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Byzantine Visual Culture in Western Imperial Courts, 497-1002

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Byzantine Visual Culture in Western Imperial Courts, 497-1002 COMPETITION OR ADMIRATION? BYZANTINE VISUAL CULTURE IN WESTERN IMPERIAL COURTS, 497-1002. by Stacey Adelia Blake A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY School of Arts and Law Institute of Archaeology and Antiquity University of Birmingham March, 2015. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The following dissertation reassess previous explanations for the transmission of Byzantine iconography to western material culture that have been classified by the classical canon as being manifestations of a ‘barbarian’ ruler attempting to legitimize their fledgling culture. The tumultuous relationship between the east and the west during the Late Antique period to the middle Byzantine period and the subsequent visual culture that demonstrates cross- cultural exchange comprises the majority of my analysis. I approach the topic in a case study fashion focusing on five rulers: Theodoric, Charlemagne, and the three Ottos. The source material chosen for this dissertation varies as it has been selected based on claims by previous scholarship of demonstrating some level of Byzantine influence. My re-examination of these works includes the application of an interdisciplinary theoretical framework first postulated by Robert Hayden: Competitive Sharing. This theory suggests that material culture displaying syncretism was not a reflection of admiration, but of competition. An implication of this study is that art was an active participant in the relationship between the east and the west, serving as a communicative device, rather than as the more frequently cited passive role of a conduit for iconographical transmission or cultural legitimization. ACKNOWLEDGEMENTS There are many people who have helped me complete this project. I would first, and foremost like the thank my parents who spent countless hours after school working with me to ensure that I did not lag behind the rest of the class who seemed to have the magical ability to stay seated and focused in their chairs. I would like to thank Drs. Art and Jane Blouin for their extreme generosity. Without their additional support this would not have been possible. The University of Birmingham has been an excellent resource over the past three years in terms of both supervision and financial support. Professor Leslie Brubaker has been an invaluable asset for my progression, and I would like to thank her for her support and feedback. The scholarships and bursaries awarded to me through the university were not only generous, but allowed me the freedom to travel to conferences internationally. The continued support from my alma mater, Carleton University, is still present to this day. Professor John Osborne continues to be a resource that has remained consistent throughout my academic career. I would also like to thank Dr. Caroline Goodson of University of London. Her valuable insights and expertise on the Carolingians were integral to the completion of my second chapter. Lastly, I would like to thank Arthur Blouin. The completion of this project would not have been possible without his unwavering support. His ability to be sounding board, critic and champion has meant more to me than words can express. TABLE OF CONTENTS Introduction ......................................................................................................... 1 Chapter 1: Theodoric the Great ....................................................................... 21 Historical background ....................................................................................... 27 Theodoric’s Building Programme ..................................................................... 38 Sant’ Apollinare Nuovo ..................................................................................... 44 Arian Baptistery ................................................................................................ 65 Theodoric’s Mausoleum ................................................................................... 70 Competitive Sharing ......................................................................................... 81 Civilitas ideology ................................................................................ 84 Theodoric’s Building Programme and Competitive sharing ............... 95 Conclusions .................................................................................................... 103 Chapter 2: Charlemagne ................................................................................ 107 Historical Background .................................................................................... 110 Early Interactions with Byzantium .................................................... 112 Coronation ........................................................................................ 122 Charlemagne’s Cultural Programme .............................................................. 135 Manuscripts .................................................................................................... 142 Ivories ............................................................................................................. 179 Competitive Sharing ....................................................................................... 202 Conclusions .................................................................................................... 217 Chapter 3: The Three Ottos ............................................................................ 220 Liudprand of Cremona ...................................................................... 222 Historical background ..................................................................................... 228 Theophano in the West .................................................................................. 236 Theophano’s Impact on the Visual Arts ......................................................... 249 Art Commissioned by Ecclesiastical Leaders ................................................ 269 Imperial Artistic Commissions ........................................................................ 285 Competitive Sharing ....................................................................................... 299 Conclusions .................................................................................................... 306 Conclusion .................................................................................................... 310 Images ........................................................................................................... 316 Bibliography ................................................................................................. 387 LIST OF IMAGES Figure 1: Theophano and Otto II crowned by Christ, ivory, Paris, Musée de Cluny.…………………..……………………………………….……..316 Figure 2: Arian Baptistery, Ravenna ………………………………………………………….………………317 Figure 3: Sant’ Apollinare Nuovo, Ravenna ………………………………………………………….………………318 Figure 4: Theodoric’s Mausoleum, Ravenna ………………………………………………………….………………319 Figure 5: Palatium mosaic, Sant’ Apollinare Nuovo, Ravenna ……………………………………………………………………….…320 Figure 6: Multiplication of the Loaves, mosaic, Sant’ Apollinare Nuovo, Ravenna………….……………………………………………………321 Figure 7: Christ Carrying the Cross, mosaic, Sant’ Apollinare Nuovo, Ravenna…………….…………………………………………………322 Figure 8: Prophet, mosaic, Sant’ Apollinare Nuovo, Ravenna ………………………………………………………………………….323 Figure 9: Christ on a Lyre-backed Throne, mosaic, Sant’ Apollinare Nuovo, Ravenna……………………..………………………………....……..324 Figure 10: Madonna and Child Enthroned, mosaic, Sant’ Apollinare Nuovo, Ravenna…………………………………………….…………………325 Figure 11: The Three Magi, mosaic, Sant’ Apollinare Nuovo, Ravenna ………………………………………………………………………….326 Figure 12: Classe mosaic, Sant’ Apollinare Nuovo, Ravenna ……………………………………………………………….…………327 Figure 13: Christ Treading on the Beasts, Archiepiscopal Chapel, Ravenna ………………………………………………………....…………..…..328 Figure 14: Processional mosaic, Sant’ Apollinare Nuovo, Ravenna ………………………………………………………………......……..329 Figure 15: Detail: Palatium mosaic, Sant’ Apollinare Nuovo, Ravenna …………………………………………………………………….……330 Figure 16: Detail: Reverse of Palatium mosaic, Sant’ Apollinare Nuovo, Ravenna……………………………………………………......……..331 Figure 17: An Emperor Enthroned Before Christ, mosaic, Hagia Sophia, Istanbul…………………...……………………………………………332 Figure 18: Solidus, Basil I and Constantine, Whittemore Collection, Washington, D.C………………………………………………....…..333 Figure 19: Solidus, Leo VI and Constantine VII, Whittemore Collection, Washington, D.C……………………………………………..………334 Figure 20: Portrait of Justinian, mosaic, Sant’ Apollinare Nuovo, Ravenna …………………………………………………………..……………..335 Figure 21: Baptism of Christ, mosaic, Arian Baptistery, Ravenna ………………………………………………………………......……..336 Figure 22: Detail: Baptism of Christ, mosaic, Arian Baptistery, Ravenna ………………………………………………………………………….337 Figure 23: Gold medallion, Deutsche Archäologische Institut, Berlin
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