald, De T. Ernest ode

Further peculiarities of these two manuscripts will bemanuscripts will two these peculiaritiesFurtherof seudo sinthe nine psalters

Psalms by St. John Chrysostom,JohnK PsalmsSt. by 14

- 68 Chrysostom,

and s 196. 70 (University Park

(Princeton: h ctn o te idm Books. Wisdom the on catena the This layout suggests that the text (and text the that suggests layout This

h Ilsrtos n h Mnsrps f the of Manuscripts the in Illustrations The

an an and Add. 40753. The two large two The 40753. Add. and explanatory preface to the psalms and psalms the to explanatorypreface t was not conceived as a stand a asconceived not was t

Princeton University Press, 1942), University PrincetonPress, .: Pennsylvania.: State University 65

John Lowden argues argues Lowden John osmas Indi osmas the end of the the of end the kopleustesand Antiquities 69 , ” - - -

CEU eTD Collection 72 NewTestament. the Epistles; the Gospels,Praxapostolosand the 1335 71 Moses, dance, Miriam‟s of representations by followed is Sea Red the of Crossing the full The Odes. thefrom Psalms of Book the separate to probably was Odes full these of function The 1335). gr. Suppl. Paris, 11836; Add. full to fi seventeen eight from feature manuscripts other three The odes. the and psalms the to headpieces full a shows relati contains 24 B Lavra are images the of frames the them, of each in column one ( 298r fol. 11836, ( 203r fol. 24, B Lavra, codices: four in Ode ode. ful as either appe dance Miriam‟s of images the Generally, odes. the of illuminations neighbouring the to relation respective their as well as manuscripts the in dance Miriam‟s of Psalter the and Testament New the both incorporated probably that manuscripts further six lists and Odes, and Psalms the to addition in Testament New the include that catalogue Cutler‟s from the manuscriptsof that rare Testament. New the from books contain nine the among Psalters Four II). Chapter

Lowden,“Observations on I Lavra, B Lavra, - page miniatures depicting Moses parting the Red Sea in these three codices (Lavra, B 26; B (Lavra, codices three inthese Sea Red the parting Mosesdepicting miniatures page . After introducing the contents of the codices I describe the place of the illuminations the of place the describe I codices the of contents the introducing After The representation of Miriam‟s dance appears as a headpiece above the text of the first ofthe headpiecetext abovethe a asdance Miriam‟sappears The representationof 72

26 contains the contains 26 gural image gural l - -

page miniatures dividing the psalms and the o the and psalms the dividing miniatures page page miniature depicting David as musician, three further images appear as as appear images further three musician, as David depicting miniature page fig.

), and Paris, Suppl. gr. 1335, fol. 327r ( 327r fol. 1335, gr. Suppl. Paris, and ), Gospels and Epistles; and Gospels s distributed among the psalms and odes. The o The odes. and psalms the among distributed s lluminatedByzantine Psalters,” vely few images: only four figural illuminations. The frontispiece The illuminations. figural four only images: few vely

New Testament also contained a Psalter. Lowden lists ten codices liststen Lowden Psalter. containedalsoa Testament New

Add. 11836 the Gospels and Gospels the 11836 Add.

Psalter of Queen Costanza (Pal Costanza of Queen Psalter 15

i. 1 fig.

249. , ar, 2, o. 6v ( 262v fol. 26, B Lavra, ),

of of des or as headpieces to the first the to headpieces as or des the same width as the column. column. the as width same the fig. - ae iitrs bef miniatures page

5 Praxapostolos;Paris, ). The text was written in written was text The ). ermo,Fondo des are preceded by a a by preceded are des - r n w modes: two in ar page miniature of of miniature page fig.

museo 4) the the 4) museo 71

8 S It is not is It ), Add. Add. ), ore the the ore uppl. gr. uppl. CEU eTD Collection 73 same the to according arranged are odes the of illuminations The Psalms. codex. the accompany the of beginning the at collected miniatures x 6.4cm); (8.6 enoughwasnot there andspacefolioboth for one textimage. theonthe full Virgin 159v)the and Jonah 157v), (fol. Isaiah(fol. 155v), (fol. inHabakkuk Furnace153v), Three Menthe(fol. the ( 146v folio eight and firs The Psalms Odes. the to the devoted are illuminateminiatures miniatures Four Psalm. first the decorating headpiece functioned they manuscripts: other the in as them to assigned be can function same the probably odes, the of titles the above not and text the to next placed are images the Although illuminations. of texts The hands. their in holding are Jonah and Isaiah, Hannah, 279v). (fol. Virgin the and 277v) (fol. Furnace the in Men Three the 276v), (fol. Jonah 275r), (fol. Isaiah 271r), (fol. Hannah by followed with begin odes the of illuminations The text. the sometimesprayer,in rollinaor with hand, their ill to usual quite was It books.) Testament Old the of protagonists respective the portray images these though portraits,” “author as odes the illustrating portraits the to refer I repetition, unnecessary avoid (To odes. the of authors Hannah,Isaiah,ThreeHabakkuk, MentheJonah, in Furnace, and the V the

Th - page miniature. This arrangement can be explained by the small size of the manuscript the of size small the by explained be can arrangement This miniature. page ecycle discussedis detail in by Cutler The illuminationsplacedareTheinmanuscriptright Topkapıthe theSaray on The Mar Saba Psalter (Add. 36928, 36928, (Add. Psalter Saba Mar The pocket The

as imagesintroducingas their respective odes. fig. 4 ). The following miniatures portray Moses (fol. 148v), Hannah (fol. 152v), (fol. Hannah 148v), (fol. Moses portray miniatures following The ). - ie Ad 473 a tev full twelve has 40753 Add. sized

in prayer (fol. 163v). It seems unusual that each ode is introduced with a withintroduced isa eachode seems unusualthat It 163v). (fol. in prayer

the odes begin on the same level as the upper frame of the the of frame upper the as level same the on begin odes the ,“A Psal ustrate the odes with the figures of the of figures the with odes the ustrate ter fromter Saba.”Mar t ode is introduced by the dance of Miriam on on Miriam of dance the by introduced is ode t 16 7 fig.

proskynesis icroae a ai cce n full in cycle David a incorporates )

h dne f iim fl 265v; (fol. Miriam of dance the -

page miniatures and one ornamental ornamental one and miniatures page 73

o ute fgrl illuminations figural further No

irgin; supposed the - ir hand sideof

authors in authors fig. sc

- page page rolls rolls 3 ), ), CEU eTD Collection spätbyzan century) 76 75 notion basedis on aseventeenth 74 ( Odes Da of musicians eight and Miriam similarlyinthree a Virgin the and 291v) (fol. Furnace the in Men Three the 291r), (fol. Jonah 290v), (fol. Isaiah 289v), Moses, portray odes the of illuminations The later). fomissingpossible ofreconstructionthe discuss a codex(I missingisthefirstfrom ode the of illumination) probablyan(and text the foliowith following Unfortunatelythe companions. Red the of shore the on wo three by followed hand his in rod a with Moses depicts register upper The registers. auth the ofrepresentations o the from psalms not are psalms first the decorates The headpiece ornamental system. an only illuminated, different entirely an to according arranged are psalter this full similarly composed 4, Museo Fondo (Palermo, Costanza Queen of Psalter The Miriam. of dance the depicts register lower The hand. his in scroll a with center the in seated Moses registers. two into divided is 279v Folio Sea. Red the of Crossing the depicts 279r Folio 280v. folio on headpiece ornamental an with decorated is ode first the only Furthermore, odes. the of text the before collected are illuminations figural the system:

The folioThe P is in T hs ut pcla ioorpy per ol i te aitn sle (ae thirteenth (late Psalter Hamilton the in only appears iconography peculiar quite This he Costanza Psalter is PsalterCostanza he bt n mr nraie anr see: manner, narrative more a in but , orans h so The i. 9 fig. tinischenKunst,”

). (fol. 293v (fol. - 76 hiladelphia,Freer Library, MS themes two combines 752) gr. (Vat. Psalter Vatican called

hs large This - quarters viewquarters withgesture of singingaspeaking, hymns.the

e. h subse The des.

name 147. - ,

page miniature on folio2 on miniature page fig. 16 fig. Sea; ors. The miniature between the psalms and o and psalmsbetweenminiature theThe ors. d - centuryinscription

after its supp itsafter -

ie aucit s eoae wt mr ta to hundred two than more with decorated is manuscript size while the lower register portrays the dance of Miriam and her her and Miriam of dance the portrays register lower the while ). Moses, Hannah, Habakkuk, Isaiah and Jonah are portrayed portrayed are Jonah and Isaiah Habakkuk, Hannah, Moses, ). vid vid quent pages contain headpieces to the odes with with odes the to headpieces contain pages quent – osed owner, Queen Costanza of(1154 QueenCostanzaSicily osed owner,

on a full a on Lewis353,fol. 2v. ,see:

hms tpa, Tndrtlugn e mittel der “Tanzdarstellungen Steppan, Thomas 17

Cutler,

- 87v, although the following illuminations in followingilluminations the 87v,although page miniature between the Psalms and the the and Psalms the between miniature page The AristocraticPsalter in Byzantium, 75

Hannah (fol. 289r), Habakkuk (fol. (fol. Habakkuk 289r), (fol. Hannah

psalm. Folio 287v divides the the divides 287v Folio psalm. The upper scene portrays portrays scene upper The fig. des is divided into two two into isdivideddes 2 ) 74 - – 1198), although thisalthough1198),

– also contains a a contains also the dancers of of dancers the

al fourteenth early 61 . -

men und lio CEU eTD Collection 78 publishedin 77 Byzantine ofAtprayer. centuries,book assamePsaltera thetime, the emphasizing role theof Representations ninth in miniatures as early as appeared themes in prayer interest this shown, hasWalter AsChristopher odes. singing prayer, in manner; static less twobetween the full the three These David. ofmusicians with the with Psalter Vatican Costanzathe in and Sea, Red Queen the of Crossing of Psalter the in Moses, of scene teaching a with Psalter Saba all In manuscripts. full of group second A headpieces. of group a among included are miniatures nine the of Six functions. and arrangement their on based groups discuss I below. thiso hymn.T narrativeand illuminate their 484v and fol.473v between o the of illumination tha Magnificat the not is it changes: with or pr in scheme: regular the to according portrayed are 488v) (fol. Hezekiah and 488r) (fol. Simeon 486r), (fol. Zachariah 485r), (fol. Child the with Virgin the 472r), (fol. Jonah 469r), Mo regular: quite appear backgrounds. gold on painted all miniatures,

Walte Kalavrezou, Trah Kalavrezou, - p g min age which Psalter, ofhistoricalthe the andpatronage context the to is connected probablyde r, “ r, The illuminations of the odes portray the supposed authors of the odes in a more or or more a in odes the of authors supposed the portray odes the of illuminations The above demonstrated AsI sc TheAristocratic Psalter and

rolls in their hands. It is notable that the more or less regular order of the odes odes the of order regular less or more the that notable is It hands. their in rolls DeWald, aue ae lcd ewe te sls n o and psalms the between placed are iatures

of prayer scenes gradually became more and more frequent in the following the in frequent more and more became gradually scenes prayer of oulia and oulia types of text, introducingtypes oftext, o the

TheIllustrations inthe Manuscript of Se the -

three cases Miriam‟s dance is combined with other images; in the Mar Mar the in images; other with combined is dance Miriam‟s cases three etr p century de of the Three Men in the Furnace is also quit also is Furnace the in Men Three the of de

ses (fol. 453v), Hannah (fol. 462v), Habakkuk (fol. 465r), Isaiah (fol. Isaiah (fol. 465r), Habakkuk(fol. 462v), Hannah(fol. ses453v), (fol. Sabar, “Critique of the Emper the of “Critique Sabar,

atr, huh a ls feunl ad ih es consistency. less with and frequently less far though salters, , the representations of Miriam‟s dance can be sorted into into two besorted danceMiriam‟scan representations the of , OdeIllustration Byzantium,” in ed te aucit bt h o the but manuscript, the ends t the odes, or in the act of composing their respective respective their composing of act the in or odes, the 18 77

des.

t is sgt h ilmntos f h odes the of illuminations the sight first At or

, ”

196. ptaguint. - page miniatures comes from three three from comes miniatures page

The illuminations of the manusc the ofilluminations The

46. e ad ucind s markers as functioned and des

he remarkable emphasis on on emphasis remarkable he e peculiar: ten miniatures ten peculiar: e e f Hez of de ekiah. The The ekiah. ript were ript ayer ayer on on 78

CEU eTD Collection Weitzmann, centur eleventh MS Library, the National of quarter last the to dated MS France, de national 79 presumably but pictorialschemaa not is representations these of model pictori common a from derive not do images the that However model. common a referto to similar sufficiently are representations the that demonstrate comparison the and descriptions detailed The dancers. poses the on focusing images nine the compare shall I dance of type Detaileddescriptions havemayveneration.qualifieddanceas ofa inPs portrayed was which dance choral circular, the Only dances. of all kinds to applied be cannot this course, Of implications. similar had have also may dance the of others. reality bodily the to similarly seen be should sugge they I Furthermore, that argue I contrary, the On exception. an considered be not should dance Miriam‟s of representations the veneration) of (images Ic on section my in topic this to return (I veneration and prayer emphasized illuminations the that apparent becomes it above, presented I illustrations of enumeration the From centuries. twelfth and eleventh late the in Psalte Vatican the of exception the (with prayer personal of book devotional a as Psalter the of importance increased the reflect thesis this in discussed sev by attested is psalters. as illuminations, narrative of devoid entirely never were psalters

T ct o cite o To demonstrate that the nine Psalters represent the same (or similar) contemporary contemporary similar) (or same the represent Psalters nine the that demonstrate To 79

nly a few examples between the tenth and tenth the between examples few a nly

“TheOde Pictures of Aristocraticthe Psalter Recension,” 65 In contrast to these psalters with narrative illuminations, I argue that the psalters psalters the that argue I illuminations, narrative with psalters these to contrast In

5 c. 10 Several 1180. ca. 15,

gr. 139) dated to ca to dated 139) gr. st that if the dance of Miriam was employed as a wasas Miriamemployed if danceof the that st of the ninerepresentation ofthe

onography, and Chapter II). In line with these these with line In II). Chapter and onography, . 975. Paris, Bibliothèque national de France, MS S MS France, de national Bibliothèque Paris, 975. further . ahntn Dmatn Oaks Dumbarton Washington, y.

19 Cutler of catalogue the in found be can examples

twelfth

centuries al model. In other words: the common the words: other In model. al r and the Topkapı Saray manuscript) Saray Topkapı the and r - : 84. ,

the several differences suggest suggest differences several the h Prs sle (ai, Biblithèque (Paris, Psalter Paris the

proskynetarion proskynetarion MS , ,

and costumes of the the of costumes and the dance itself in its in itself dance the

3 ca. , proskynetaria proskynetaria

1085 uppl. gr. 610, gr. uppl. then the the then Athens, . alters alters and , eral eral CEU eTD Collection the illuminatthe sidesof two flankingthe Psalter Costanza the arm infigures female dancing further two are There with decorated are Psalter Costanza the in garments Their costumes. sleeved T head. their over side left their on hips, their of height the about at side right their on hands hold and other each facing bothdancerscasestheare In in dancing similar theLavra 24. Bquite into couple arecouple a becaus here it discuss I figures, dancingfour fact in portrays ( manuscript Saray Topkapı sixfinally four, and,fo exceptionally,and three, with images the then dancers, two with images the first dancers: of number the of line the along images the describe I images. the of peculiarities the to turn I introduction general dancer next the of form. t of height the at handshold variety: they great show also arms their of positionsThe body. the of impression movetwisting thethe headconstitute of the and direction turningof thestep of the t or forward, looking frontalposition in cross a make dancers some steps: portrayed the in variety is There movement. the signify dance, the of dynamism the to allude bodiesand waving twistingthe knees,the of Theirbent their poses trumpet wide with dresses long wear dancers the exception one heral imagethe to according the on protagonist the of view the from directions signal I descriptions the In corporeality. he hips, shoulders or head. In some cases the arrangements of arrangements the cases some Inhead. or shoulders hips, he

In one case the dancers tie their arms at their elbows and hold hands inelbowshold andfront Inhandscasetheir onetheirdancersat o thearms tie Generally, the illuminations portray women holding hands and forming a circle. With circle. a forming and hands holding women portray illuminations the Generally, he codices Three ion. The figure to the right of the dancing couple holds a tambourine in her hands in tambourine holdsa coupledancingofthe right theion. figureTheto frig hs n nelcn frain Lva B 26 B (Lavra, formation interlacing an thus forming , –

ar, 2 ( 24 B Lavra, hey take a step towards each other. The dancers wear trumped wear dancers The other. each towards step a take hey fig. dic directions.dic 3 ) - step, the others step sidelong. The dancers hold their heads heads their hold dancers The sidelong. step others the step, –

represent a pair of dancers. Though the Costanza Psalter Psalter Costanza the Though dancers. of pair a represent i. 1 fig. hey turn it to the left or right. The juxtaposition of the the of juxtaposition The right. leftor the to it hey turn urteendancers.

; sle o Qen otna Plro ( Palermo, Costanza, Queen of Psalter ); 20

e the two central figures dancing dancing figures central two the e the arms compose a waving waving a compose arms the

- arrangements of their arms arms arrangementsof their sleeves, and wide collars. collars. wide and sleeves, , fig. 8 . fe this After ). f chest the - fig. bands. bands. 2 ); - CEU eTD Collection 80 wave: a form women three the of arms The right. dancers.side, the dancersTheturning toward back other left two the to two stepping are the to makescross a followingShe dancers. viewerthe than planeofthe the closerto ( 1335. gr. Suppl. Paris, in right the on dancer first The row. bent slightly register skyofisthe withandpainted groundgold withthe green. with blueis right the decor are sleeves, wide with costumes, their and headgears any wear not do They front. the to circle their up opening are they that suggests step sidelong symmetrical This center. the from away step a take they symmetrical: o palms their with heads their above lifted are hands free Their hips. their of height the at hands holding are they as viewer the to frontally portrayed three the of None illuminations appears. wall a of segment a manuscript Saray Topkapı the in and 24 B Lavra in while Psalter, Costanza the in emptyis background The visible. still are pigments ju now, white almost looks tambourine the figurewith the of skirt the and dancer central right the of costume ofthe color blue The vivid. still are center the in couple the of dancer left the of garment the of rose the on figures two the of garments the of red the background, the of gold the but worn, are illuminations the of colors The lowered. is hand left her while Thi head. her head, her above raised is hand right her arms: of her of position the by isemphasized movement turning the and step her of direction the of juxtaposition the by suggested is as move twisting a makes side left their to figure the head, her above raised

The colorsThe listedare Two illuminationsand 40753 Two Par (Add. are they different: quite is manuscript Saray Topkapı the in dancers of posture The

has inscription.has in in cataloguethe of

a purple collar and hem. The dancer on the left has purple garment. The The garment. has purple left the on dancer The hem. and collar purple st like the green zone of the ground. Traces of blue and green green and blue of Traces ground. the of zone green the like st

Cutler ated with a wide collar. The garment of the dancer to to dancer the of garment The collar. wide a with ated , The AristocraticPsalter 21

is,1335)represent dancers inthreegr. Suppl.a

the right hand of the women on the right is right the on women the of hand right the the left and the right fringes, and and fringes, right the and left the pen. The poses of their legs are are legs their of poses The pen. s

in in Byzantium 80

,39. fig.

- step to the left the to step 5 ) is slightly slightly is ) s twisting twisting s CEU eTD Collection Miriamandother women 82 musici of Byzantineimages Theiconographic context. the to fitsclearly drummer of representationa The excluded.be possibilitycannot this but not, or drum a holds she whether reproductions the on visible not is Unfortunatelyit drum miniatures clboth quiteare a ruined D Byzantine the of Evolution the and Saba Mar from 81 images eight other the to comparison in unique are garments directionothe ofthe the to turns slightly left the to figure The knees. bent slightly the and heads the of turning the by only signalled is movement the and hips, their of height the at hands hold they static: row bent slightly a in dancers three represents denotes pagedancersofthe ofMoses.sistersas the miniatur marginal this Since neck. her from hanging drum a probably visible, hardly is lap her on object shaped oval An lowered. is hand right Her hand. left raised her in stick hooked di the in facing is She now. visible are features few erased; later a marginonly was page theouter the onof planned infigureoriginally red drawn female dancing additional An green. with colored is ground the and gold in depicted is sky Psalter: Costanza the to similarly formulated is background The headgears. arm gold with red are dancers dance central the of garment The palm. facing upward and elbow bent the with woman the of hand right the of position the mirrors left the to dancer the of hand left The hips. their of height tie is woman central the of hand left The heads. their of height the to raised and center the in women the ofhand right the with tied is hand left her while upwards, facing is palm open her and elbow the at bent

Anthony Cutler h Cutler Anthony poei isrpin nte upper the on inscription phonetic A - stick in her hand. The Mar Saba Psalter portrays a female figure with a similar a with figure female portraysa Psalter Saba Mar The hand. her in stick ansand dancersseveral tim r is rose with red arm red with is rose r iial t te iitr o Prs Spl g. 35 te pocket the 1335, gr. Suppl. Paris, of miniature the to Similarly as compared this figure to the to figure this compared as

r two dancers while she is making a sidelong step to the left. The depicted Theleft.depicted to the step dancersmakingis sidelongashe whiletwo r . )

Cutler, d with the right hand of the woman to the left and lowered to the to lowered and left the to woman the of hand right the with d - bands and a relatively thin collar, and the costumes of the exterior exterior the of costumes the and thincollar, relatively bandsa and esportray musicians with drums. e was erased, it is difficult to date. A script on the upper margin upper the on script A date. to difficult is it erased, was e TheAristocratic Psalter

osertheS look Paris, that reveals - ad ad olr. hi sos r bak te d nt wear not do they black, are shoes Their collars. and bands - margin: ἀ εθ κϊη η κ ην κωϊζηο δειθη

figure 22 Cycle” avid

on the left the on ( s fig. in in Byzantium rection of the three dancers and holds a a holds and dancers three the of rection 4 82 .Te oe o te acr ae more are dancers the of poses The ).

Journal of Jewish Art Art Jewish of Journal

ά uppl. gr. 1335 drummergr. uppl.with a representsa of the Mar Saba Psalter. Idem., “A Psalter “A Idem., Psalter. Saba Mar the of ξη ᾶ θαη κ , 81 76.

nomn m argument my informing Her garment is short is garment Her

ἀ η γεεε (itr o Moses, of (Sisters (γ)ελεθεο ιη h ooked - ie Ad 40753 Add. sized 6 (1979): 42. Though 42. (1979): 6 the zone of the of zone the stick in her hand. her in stick - sleeved. . The The . CEU eTD Collection Mosesdanc 83 to dancer the of hand right the with it ties and hand left her raises front the in figure central The level. hip at figure central the of hand right the holds and hand left her lowers figure this description the in Proceeding height. shoulder at than higher slightly right her to dancer the handsholdswith left armherand back inraises figure the waves:central the n did s/he way this In considerations. compositional of because directions altering in them portray to illuminator the of invention pictorial the been have to likely thus is It reasons. practical facin were dancers all in reality the that probableis It outside. turning are three while circle, the of center the to facing is dancers 36928, (Add. Psalter ill the while images, nine the among representation complex and illuminations( Add. 11836 different. quitetwo ofthearedancers, performance. de space the leave) (or arrive dancers the when dance circular any of phase that represent images these that possible is It line. curved a in but row, straight a in standing ot the of direction the into grades few a with turning are they and figures other the of front in slightly standing are left to dancers the row; bent slightly a form dancers the above, demonstrated I As dance? circle illuminationidentifiesscene.the the of frame upper the above script A background. the in draperies with decorated buildings w women The collars. golden wide and wrist the at closing sleeves narrow feature dresses long

ear belts and headgears resembling “turbans”. Another peculiarity of the image is the the is image the of peculiarity Another “turbans”. resembling headgears and belts ear ncito aoe h image: the above Inscription ot have to portray a dancer from the back. The arrangement of the arms forms three three forms arms the of arrangement The back. the from dancer a portray to have ot h qeto my mre hw otee ill these do how emerge: may question The There are two images representing four dancers. Though both show an equal number number equal an show both Though dancers. four representing images two are There ing on occasioningon of Exodusthe of Ibid., Israel.) 50.

fig. 7 fig. her dancer her ) is one of the most static images. In Add. 11836 one of the four four the of one 11836 Add. In images. static most the of one is ) ἀ δ(ειθα

g into the same direction (inward or outward the circle) for for circle) the outward or direction (inward same the into g ὶ κωπο ) s. Their positions thus suggest thus positions Their s. έ (ωο ρνξ ) 23

έ νπο(αη)

uminations with three dancers portray a a portray dancers three with uminations ἐ π ὶ

ην ῦ

ἐ fig. μ umination of the Mar Saba Saba Mar the of umination ό δ(ν

6 that the dancers are not are dancers the that ῦ ) has the most dynamicmosthas ) the ην ) ῦ

signated for the for signated ἰ along the circle, circle, the along (ζξα) ή (itr of (Sisters ι ir CEU eTD Collection 84 mentioned As I center. facingthe are to others the whileis circle the outward right turning the the and herrightto purplewearsdancera costume. garment, colored red a has figure rear the Cutler of description the to According figures the of All figure. balancing is this tree a compositionally right the To stick. the with drum a on rhythm the beats figure female drum the analogy st holdingcrooked a left figure theiris tallerto separate There waists. a oftheir height the at neighboringdancer hands the of holdthe They circle. ofthe center the to the and bent are Moses. teaching portraysthe lower folio;register register upper intheof lessthe dancerscertainly dynamic.appear The brown dark dancersare other three the and hair plaited has red dancer central The neck. their around other three The circle. the of back the in dancer central the arm white Their blue. and green green, red, left: to front central the from following the are costumes the of colors wide wear They garments. their of wimple the byiscross The dynamism expressedheight. shoulder the dance ofthe do pointing upper her fashion: reverse in but arm her bending also is who circle the of back the in figure central the ofhand left the holdingis She downwards. pointing isforearm her that way th on figure This level. head at left the

Anthony“ Cutler, - haired.Theskyzoneofis thegoldzone withthe with andpainted ground of the green. Lavra B 26 ( 26 B Lavra in dancers four the of depiction The wnward, her forearm upwards. In this way the hands of the two dancers are tied at at tieddancers are two the handsof theway this Inforearm upwards. herwnward,

two figures on the left and on the right lift their lower legs performing a step step a legsperforming lower lift their right the on and left the figureson two A PsalterA fromMar Saba,” 42. - player on the margin of Paris, Suppl. gr. 1335 gr. Suppl. Paris, of margin the on player

fig. - bands are decorated with red cross motifs, just like the wide collar of of collar wide the like just motifs, cross red with decorated are bands 8 ) contains a representation of six dancers. A dancer in the fron the in dancer A dancers. six of representation a contains ) 84

All four dancers are facing the center of the circle. Their knees knees circle.Their ofthe facingcenter the are dancers four All e left raises her left arm and bends it at the elbow in a a in elbow the at it bends and arm left her raises left e

24 the Mar Saba Psalter (Add. 36928, 36928, (Add. Psalter Saba Mar the

sleeved long costumes with arm with costumes long sleeved are wearing garments with wide sleeves. sleeves. wide with garments wearing are dancers wear red scarves tied tied scarves red wear dancers

( fig. 5 fig. - steps of the womenof thesteps and ick in her hand. Onickher the in ) , it is probable that that probable is it , - bands. i. 7 fig.

- The The arm t to t is )

CEU eTD Collection (song) toLord)the Cutler, 85 the of mind characteristic the in dance most this of connotations the and memories evoking only dance this of reflect elements images on depicted postures The images. the on as interpretationmeaning the inscriptionsinthe and chapterof thethese Iconography. on discuss I them. denotes and musicians the near placed is inscription of type third The between runs other the dancers, the hands of linked the around illumination:runsone the on inscriptions three are There belts. gold and dress, their of rim lower the on bands and t to similar are costumes These headgears. pompous wear they and patterns red and gold with gold and blue red, are garments dancers‟ The cymbals. and viol flute, drum, with circle the of middle the in gold is background The feet. their by traced circle the to rim outer an form height shoulder at arms tied Their feet. their under cross amake allThey circle. a forming exampleslisted ( singing Lord.thehymn a to on inscription The green. is ground the of lowerzone the and goldenis sky the zoneof zones:upper the two into divided is background The rose. green, green, red, rose, red, front: the in figure central of colors The gold. with decorated also are costumes the of bands lower The collars. golden wide and sleeves wide with costumes Theywear bent. Theirslightly are knees neighboring dancer. ofthe chest offrontthe in hands the cross dancers The directions. altering in them portray to illuminator the of invention pictorial the probably was it 11836, Add. of case the in above

Inscription on the gold background abovbackgroundgold the on Inscription As I have discussed in the Introduction, the real dance did not looked not did dance real the Introduction, inthe havediscussed AsI above the from different fundamentally is Psalter Vatican the in composition The h gl bcgon aoe h ha o te acr ietfe te scene the identifies dancers the of head the above background gold the he previous examples, but clearly more luxurious: adorned with gold collars collars gold with adorned luxurious: more clearly but examples, previous he fig. 9 fig.

). All fourteen dancers are portrayed frontally, portrayed All are fourteen dancers ). TheArist 85

ocraticPsalters inByzantium, e the dancers: the e side this outer rim. There are eight musicians depicted in depicted musicians eight are There rim. outer this side - step to their right; the ground is signed by a red circle red a by signedis ground the right; their to step

their dresses are the following starting from the the from starting following the are dresses their 25

ἄ

δνπζαη η δνπζαη 24 ὸ

. ἄ

ζκα θ(πξη) ζκα r rs t hi ebw ad hold and elbows their at arms ir ῶ placed next to each other to next placed

( (women) singing the hymnthe (women)singing (

exactly the same same exactly the

the feet. the

as as CEU eTD Collection 88 87 Bulletin 86 duringdanceunderoccurred consideration. period the change significant a that underlines comparison The examples. following subchapter. the of aristocraticmanuscripts belongedfamilies to II). Chapter in later (see strata social highest the t related closely lavish or are manuscripts samefive these only not the However, scriptoriums. of products are they that conceivable is It similar. quite are dancers,garmentsofhairminithethe andsimpleframes the ofthe the background, gold and green the related: closely are dance Miriam‟s of illuminations five su illuminations these name the Lavra images. the among connotationsinfollowing chapters. the a by shared is dance the of form choral circular, Theviewer. he Vatican Psalter with its more than two hu moretwo than its heVaticanwith Psalter

Cutler and Add.11836; Add.49753; Lavra B 26;Palermo, Fondo nvriy f hcg Lbay s 95 Hrl R Wlogb, Te oe 20 ad t Miniatures,” Its and 2400 Codex “The Willoughby, R. Harold 965. Ms. Library Chicago of University

aiy 2400 Family B 26 and Suppl. gr. 1335 with the Rockefeller McCormick New Testament and applied applied and Testament McCormickNew Rockefeller the with 1335 gr. Suppl. and 26 B

15(1933) referredto manuscriptthe Codexas 2400, the hence ofname Familythe 2400. The detailed descriptions show that there are several further similarities, parallels parallels similarities, further several are there that show descriptions detailed The Subsequently I Subsequently sles elc ter eoinl practice. devotional their reflect Psalters Family 2400 Family

Carr,“The Psalter Benaki 34.3,” 306. ggest that they were produced were they that ggest

hv aray mentioned already have I manuscripts.

compare the eleventh the compare to them. to

86 87

Altogether f Altogether

h tcnqe te opstos n te oos of colors the and compositions the technique, The

- ndred miniatures once belonged to a patron from patrona belongedto miniatures once ndred of the socialofthe élite

26 and twelfth and to belong discuss I manuscripts nine the of ive

in closely associated workshops. associated closelyin

that Willoughby in the 1930s has paralleled paralleled has 1930s the in Willoughby that

museoPar 4;

It is probable that t that probableis It

rtr t te su o ptoae n th in patronage of issue the to return I

- century images to surviving earlier earlier surviving to images century is,S ll nine illuminations. I discuss its discuss I illuminations. nine ll , thus the iconographicthethus , program uppl.gr. 1335. in the depiction of Miriam‟s Miriam‟s of depiction the in atures and the atures ly decorated ly he patrons of these costly costly these of patronshe

. 88 For example, For

mise en page miseen

Indeed, the Indeed, the Art e

CEU eTD Collection mustbe fromread leftthe tothe 89 dance The loose. is hair dark long Her wrist. her at closing sleeves narrow with costume red folio. ( side left the from Sea Red the leaving are Israel of sons the and Moses century ninth the from Psalter narrati the in marginal The combined. wasRedSeaamongthe possibleillumination.forthe choices Sometimes images two the were ninthMiriam‟sfromdancethecent P Byzantine of Ode first the of illuminations of the while danceverses, two following the the in to only mentioned referis which Miriam, not does ode the of text the that noteworthy is It 15:1). (Ex Moses Israe of sons the as hymn same 15:20 Exodus in mentioned 15:1 Exodus saved and Egyptians the defeated who so the o i earlierComparison to images: conography de of Moses. Moses and the sons of Israel sang the first ode after their miraculous escape, escape, miraculous their after ode first the sang Israel of sons the and Moses Moses. of de

At first sight it seems that seems it sight first At 89 -

called Previously I noted that the images of Miriam‟s dance dance Miriam‟s images of the that noted Previously I The first ode was associated with the triumphant dance of Miriam from the beginning the from Miriam of dance triumphant the with associated was ode first The Miriam is portrayed as a solo a portrayed isas Miriam most frequentlymost dancetheMiriam. portray of fig. 10 fig.

ve context of the Crossing of the Red Sea. On the lower margin of the Khludov the of margin lower the On Sea. Red the of Crossing the of context ve -

episode of the c the of episode and further and considerationstheregardingchanging form 19, it was sung by the sons of Israel and Moses. The dance of Miriam is is Miriam of dance The Moses. and Israel of sons the by sung was it 19, atr luiain Te is o first The illumination. salter ). The image is followed is image The ).

the figure of Miriam precedes the figures coming from the Red Sea, but the imagethe but Sea,Red the fromcoming figures precedesthe Miriam of figure the illuminations of ninth of illuminations right. Moscow, right. Hist.Museum, MS - 21. With drums and dance they praised the Lord and sang the the sang and Lord the praised they dance and drums With 21.

rossing of the Red Sea. The hymn praises the victorious God God victorious the praises hymn The Sea. Red the of rossing l. Exodus 15:21 repeats the first two lines of the first Ode of of Ode first the of lines two first the repeats 15:21 Exodus l.

ury, although not exclusively; ury, imagenot althoughCrossingofthe of the - dancer with cymbals in her hands. She is wearing a long a iswearing her She hands.in dancer cymbals with

the s the

the dance of Miriam on the right side of the same same the of side right the on Miriam of dance the ons of Israel. The text of the o the of text The Israel. of ons 27

- of representation the with illustrated was de

century p century

12 salters portray the dance of Miriam Miriam of dance the portray salters 9,

fol.148v. appear

as illustrations to the first the illustrationsto as

of representation of de can be read in read be can de

CEU eTD Collection By fol 92 91 Paris,Biblitohèque nationaldeFrance, MS 90 manuscripts, Octateuch Two image. the of fringe left the on Cost the Onlypsalters. eight other the registers. two in page same the on Sea Red the of Crossing the and Miriam of dance the composed Costanza Queen of Psalter 15:20 (Ex. the regard do this In dance. Miriam‟s portrays linesimage the that beholder the subsequent to reveal inscriptions the only Miriam, of dance the to refer ofcontext t eleventh tenth ninth the illuminations: the of character general the is so but different, dances portrayed of the fromilluminations marginal the that is clear hands. herIt in cymbals withdancer solo asa she portrayedis those: illu Miriam‟s Pharaoh. ofthe chariots the and RedSea ofthe Crossing the represents 249v, folio page, following The Israelites. the leading is Moses right the on side; left the on musicians by accompanied Miriam dancing the of figure the portrays ( modified slightly margThe portr is Miriam of

BibliotecaApostolicaVaticana, Biblioteca Apostolica Vaticana, MS Vaticana,BibliotecaApostolica For example: For zantine ManuscriptIllumination 194v . eleventh minations of the ninth the of minations - century images represent the dance in narrative context, while illuminations of the the of illuminations while context, narrative in dance the represent images century There are further differences between the images in the Psalter of Queen Costanza and and Costanza Queen of Psalter inthe images betweenthe differencesfurther Thereare

- (1125

inal illustration of the firsto the ofillustration inal and twelfth and he o he -

- n twelfth and Mt 1155) de Athos,

ayed in the same manner in other in manner same the in ayed – fig. 11 fig. Bt mnsrps have manuscripts Both .

although as I have mentioned above, the ode itself (E ode above,mentionedthe have I as although -

ninth and tenth century cannot be considered as models for the images the for models as consideredbe cannot century tenth and ninth Monastery ofMonastery century p century - divid was narrative the ): - etr p century century p century

is an exception among the nine the among exception an is Barb.

(UniversityPark

gr. 747, fol. 90v fol.747, gr. salte gr.372, fol Pantokrator salters, but the general features of her dance are similar to to similar are dance her of features general the but salters,

atr wih ersn crl dance circle represent which salters gr.510,fol. 264v rs usually omit the Crossing of the Red Sea Red the of Crossing the omit usually rs de in the tenth inthe de anza Psalter portrays a dancer with cymbals in her hand hand her in cymbalswith dancer a portrays anzaPsalter

en icse b Jh Lowden, John by discussed been , 249v , :Pennsylvania State University 1992)Press, , MS , 28

(ca. 1050 (ca. -

249r. E

61, fol 61,

ed to the margins of two pages. two of margins the to ed

- ninth century Barberini Psalter centuryBarberini nd ofndeleventh the century. - .

1075) 206r; Homili 206r; costume and her hair differ from the fromthe hairdiffer her and costume - century manuscripts and p and manuscripts century

p and Istanbul, Topkapı Saray, MSSaray, TopkapıIstanbul, and 92 salters, because the illuminator illuminator the because salters,

from the eleventh and twelfth twelfth and eleventh the from es of Gregory of Gregory of es h Octateuchs: The s x.15:1 . Not only are the the are only Not .

- 91 21) 21)

,11 is similar, yet similar,is - 19) does not does 19) Nazzianzen in Nazzianzen

- – the Only . Folio 249r 249r Folio 15

Suy in Study A salters. ,21 n the and - -

gr. 26 and . 90

8 ,

CEU eTD Collection enoughspace for an image. estimation a rough 93 it could what page verses thirty another carriedfolio missing the that probable also is 288r fol. is clear: ode first the of text the Psalter this That Psalter. Costanza the from missing is folio following The above. argued I as image the of character narrative the emphasizes which page, same the on Sea accor dancers the ofcostumes the painted QueenCostanza of Psalter the ofilluminator Theloosely. modelonly followed theilluminators the that clearis it time same the At model.iconographic among correspondence much too is there but exemplar, same the exactly on rely they that suggest not do I identical. are figures the of relations the and composition the because model, iconographic common dan the image. mirror a in though manuscripts, Octateuch the in those with identicalis pose her time same the At cymbals.the without portrayed isMiriam hands, their in cymbals hold manuscripts Octateuch the in side figures right theThe figurewithcorrespondingonseparate manuscripts the drums. depict dr leftOctateuch the while cymbals, thewith figuredepictsto the cymbals.Psalter Costanza The hands: their in instruments with figures separate two the portray manuscripts ( image sideof the right the on leftanother and the on figures,one ju portrayed, are figures four manuscripts Octateuch two the In dance. of images analogous contain centuries,

course, the exactthecourse, ofnumber dependslineson sizethe ofcolumn the and letters. The ofnumber onlyis lines

- ding to eleventh to ding (Ex 15:19) (Ex , ie ie pr page per lines five

cers hc cnit f fo of consist which

r dfeet n h tre ma three the in different are

portray . proportionoffolio. Theprobablyofof number ode per that the wasthe showslines and there st like in the Costanza Psalter: one pair of dancers, and two separate dancing separate two and dancers, of pair one Psalter: Costanza the inlike st .

This supports the idea th idea the supports This

ed - century fashion and combined the image with the Crossing of the Red Red the of Crossing the with image the combined and fashion century

? It is difficult to reconstruct, as from the Psalters here discussed only only discussed here Psalters the from as reconstruct, to difficultis It ? the three compositions to exclude the possibility of a common common a of possibility the exclude to compositions three the sixty , rty

- ie lines, nine - ih t seve to eight

contai 93 nuscripts, it is still possible that they rely on a a on rely they that possible still is it nuscripts,

at the lost folio may have carried have may folio lost the at n te at es was verse last the and 29 t lns e folio per lines nty

ns the last verse of the first o first the verseof last the ns

image. The codex runs to thirty to runs codex The image. Although t Although while in the Costanza Psalter Psalter Costanza the in while .

he costumes and the hair of of hair the and costumes he fig. 12 fig. h frt d hs nineteen has ode first The

rte o te following the on written ). The two Octateuch Thetwo ). de

n image. an (Ex. 15:19) (Ex. c ums and and ums ontained ontained - four to to four But But . It . CEU eTD Collection cn ed meil onttos Te oe f h Tetks n meil rpgna s icse i dti in detail 100 in discussed is propaganda imperial in Pentcheva, Theotokos the of role The connotations. imperial held icon Byzantium Aestethics and Antrophology RES: 99 Turkey: in from Ironthe A 98 personal devotion,see: Carr, “ 97 96 95 307. 94 (1143 Komnenos I Manuel Komnenoi. connotations. hence propaganda, of was palace Blachernai The reconstructed church. Blachernai the in venerated were (Blachernitissa) orans Komnene. Anna of devotion personal the in role important an played Logos infant the to referring child Christ the of Icons Platytera. Virgin Magnificat the illuminates chest her on child Christ s isquite Psalter the in image in are they model; general the to according portrayed are Furnace the in Men Three The Jonah). and (Hannah knees their inon prayer or Ananias,Isaiah) hands(Moses, in their with scrolls authors the figures of companions. her and Miriam are figures the the in companions her and Miriam o first the of illustrations illuminatingOdes.the images contain not does but registers, two with folio similar a features Psalter Saba Mar the

(Μα)ξη Cutler, On Blachernai,”the at Miracle‟ „Usual the ofIcon The Virgin: the of Images“Rhetorical Pentcheva, V. Bissera which Logos infant the about poem a wrote Komnena Anna Vato Carr,“

the Blachernaisee:palacethe

pedi 851 also belongs to the to belongs also 851 pedi Theotokos I need to signal two Psalters from the late twelfth century whi century twelfthlate fromPsaltersthe signal two to need I ά TheAristocratic Psalters in Byzantium, Di κ. Ibid.,κ. (University Park: Pennsylvania State University Press, 2006), 145 2006), Press, UniversityState Pennsylvania Park: (University Iconsand Power: The Mother ofGod inByzantium. minutiveByzantine Manuscripts,” 99 by the Komnen the by

30. h fgr o te maul Crs cid ws lo soitd ih the with associated also was child) (Christ Emmanuel the of figure The

with the Christ Christ the with

ge toSeljuks,the

de of Moses. Mt. Athos, Mt. Moses. of de Di h vnrto o te lcentsa icon Blachernitissa the of veneration the the minutiveByzantine Manuscripts,” Ruth Macrides, “The Citadel of Byzantine Constantinople,”“TheByzantine CitadelofMacrides, Ruth pecial again. The figure of the Theotokos the of figure The again. pecial oi

8 20) 50 (2000): 38 2400 Family orans 98

child in a medallion suspended over the c the over suspended medallion a in child and Alexios I Alexios and

orans ed.

pose in the furnace with an angel behind them. The last last The them. behind angel an with furnace the in pose

132. ScottRedford andNina Ergin (Leuven: Peeters, 2013), 277 - Cat.

10 ue te hit maul n i coins. his on Emmanuel Christ the used 1180)

manuscripts, see Cutler and Carr, and Cutler see manuscripts, pose ( pose

- 51. n 30 o 96

. 16. .

n Idem. And

(1081 h floig ds r ilsrtd ih the with illustrated are Odes following The fig. 13 fig. 97

Monastery of of Monastery

The Eleousa icon and another icon of the the of icon another and icon Eleousa The

- ( suggests that it played a particula a played it that suggests 1118) used the Blachernitissa as a tool tool a as Blachernitissa the used 1118) fig.14

). 132. , 95 Icons and Power: The Mother of God in in God of Mother The Power: and Icons

An inscription makes it clear that that clear it makes inscription An

) . It follows the typology of the the of typology the follows It . Vatopedi, MS 851 MS Vatopedi, - 164. Not only the Blachernitissa the only Not 164. ch include quite pecul includequite ch “The Psalter Benaki 34.3,”Benaki Psalter “The in orans

hest of the Virgin Virgin the of hest vkd imperial evoked Cities and CitadelsandCities

pose with the the with pose 94 r role in her in role r

portrays - 304. iar 100

CEU eTD Collection 102 Blachernitissaicon Byzantium, in Hodegetria,” toBlachernitissa from Protector: dis wasBlachernitissa) 101 trumpet wide with costume, their is examples earlier the from them distinguishes clearly that dancers these of features striking most the of One dance. the of form choral the and costumes the characteristic o features discusstwo firstmotifilluminating o the Red the Crossing of image the contained have would it that doubt I manuscript. the to alien not was character Virgin the of icon the of he and Miriam figures whichof portraythe 6.36, in Plut. Laurenzianaand 851 Vatopediimageitthose similarcontained to possible that a is It Costanza. Queen of Psalter the of folio missing the to moment a for return I Lord. the o first the of context inscription other no are There dancing. not prayer, in portrayed all are They Moses. ( praying the follow Miriam companions her and Miriam of figure the of character devotional the emphasizes also 6.36 Plut. on narratthe depictionthe to 851 mid the in popular the icon of the initiative, imperial this Following

Cutler, h ipra associat imperial The , it seems that they that seems it , h ilmnto o te is Oe in Ode first the of illumination The After this introduction to to introduction this After - sle TheAristocratic Psalters in Byzantium, d Mra aslk ( Vassilaki Maria ed. eves. This type of dress started appearing on images in the eleventh century. The The century. eleventh the in images on appearing started dress of type This eves. ive, but on devotionalthe act.

of prayer and iconsprayerand of in

Sea or the dance of Miriam twice, and I have not come across any anothe any across come not have I and twice, Miriam of dance the or Sea the Komnenithe - cussed recently by Christine Angelidi and Titos Papamastorakis, Titos and Angelidi Christine by recentlycussed twelfth century. twelfth

de it is clear that the women are Miriam and h and Miriam are women the that clear is it de i n o te cn f t of icon the of ons

are devotional in character in devotional are orans London: de inde Byzantine psalters. andynasty: Ibid.,214

in the Costanza Psalter ( Psalter Costanza the in the illuminations of the first o first the of illuminations the . Inother . 101 f the dancers ineleventh the f dancers the sgt, 2005), Ashgate,

To return to the illuminations the to return To s on the image except the name the except image the on s e ign n te hl (seily h Hdgti ad the and Hodegetria the (especially Child the and Virgin he Images of the Mother of God: Perceptions of the Theotokos in Theotokosin the Perceptions of God: of Mother the of Images

Cat. no.22.(l r companions venerating the Lord. The final image final image TheLord. companions venerating r the

words: these images do not explain not words:images theseelaborate anddo Florence 31

- 217.

Theotokos with the C withthe Theotokos 209 .

Under “devotional character” I refer both refer I character” “devotional Under -

ate twelfthcentury) 217. The 217. , iloea Medicea Biblioteca fig. 1 fig. 6 veneration of the Hodegetria and the and Hodegetria the of veneration ) exemplifies that a devotional a that exemplifies ) - de I return to my main set of of set main my to return I de

and twelfth and er companions venerating venerating companions er

of the odes in Vatopedi in odes the of hild became especially becameespecially hild

of Moses. of “ Picturing the Spiritual the Picturing - Laurenziana, MS MS Laurenziana, - century psalters: psalters: century fi

. 1 g. From the the From 5 ). 102 r

CEU eTD Collection 108 107 Ashgate,2006), 51. 1000 A.D. 106 105 Thisfeature appearsineleventh 104 103 also indenotes smaller the incourts capitalaristocraticthe provincand the imperial the to exclusively refer not does milieu courtly The milieu. courtly from the of status social exact the reveal not do costumes a gold withThecollars women decorated inthesearecostumesof wearinggarments. Add. the40753 the of standing social the signaled have could dress the of adornments the and fabric The from women Basically collars. wide and sleeves narrow long, with costume a in “turbans” resembling headgears wearing portrayed are 40753 Add. in dancers The court. imperial the in exclusively probably women‟sattire, é the among empire the spre soon and century eleventh the in court imperial the in appeared costume This ar servants their yet standing, social higher of women by worn mainly was dress of type this that argues and dress women‟s of aspect social the century. following the in court imperial the of women all wide a in empress the shows 1067 from much later, illuminationNot the50. Psalm of Bathsebaservantsthe example,forof on also but, incostumethis not only dancers depictsthe belt. collar with adorned be could costume

Ibid., Ibid., Ibid.,25 Parani, T ioh Dwo, “ Dawson, Timothy he dress of the empress was empress the of dress he 103 d raetl atr. I pattern. ornamental nd

50. 44 One of the earliest depictions of this garment survived in the Vatican Psalter, Psalter, Vatican the in survived garment this of depictions earliest the of One Reconstructingthe RealityofImages, - - - 1200” in in 1200”

45. 26and73

107

yatn Wmn Vreis f xeine D 800 AD Experience of Varieties Women: Byzantine - while the elaborate whileelaborate the 75 rpit, Practi Propriety, .

all social classes were depicted in these garments with headgears. with garments these in depicted were classes social all lite -

andtwelfth women (see below) (see women frequently

sget ta te sad o é for stand they that suggests t ca lity and Pleasure: T Pleasure: and lity

- depicted centuryrepresentations. Ibid., 25 headgear of the dancers inheadgeardancers VaticanwasPsalter theworn of the - bands and arm and bands - 73 sleeved garment. sleeved - 74.

a shield a 32 a coin a

. A veil or a headscarf was a general part of of part general a was headscarf a or veil A .

like element like of EudokiaMakrembolitissa of e aaees f oe' Des n Byzantium, in Dress Women's of Parameters he figures - e also depicted in similar garments. similar in depicted also e bands and be worn with or without a without or with worn be and bands 105 104

This t This Timothy Dawson has discussed discussed has Dawson Timothy portrayed, they refer to women to refer they portrayed,

- of 1200, -

26. the dress the lite women. Although the the Although women. lite ype of dress was worn by worn was dress of ype

d Lna aln (London: Garland Lynda ed.

hanging from the waist.the from hanging es .

(1059 ad across across ad

court. It court. - which 1071) 108 106

CEU eTD Collection 114 113 112 2011).Press, 59 111 (Ash in Origin,” 110 Blackwell,2009), 183. Power,” “Social and Ibid., Wealth, in: Byzantium Élites, in élite social the of structure changing allying the discusses Haldon John backgrounds. and It competing class. homogenous a as of seen be cannot élite consisted social the time, same the At church. and state the in positions 109 ideal this evoked also Psalters the in dance circle the of images the isthat probable It ritualdances. ancient these echoof distant abe may altar the around couple “D the although dances, ritual divine. the and humans between communication holding. ancientGreeceth In movement. circular and ordinate collective, a is it collectivity; of idea the convey which forms dance ancient most the among is dance circle or Choral research. their on arguments the of circularity icons. the Byzantine of on inscriptions connotations and significance the and icons of performativity Byzantium ( dance circular ancient the of connotationcircular Thea ritual dance. into reference “choral dance” term usethe I dance. Komnenoi. However, cult iconsthe was ofqui these Marian t suggest may family imperial the veneratedby were that those to similaricons of portrayalThe patron the that imply illuminations costly the Psalters, - Isar Pentcheva, Pentcheva, termThe élite referstobothsocial the andeconomic situationof members ofdominant the the classwho held Isar, “ Isar, 90 e: aai Ttranku “h Iae f h Vri Zoohs ee To usin Cnenn Its Concerning Questions Two Pege: Zoodochos Virgin the of Image “The Teteriatnikou, Natalia See: gate,2005), 230

, and ΧΟΡΟΣ The second shared characteristic among the nine images is the choral form of the the of form choral the is images nine the among characteristic shared second The illuminated these of patronage the regarding survives information much not Although Chorography( 113

idem. mgs f h Mte o Gd Pretos f h Tetks n Byzantium, in Theotokos the of Perceptions God: of Mother the of Images

The unbroken chain of people inThepeopleunbroken the of chain a dsusd eety y ioet Isar. Nicoletta by recently discussed was TheSensual Icon The , 52 , a tee sles a hv been have may Psalters these hat - ΧΟΡΟΣ 54. SensualIcon, e choral dance was a ritual, sacred dance characterized by the motifwrist byof dancethe characterized sacred wasritual,a dancechoral e

Chôra, ChorósChôra, Te ac o Aa: h Mkn o Bznie Chorography Byzantine of Making The Adam: of Dance The : h Sca Hsoy f Byzantium, of History Social The .,

155 170. choros

- 182.

ance of Isaiah” and the circling movement of the wedding wedding the of movement circling the and Isaiah” of ance

) 112 aiis n idvdas ec wt seii clua ad political and cultural specific with each individuals, and families –

A )

eadn te onttos f hrl ac I ae my base I dance choral of connotations the Regarding n its and Perf o r mativeo ofParadigmCreation echoes in the constitution of a sacred place in in place sacred a of constitution the in echoes 33

choros

114

prepared for the loyal supporters of the the of supporters loyal the for prepared There is no direct evidence on Byzantin on evidence direct no is There 111

constituted sacredconstituted thespace ( d Jh Haldon, John ed. s belonged to the aris the to belonged s

isr Pncea netgtd the investigated Pentcheva Bissera te wide te - spread inspreadEmpire. the f Sacred Space in Byzantium,”inSpace Sacred f

of sacred space, as was was as space, sacred of

168 - 1 (adn Wiley (Malden: 211 Lie: Alexandros (Leiden: d Mra Vassilaki Maria ed. tocratic é tocratic (see above) above) (see chora lite. 110 ) of of ) 109

e - -

CEU eTD Collection 118 117 VaticanusGraecus 752 116 115 they ancienthighlight theall traditionof ritual dance. and dances similar) a (or same the to refer images these of all that argue I dances. different differ are Psalter conte a to points also eleventh the in contemporary the reflect dancers the of costumes The form. dance contemporary a portraying of possibility the exclude not does tradition ancient an to reference its with dance choral a to allusion the words, other In other. contemporar the and tradition ancient the two, these that think tradition.” t with concerned of less persistence the with than … dance aristocratic contemporary a probably or ritual new a of depiction is image] [the “it that argues Pentcheva inscription. the of movement circular the words, other tex the that o whole the not but by followed is It Miriam. of name the figurewith center top the by formed circle the of frame exterior Psalms. of composition the in him accompanied the denotes It women. dancing of Pseudo text a from taken is women fourteen the of foot the at inscription The Psalter. Vatican Pentcheva. by suggested

Ibid. Ibid.,170. Ernest Ernest BisseraV.Pentcheva, , 173. , - Chrysostom and refers to the eight musicians eight the to refers and Chrysostom . DeWald, T. 118 t has a cyclical, circular structure formintertwiningverses. withhasstructure returningand t circular cyclical, a

I agree with her that the image reflects the ancient tradition of the the of tradition ancient the reflects image the that her with agree I - century imperial court. The evidence from the nine images I have discussed discussed have I images nine the from evidence The court. imperial century ent from the other eight Psalters, eight other the from ent

argues and inscription the of structure the investigated has Pentcheva de. (Princeton:Princeton University The Illustrations in the Manuscripts of the Septuagint, III, Psalms and Odes, Odes, and Psalms III, Septuagint, the of Manuscripts the in Illustrations The TheSensual prr crl dne S dance. circle mporary 115 There are two inscriptions on the image of Miriam‟s dance in the in dance Miriam‟s of image the on inscriptions two are There

choros Icon , , 171. eleventh

of the musician the of

linked hands of the dancers. The text starts at the the at starts text The dancers. the of hands linked 34 - century fashion, thus Miriam‟s dance is placed placed is dance Miriam‟s thus fashion, century

Press, 1942),Press, choros

tylistically the illuminations of the Vatican Vatican the of illuminations the tylistically 116

but

h wrs f h frt o first the of words The portrayed in the middle of the circle of of circle the of middle the in portrayed

- it does not follow that they represent represent they that follow not does it s elce i te tutr o the of structure the in reflected is prophets who surrounded David and and David surrounded who prophets

41. different lines from the first ode, ode, first the fromlines different

y dance, do not disqualify each each disqualify not do ydance, de run on the the on run de choros at 2 Part

117 but I but

he In : CEU eTD Collection chapter andalsodiscusschapter I triumphal the in ofconnotationdance Byzantium. following the in illuminations its and Psalter the of character devotional the of implications devotiona to narrative from shifted also illuminations the of character II) chapter in (see dance of meaning psalters the well the to belonged who manuscripts, illuminated fine the of patrons supposed the with correspond dancers the of garments The were dancers the that seems It women. of dance circular a to shifted was Miriam of dance solo the dance: twelfth and The comparison between th between comparison The -

century images demonstrates the there was a change in the portrayal of Miriam‟s Miriam‟s of portrayal the in change a was there the demonstrates images century lue t te onttos f n nin rta dance ritual ancient an of connotations the to alluded depicted in the costume of courtly women of the eleventh and twelfth centuries. centuries. twelfth and eleventh the of women courtly of costume inthe depicted e ninth e . With the changes in the form of the dance shown, the the shown, dance the of form the in changes the With . - to - -

do aristocracy. The circ The aristocracy. do and tenth and 35

- century illuminations and the eleventh the and illuminations century le dance in the contex the in dance le

and to the triumphal triumphal the to and . eaoae n the on elaborate I l.

t of of t -

CEU eTD Collection ςτνευέπεσαι καςτνευέπεσαι σ ἐ 119 viewsthesefromentertaining negativeperspective. activitiesa a twelfth in banquets the as elements same the contained II Isaac of Angelos II Isaac of court the in banquet private a describes the in observedbe can perspectives opposing joy.These expressing of mean a as described is it differentlyas treated is dance rhetoric Byzantine in time, same the At light. negative in dancers view church, the as exemplarsinspiration regarded devotion.for and been have could dance Miriam‟s of images the that suggest I reason this For person p in dance s I Subsequently, dance. of connotation triumphal the on focus I chapter I for chapter sources this literary In discuss rituals. ancient evoke time same the at and dance choral contemporary ὰ γεπςιγέλψςί σε bundance of food, drinking, joking, music and dance. At the same time Choniates‟ account account Choniates‟ time same the At dance. and music joking, drinking, food, of bundance

αίεα σο βαςίλεια. Choniates,HistoriaIII.: al devotional practice and psalms and odes offered exemplary models for their readers. readers. their for models exemplary offered odes and psalms and practice devotional al

andmimeretorted… kinswomen wittiestofwas theChalivoures, who e the of up made women of dance the admiring nearby empire…ofthe Standing state corrupts healthy theand soundelseandthat all wantonness sexualby followed revel, drunkencome must these with arm and close not did he dwarfs, laughter consorted and songs lewd and ribaldries in delighted he As n h peiu catr pooe ta te mgs f iims ac rfr o a to refer dance Miriam‟s of images the that proposed I chapter previous the In As I mentioned in the in mentioned I As salters also conveyed this triumphal meaning. Psalters played a prominent role in role prominent a played Psalters meaning. triumphal this conveyed also salters ὶ Ὲ

ἀ δ ρ ὅ νθπψπίςκοιρςτμπαπαυύπψν ο the the ςα φπηςσ ςα ὲ

CHAPTER σοιούσοιρ r

ole

comparison of different texts on imperial banquets. Niketas Choniates Niketas imperialbanquets. on texts different of comparison ῆ

Χαίπψνδ of the the of ρ κα ρ ὶ ὁ

dance in the middle Byzantine period. In the first part of this this of part first the In period. Byzantine middle the in dance ὑ

γιο άονρ κ πάποινορ i

lluminationsof II: Triumphal II: ὲ Introduction the palace to knaves, mimes, and minstrels. But arm But minstrels. and mimes, knaves, to palace the ῦ

σα ρ βαςιλείαρ ςτνδιαυθείπεικασάςσαςινβαςιλείαρ ρ Ὲ ρ ε ρ ὐ σπαπελίαιρκα

ῶ ὐ ο ςνζτσι άσρ κα πάνσψρ ςτνέζετκσαι μορ κ ἐ , text , πεζύγοτκακέπκψχί σε 36

c p

onnot salters ual sources that convey the official view of of view official the convey that sources ual ὶ

σο Ὲ ations of ations ρ ἐ κ σ κ in in ῆ p

ρ (1185 ersonal ἁ

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century novels, namely namely novels, century κασ evotion uggest that images of imagesof that uggest ὶ ὰ

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. The banquet The .

σ ῶ ν σόσεμίμψν ν ἁ λιςκόμενορ ἀ ὶ

ςέλγεια ἀ οιδο Ὲ ρ CEU eTD Collection Book ofBookCeremonies Porphyrogennetos,VII Constantine 121 After1204: VersionsThe of Choniates‟Niketas „ 120 LyndaGarland Entertainment,” and Women “Imperial Garland, Byzantium, Annals of Niketas Choniates Dieten, van J. ςτγγεν ὁ officialbanquet. banquet. the of part not were dances specificdays on that fact the to attention draw passages of couplea example, Ceremonies the in dances different of descriptions detailed less or more two are there While subsequently were and centuries the to back persiste dates dance of connotations dance triumphal the that therefore, triumphal clear is It of antiquity. tradition The period. Byzantine middle the in dance positiveimpressionfeasts.anddances more a communicate that court imperial the in banquets official were there light, negative III. Alexios by employed was whe part this wrote hebecause moral decay of sign a as II Isaac of banquet the presented he patronage: of context this in interpreted be must Choniates of words The circumstances. The II. III Alexios of court the at serving was Choniates Niketas Triumphalat dance

φαπιέςσασορ,

Recently Alicia J. Simpson has discussed the issue of compilation of the the of compilation of issue the discussed has Simpson J. Alicia Recently It is mentioned regarding t regarding mentioned is It ῶ ν σο History The tenth The ῦ

, dances were probably performed more frequently d frequently more performed probably were dances ,

Nicetae Choniatae historiaChoniataeNicetae βαςιλέψρ κεκποσημένον (Aldershot:Ashgate, 2006), 181. ᾧ

f hnae ws opsd ne dfeet arn, n ifrn historical different in patrons, different under composed was Choniates of ὸ (Canberra:Australian Association for Byzantine Studies

- ἐ century ώτο Χλβύη, ειλχμνρ σ πεπιβλεχάμενορ Χαλιβούπηρ, πώντμον

121

imperialban

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ConstantineVII Porphyrogennetos, The ConstantineVII Porphyrogennetos, ConstantineVII Porphyrogennetos, ConstantineVII Porphyrogennetos, Magistros ihe McCormick, Michael Psalm . 134 f Constantine is described in the second book, chapter 19. This section was compiled compiled was This section 19. chapter book, second the in described is fConstantine h porm tre ery n h mrig te meo wn i poeso t the to procession in went emperor the morning: the in early started program The t s q is It ,

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130 tra Vcoy Timhl uesi i Lt Atqiy Byzant Antiquity, Late in Rulership Triumphal Victory. Eternal :Cambridge University Press

draperies, the salutation of the emperor or the military commander commander military the or emperor the of salutation the draperies, McCormick,

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a n ed

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r,”, 217. r,”, (Champaign:University ofIllinois n . 142 . Hellenika 138 t

ine IX forIXine consortingwith convicted hereticsand for his him Sabar,“Critique of Empero the

Art,1997), 206

The unique program of the Vatican Psalter has be has Psalter Vatican the of program unique The , Arethas, archbishop of Caesarea ofarchbishopArethas,

The Glory of Byzantium, of Glory The ,ed. PaulStephenson (Abingdon: Routledge, 2010), 114 uc siuae te eleventh the stipulated hurch - 1059), 14 (1956):14 339

- 1 47 31,

fol.24r. 207. sebis f Arians. of assemblies luent Maria Skleraina. See more in: Tia M. Kolbaba, M. Tia in: more See Skleraina. Maria illuminations, but it also attests to the link between between link the to attests also it but illuminations, Arethas was sent into exile because of his critique, but soon hesoon butcritique, becausehis ofexileinto Arethassent was - 8 Amphiloch 48.

or. - ial opponent of Constantine IX Monomachos. KeroulariosMonomachos. IX Constantine of opponent ial 347. The same twosame347.The featured eleventhconcerns the 42

140

TheByzantine 1025 Empire

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ca. 932) opposed the fourth marriage of marriage fourth opposedthe 932) ca. and allude to the latter‟s demand demand latter‟s the to allude and

aarzu Taola and Trahoulia Kalavrezou, sls ee t te oe of role the to refer psalms 139 os f h cuc n emperor and church the of ions

and William D. Wixdom (NewWixdom D. William and

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- owner 1204: A Political1204: A History

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Maria Skleraina. See more in: Tia M. Kolbaba,M. Tia in: more SeeSkleraina.Maria aarzu Taola and Trahoulia Kalavrezou, ( Sabar Sabar,“Critique of Emperothe 1056

, “Critique , of Empero the as heresy as peculiarities in the arrangement of representations, namely the the namely representations, of arrangement the in peculiarities - 57) 57) - etr relat century – n Iac Komnenos I Isaac and

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Ibid.,215. . Con . In contrast to the representation of the Vatican Psalter, the images of Miriam‟s dance dance Miriam‟s imagesof the Psalter, Vatican the representationof the to contrast In sidering that religious matters were dictated were matters religious that sidering

lowing subchapter demonstrate that dance appeared as an instrument for the the for instrument an as appeared dance that demonstrate subchapter lowing

ble. To return to the representation of the first ode, I suggest that it suggestthat I firstode, the representationof the returnto To ble.

144

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The name “Elias Ekdikos” is conventionally used to identify the author of the ofthe author the conventionallyidentify isEkdikos” to “Eliasused name The The Kiss Etele, Etele, Kiss h Lne Triodion Lenten The 146 ύ ΧΟΡΟΣ ονσερ

Lentent Triodion Lentent s eoe aprn, h jy f dm n te o o pol wr eepiid by exemplified were people of joy the and Adam of joy the apparent, becomes As In this context the celebration with dance should be understood metaphorically. It It metaphorically. understood be should dance with celebration the context this In Previously I discussed the triumphal connotat triumphal the discussed I Previously she took up a timbrel and led the women who sang the victory the sang who women the led and timbrel a enemy, up the took she of fall the saw Moses, of sister the Miriam, when times, olden In per The , :The Dance ofAdam . ἀ 148 γαλλιαρ The resurrection of Christ and his triumph over death were celebrated during the the during celebrated were death over triumph his and Christ of resurrection The

Ú eemne a Monomachos a eredmények “Új 147 n h fut pr o the of part fourth the In sonal, spiritual victory of the soul was paralleled with the victory of the Lord Lord the ofvictory the with paralleled was soul the ofvictory spiritual sonal,

nepes h dne f iim s h dne f ite i his in virtues of dance the as Miriam of dance the interprets ώ , FoliaArchaeologica

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58 145 G.E.H. Palmer, Philip Sherard and Kallistos Ware, Kallistos and Sherard Philip Palmer, G.E.H.

, Furthermore: “This day, ye peoples, let us dance and sing to sing and dance us let peoples, ye day, “This Furthermore: ῾

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his CEU eTD Collection century,see: 177 176 ByzantinePsalters,” 175 texts the but contemplation, Zigabenos. Euthymios of commentary the contains it Furthermore, books. Testament Old to companion hugethat thesea imagineis is havehardpersonalforIt indeed believed to two ofbeenused Nonetheprayer. to large are Psalter Saray Topkapı the and Psalter Vatican the Both text. the for used easily been have could Psalter Saba Mar sizethe smallits of Because Psalter. Saba Mar the and Psalter Saray Topkapı the Psalter, psalters nine the Among for only not also, prayer personal of purpose the for read been distinction absolute. not is the psalters of However, types two prayer. the between for appropriate more were commentaries the without commentaries.ps understand of theologicalmeaningthe to havebeenused commentaries without those and commentaries with Psalters their contents: on based distinguished T be New can psalters the of types from Two commentaries. texts and Testament, different with along came They alone. standing not were psalters the of most chapter first the in discussed I as but psalters, in commentaries Psaltersse in portrayal their of inclusion the thus positively, seen were dances triumphal Presumably, . P Euthymios Zigabenos was a monk who lived in a monastery near Constantinople on the turn of the ele the ofturn the Constantinopleon monastery near a in livedwho monk a wasEuthymiosZigabenos P ruo, Patr ad Personal and “Psalters arpulov, arpulov,“Psalters andPersonal n re t cnepae n t rct pam i i nt eesr t include to necessary not is it psalms recite to and contemplate to order In s hv mnind n h frt chapter first the in mentioned have I As emsappropriate.

Lowden, 177

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248 IlluminatedProphet Books

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there are three that contain commentaries: the Vatican Vatican the commentaries: contain that three are there piled for theological investigation theological for piled antium,”82. , 31. nim” 2 Ad Lowden, And 82. antium,”

54 personal prayer beside the theological study of of study theological the beside prayer personal

176

h Topkapı the sles ih omnais a have may commentaries with Psalters

hooia contempl theological Saray manuscript was a a was manuscript Saray Osrain o I on “Observations . At the same time, it it time, same the At . alms, while psalters psalters while alms, - sized manuscripts. sized 175

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Laiou and Ibid., e Nresa, A sle ad e Tsaet aucit t ubro Ok, 167 Oaks,” Dumbarton at Manuscript Testament New and Psalter “A Nersessian, der Psalters 30. Here There is one furtherisquestionlef Thereone

lter in the twelfth century in comparison to the earli the to comparison in century twelfth the in lter

Morrisson, torial formulasportraitsofwith torialauthor scrolls in andhands, Miriam‟s their dance.

I have to refer again to the peculiarities of the Vatican Psalter. As I described described I As Psalter. Vatican the of peculiarities the to again refer to have I then then

it seems probable that the psalters forming the subject of this thesis were were thesis this of subject the forming psalters the that probable seems it The ByzantineEconomy, 180

,9.Lowden, “ It seems that they were executed for the special demands of the the of demands special the for executed were they that seems It

- tion.

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134. With the the With

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nography and the manuscript‟s large manuscript‟s the and nography

there illuminations of psalters psalters of illuminations there er practice. It seems that the that seems It practice. er from the later centuries. later from the - size, the size, o Psalters,” i implies that more that implies i

and the Topkapı Topkapı the and 178 - 177. abundance of of abundance

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minated Psalters,”minated259; ith the growing demand and financial accessibility to financialaccessibilityto and demand growing iththe 56

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dances i rao, sget ht hs rpeettos ee nprd y crl dne n its in dance circle a by inspired were representations these that suggest I reason, his

and - This etr cuty iiu This milieu. courtly century

holdings of hands imply that the images do not rely on a common pictorial model. model. pictorial common a on rely not do images the that imply hands of holdings portrayed

s . The garments of of garments The . thesis . The triumphal connotation of dance is apparent inThetriumphal . is the ofconnotation dance apparent focuses on focuses that is still part of the ceremonial of ceremonial the of part still is that s n te rupat hit were Christ triumphant the and ns ctorious God, it seems likely that the images referred to this triumphal triumphal this to referred images the that likely seems it God, ctorious can b can space

n hs period this in Book of Ceremonies of Book e perceived to allude to a very similar very a to allude to perceived e o a lat n niomn rcgial t contemporaries to recognizable environment an least at or ,

for the communication between human and divi and humanbetween communication the for the images of Miriam‟s dance in dance Miriam‟s of images the the depicted depicted the demonstrated that demonstrated

all

CONCLUSION mle ta te mgs lc Mra‟ dne in dance Miriam‟s place images the that implies ude to the triumphant emperor. The spiritual joy over over joy spiritual The emperor. triumphant the to ude ok f Ceremonies of Book , namely the circular dance of Miriam and her her and Miriam of dance circular the namely , dancers can be correlated be can dancers 57

shows, the first ode ode first the shows,

a new type of represen oftypenewa

orthod described . The acclamations during and and during acclamations The .

ox weddings ox eleventh

circle dance. At the same same the At dance. circle written may well may s a as

with the eleventh the with -

res, steps, twists of of twists steps, res, twelfth and dance of the soul. soul. the of dance sources. Thereare sources. tation appeared in appeared tation

d have evoked an havean evoked d echo

ne spheres. The The spheres. ne have been sung sung been have es the es - century century

- ritual ritual

and and a . CEU eTD Collection psalmsodes. and the during meditation contemplation, of points focal as perceived been have p in VaticanPsal the of poem dedicatory The regard. this inexceptional model role devotional “beco pe been have could of light middlep Byzantine beginning of Alt p the letter, his to mirror singing of importance the on elaborates Alexandria havecouldmodelsbeenperceivedasexamples, devotion prayer.andof prayer. and contemplation se per subject depicted the evident make they that sense the narrativesuggests the portraits viewedsimilarlyMiriam‟sshouldbe to dance or prayer o the investigatedtheirplace hough atr wr cniee a mdaoso dvn togt. Thus thoughts. divine of mediators as considered were salters des. It seems that the illuminations of odes odes illuminationsof the seemsthat Itdes. me s

n diin to addition In h p The Athanasi beholder the of movements the which in

” rather than rather

holding the h prri of portrait the atr played salter

etr a witn n h fut cnuy i ws frequently was it century, fourth the in written was letter os‟ influential os‟

scrolls in their hands. For For hands. their in scrolls

atr a b u be can salter rceived similarly to a mirror; i mirror; a to similarly rceived do not not do

narrative images. The images. narrative

that these illuminations can be perceived as perceivedbe can illuminations thesethat

s ment withinment A I ae rud i ses ht h iae o Mra wr not were Miriam of images the that seems it argued, have I As . icsig hs cnoain o te representatio the of connotations these discussing the narrate a specific episode specific a narrate a utemr, hv sugg have I Furthermore, rmnn rl i proa p personal in role prominent eodr Mr acrtl, h prris hwd the showed portraits the accurately, More beholder.

letter even in later centuries. I have I centuries. later in even letter salters. Therefore, it Therefore, salters. sed sed

the manuscripts and their relation manuscripts their and the s hnbo providing handbook a as absence tu te otat poie iul ou for focus visual provide portraits the thus , of images the that suggested have I reason, this 58 these author images author these

usually ‟ s soul are reflected. Furthermore reflected. are soul s n this way this n

of any visual reference visual any of

the psalms and interprets the psalms as psalms the interprets and psalms the is as one finds, e.g. in earlier psalters, earlier in e.g. finds, one as se ta ato prris n p in portraits author that ested

plausible to interpret the Psalter in the ininterpretthe Psalterthe to plausible portray the supposed authors supposed the portray iety. The letter of Athanasios of of Athanasios of letter The iety. , the portrait of the author could author the of portrait the ,

, namely as , udne o dvu souls. devout for guidance representational portraits representational ter reveals that the images the that reveals ter suggested

h representations the to other illuminations other of to

of these images to to images these of ns

representational representational included that the images the that ,

recitation of of recitation I have also also have I , according according ,

image of of image either salters salters t the at may

but but

in in

CEU eTD Collection reflected inimagesreflected ofthe these psalters. of members them of majority the that suggests images. of number great a contain manuscripts the of most and background gold on Furthermore, I have discussed the issue of patronage. The illuminations were painted painted were illuminations The patronage. of issue the discussed have I Furthermore, the rsorc. t follows It aristocracy. were

luxurious manuscripts prepared for the demand the for prepared manuscripts luxurious that 59

hs rsortc élite aristocratic this

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CEU eTD Collection ______Weyl. Annemarie Carr, _____ Michael. Angold, from Protector: Spiritual the “Picturing Papamastorakis. Titos and Christine, Angelidi, SecondaryLiterature Triodion Lentent The Niketas Choniates. Eugenianus. Niketas Ekdikos. Elias VI Constantine AthanasiosAlexandria.of Primarysources ___ Maxeme Tall, Maxeme I ceremonies des Livre Marcellinus. Gregg, C. Robert Trans. Completus. 39 Tradition. Cambridge:UniversityCambridge 1995. Press, Byzantium Theotokosin In Hodegetria.” to Blachernitissa 1978. UniversityWayne Detroit: State T 1975. Jeffreys, secolo. XII Faber,1984. Ware. Kallistos and PhilipSherard Palmer, G.E.H. J. Paris: vols. 161 Graeca. Series ByzantineStudies, - . “A Group of Provincial Manuscripts from the Twelfth Century.” Twelfth the from Manuscripts Provincial of Group “A . . . “Diminutive . Byzantine Manuscripts.” 81. The1025 EmpireByzantine

rans. Harry J. Magoulias, J. Harry rans. Gnomic Anthology Gnomic I Porphyrogennetos, Porphyrogennetos, I FourNovelsByzantine

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- DOP DOP o. 27: Vol. 1176. Trans. in Trans. 1176. 36 (1982): (1982): 36

139. 11 - 1261. 1261. r and and r - 46. 46. Le

CEU eTD Collection and Trahoulia, Nicolette Ioli, Kalavrezou, Corinne. Jouanno, “Surun Wise.” the Leo of Marriage Fourth the on Arethas of Letters “Eight H. J. Romilly Jenkins, Jeffreys,Elizabeth. ______Nicoletta. Isar, Haldon,John. ______In Entertainment.” and Women “Imperial Lynda. Garland, Wixom,ed. William D. and C., Helen Evans, T. Ernest Wald, De der in Women's Dress of The Parameters “Propriety,Pleasure: and Dawson,Timothy.Practicality Unpublished An 34.3. Benaki Psalter “The Carr. Weyl Annamarie and Anthony, Cutler, ______Cutler,Anthony. Nersessian, Sirarpie. “A Psalter and a New Testament Manuscript at Dumbarton Oaks.” Dumbarton at Manuscript Testament New a and Psalter “A Sirarpie. Nersessian, 120. 120. 1000 A.D. Byzantium, fromIlluminated Manuscript Family the2400.” JewishJournalof Art Vatican Psalter gr. 752.” Vatican gr. Psalter Hellenika Medieval In Byzantium.” in Space Alexandros2011. Press, 2006. 800 Experience AD era,843Byzantine A.D. Middle Odes, DOP . “Chorography ( “Chorography . . Cycle.” David Byzantine the of Evolution the and Saba Mar from Psalter “A . yatn Wmn Vreis f xeine D 800 AD Experience of Varieties Women: Byzantine E

19 (1965): 153 (1965): 19 Part 2: Part d.Lynda 41 Garland, The Social HistorySocial ofThe Byzantium ΧΟΡΟΣ

Russia The Aristocratic Psalters in Byzantium Aristocraticin The Psalters 14 (1956): 293 (1956): 14 FourNovels.Byzantine VaticanusGraecus 752. The Illustrations in the Manuscripts of the Septaguint, III, Psalms and Psalms III, Septaguint, the of Manuscripts the in Illustrations The : The Dance of Adam. The Making of Byzantine Chorography.Byzantine of The Making Adam. Danceof : The .

E d. - topos Chôra, Chorós Chôra, 1200 -

168. Alexei 6 (1979): 39 (1979): 6 - 1200.” In In 1200.”

- DOP .E

oublié: lesbanquets.”de oublié: scènes 372. Hierotopy: - d.Lynda 177 Garland,

77. Aldershot: Ashgate,77.2006. Aldershot: Lidov,

47 (1993): 195 (1993): 47 - 1261. Byzantine Women: Var Women: Byzantine - ) 63.

59 – Liverpool:UniversityLiverpool 2012. Press, Shalom Sabar. “Critique of the Emperor in the the in Emperor the of “Critique Sabar. Shalom

Princeton, PrincetoPrinceton,

61 Sacred of Creation of Paradigm Performative A New York:New 1997.Metropolitan Art, Museum of - The Glory of Byzantium: Art and Culture of the of Culture and Art Byzantium: of Glory The Creation 90. .

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Moscow: - 219. REB

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192. Aldershot: Ashgate,192. 2006.

Sacred

Indrik, 34281 (1976): :

By Wiley zantine Women: Varieties of of Varieties Women: zantine nUniversity 1942. Press, ieties of Experience AD 800 AD Experience of ieties REG

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CEU eTD Collection Mango, Cyril. Mango, Literature.” and Art Byzantine in Aesthetic Profane “The Henry. Maguire, “TheMacrides, Ruth. CitadelofIninByzantine Cities Citadels Constantinople.” and Turkey: MacAlsiter, ______John. Lowden, mittel der in Tanz “Der Angeliki. Liveri, Lidov, Morrisson. Cécile and E. Angeliki Laiou, ______M. Tia Kolbaba, Monomachos a eredmények “Új Etele. Kiss, P Alexander Kazhdan, P., Alexander Kazhdan, 400 Byzantium, in Kalends “The Anthony. Kaldellis,

Press, ResearchMonomachosthe on Crown?] Twelfthand CenturiesEleventh University1991. Press, Religionsgeschichtefür Archiv 189 University1994. Press, Novel Ancient the 242 1988. PennsylvaniaUniversity Park: 199 State Press, Vienna: Neogräzistik und Byzantinistik Moscow: University2007. Press, 114 Peeters, 2013. Peeters, Agefrom to Iron thethe Alexei, . “Observations on Illuminated Byzantine Psalters.” The Art Bulletin Bulletin Art The Psalters.” Byzantine Illuminated on “Observations . . “The . Latins.”FaultstheandVirtues of - - - Illuminated Prophet Books. Books. Prophet Illuminated

260. Abingdon: 130. Routledge, 2010. 205. Suzanne. “Ancient and Contemporary in Contemporary and “Ancient Suzanne.

2010. 2010.

Byzantium: the Empire ofNewEmpire the the Byzantium: Rome. ed Verlag der der Verlag

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Creation . ae Ttm 308 Tatum, James d. xod itoay f Byzantium of Dictionary Oxford Seljuks Suy n yatn Mnsrp I Manuscript Byzantine in Study A , ed.Wolfram Hörander and Johannes Koder, 287 Koder, Johannes and Hörander ed.Wolfram , 13 (2012): 187 (2012): 13 .

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Spaces WorldByzantine The - 2. 203. - Byzantine Novels.” Byzantine 322. Baltimore: The John Hopkins Hopkins John The Baltimore: 322.

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1200 AD: A New Interpretation.” Interpretation.” New A AD: 1200 in

Byzantium Illinois: University of Illinois Illinois of University Illinois: . 3 vols. Oxford: Oxford Oxford Oxford: vols. 3 . 46 (1997): 125 (1997): 46 Cambridge: Cambridge Cambridge Cambridge: llustration.

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APPENDIXFIGURESI:

40753, fol. 146v.40753, 4.: Fig. Museo,4,fol.MS Fondo Palermo, 287v. The2.: Fig.Psalter ofQueen Costanza. London,British Library,Add.MS

CEU eTD Collection Paris,5.: Fig.Bibliothèque 1335, fol.Suppl. MS national France, gr. de 327r. 66

CEU eTD Collection 262r. Athos, Megistefol.8.: Fig.Lavra, 26, BMS fol. 298r. 11836, London, British6.: Fig. Library,Add.MS

Fig. 7.: The7.: Fig.SabaMarLondon, Psalter. fol449v. Biblioteca752,Apostolicagr.MS Vaticana, The9.: Fig.Vatican Psalter, BritishLibrary,

MS Add. 36928, fol. Add.279v.MS36928,

CEU eTD Collection fol.194v. Is 12: Fig. D,fol.129 MS Historical Moscow, Museum, The10.: Fig.Khludov Psalter,

tanbul,Topkapı8 gr.Saray,MS 148v.

, 68

851, fol. 184v.851, Mt.Athos, 13.: MonasteryFig. MSof Vatopedi, 372,fol.249r. Barb.MSgr. BibliotecaApostolicaVaticana, TheBarberini11: Fig. Psalter,

CEU eTD Collection The16.: Fig.Psalter Palermo,4,offol.MuseoQueen Costanza, Fondo 293v. fol. 851, MS 190v. Mt.Athos, 14.: MonasteryFig. of Vatopedi,

Fig. 15.: Florence, 15.: Fig. MS Plut. 6.36, fol.6.36, Plut.MS 349r. BibliotecaMedicea

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