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Introduction 1 the Byzantine Ideal of Beauty: Definitions and Perceptions

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Introduction 1 the Byzantine Ideal of Beauty: Definitions and Perceptions Notes Introduction 1. Oscar Wilde, ‘A few maxims for the instruction of the over educated’, Saturday Review, November 1894, Collins Complete Works of Oscar Wilde (Glasgow, 2003). 2. L. James, ed., Desire and Denial in Byzantium (Aldershot,1999). 3. See L. James, ed., Women, Men and Eunuchs: Gender in Byzantium (London and New York, 1997); D. Smythe, ed., Byzantine Masculinities: Publications of the Sussex Colloquium on Gender (forthcoming). 4. E. Gombrich, ‘Art and Scholarship’, College Art Journal, 17, n. 4 (1958), 342–356. On children in Byzantium see C. Hennessy, Images of Children in Byzantium (Aldershot, 2009). On display in Byzantium see E. Jeffreys, ed., Proceedings of the 21st International Congress of Byzantine Studies, vol. II (Aldershot, 2006), 263–267. On new approaches to Byzantium in current scholarship see L. James, ed., The Blackwell Companion to the Byzantine World (forthcoming). 5. E. Prettejohn, Beauty and Art (Oxford, 2005). 6. R. Cormack, Painting the Soul: Icons, Death Masks and Shrouds (London, 1997), 17. 7. L. James, ‘ “And Shall These Mute Stones Speak?” Text as Art’, Art and Text in Byzantine Culture, ed. L. James (Cambridge, 2007), 188–206. 8. R. Nelson, ‘Descartes’s Cow and Other Domestications of the Visual’, Seeing as Others Saw; Visuality Before and Beyond the Renaissance, ed. R. Nelson (Cambridge, 2000), 3. 9. L. James, ‘Art and Text in Byzantium’, Art and Text in Byzantine Culture, ed. L. James (Cambridge, 2007), 1. 10. See A.P. Kazhdan and A. Epstein, Change in Byzantine Culture in the Eleventh and Twelfth Centuries (Berkeley, 1985). 11. Robin Cormack has noted that the notions of the stability and continuity of an uninterrupted Roman Empire fostered by the Byzantine Court after 1261 were ‘more of a vision than a reality’: R. Cormack, Byzantine Art (Oxford, 2000), 217. 1 The Byzantine Ideal of Beauty: Definitions and Perceptions 1. Anna Komnene, Alexiad (XIII.10.4), tr. (English). E.R.A. Sewter, The Alexiad of Anna Comnena (London and New York, 1969), 422. For the Greek text see Anna Komnene, Alexiad (XIII.10.4), ed. D.R. Reinsch and A. Kambylis (Berlin, 2001), 411. 2. On the re-occurrence of beauty in the Alexiad, see A. Laiou, ‘Introduction: Why Anna Komnene?’, Anna Komnene and Her Times, ed. T. Gouma-Peterson (New York and London, 2000), 11. 3. ‘ , , /-**&'ʲ., , ̉ ̉, ɕ%% 139 140 Notes (̣ ʯ ʰ˪ (2 Ʌ̥ (. .) ʩ ̘ ̘ ɱ %, ʚ ʯ ̥ ʰ2 ʎ, ̥, +%, ʳ ʝ ʍ, ʳ ʁ%(ʳ–Ʌ((ʩ ̘ Ʌ’ʍ̥ ʯ Ʌ%ʰ#. ʯ ʆ ə ̥ (, ʍʮ ɧ, ʆ Ʌ̥ ̘, ɱ ʑ% 2(L’ Anna Komnene, Alexiad (I.9.4), ed. D.R. Reinsch and A. Kambylis, 35. 4. ‘ʩ ɕ+% ʚ ̗L ʁ%( ʍ˻ ʍʰ (, , ̗ʯ ʮ, ( , (. .) ɲ ̥ ̥ ɕ+ (, ʵ ɋ(( ̘ ˻ L ! , ɲ (ʰ +%ʰ, (&ʰ, ̉, ʰ, ʯ ̘ L (. .) ʩ (˻ + ʩ ̥ ʁ2 ʚ + ɧ ɟ2 ɕ-)ʬ*,/, ə ʚ ə# ( ʯ ̗, ʯ %ʩ #2 ̥ (% ɢ L’ Niketas Eugenianos, -&'( (I.124–126, 134–138, 145–150), ed. and tr. (Italian) F. Conca, Il Romanzo Bizantino del XII Secolo; Teodoro Prodromo, Niceta Eugeniano, Eustazio Macrembolita, Constantino Manasse (Turin, 1994), 313–314. 5. On the process of formation of the Digenis Akritis story from oral tale to written text and the question of dating see Digenis Akritis (IV.196–199), ed. and tr. (English) E. Jeffreys, Digenis Akritis: The Grottaferrata and Escorial Versions (Cambridge, 1998), lvi–lvii. On the discussion of Digenis Akritis’s status as ambiguously between epic and romance (or ‘proto-romance’) see R. Beaton, ‘The Byzantine Revival of the Ancient Novel’, The Novel in the Ancient World, ed. G. Schmeling (Leiden, New York and Cologne, 1996), esp. 719–721 and R. Beaton, The Medieval Greek Romance (London and New York, 1996), 29–48. See also R. Beaton, The Medieval Greek Romance, 67–86, for a comparative discussion of the twelfth-century romances and their dating. 6. ‘ɷ ʩ ʑ ɢ(ʰ, +%ʮ, ɕʰ, ʁμμʪ& (, 2 , ̗, ʪ)/-,* ʁ, ʯ ˻% ʞ ((, ʁʩ ɷ (.’ Digenis Akritis (IV.196–199), ed. and tr. (English) E. Jeffreys, 79. 7. ‘ɯ ʩ ɢ Ʌ(%̥ ʞ ɲL ʅ ɕʮ, +% ʯ ̘, ʁʳ ɷ ʪ)/-,*, (, ʚ 2, !!, ɶ ɕ( ɦ !(̉ ̥.’ Digenis Akritis (IV.349–356), ed. and tr. E. Jeffreys, 89. 8. ‘' (( ̥ (2 ʯ 2 ɕ Ʌ!˻ ʚL ʍ%ʮ ʩ ɧ ʯ ʅ ( ʯ ʚ Ʌ(%̥ (.’ Michael Psellos, Chronographia (III.18), ed. and tr. (Italian) D. Del Corno, S. Impellizzeri et al. (Milan, 1984), vol. I, 96, 98, translated in E.R.A. Sewter, Fourteen Byzantine Rulers: The Chronographia of Michael Psellus (London, 1996), 76. 9. ‘ɚ ɥ ɖ̣ ʩ ʮ , ( ɢ(̥ Ʌ+ ʯ ʮ, ’ ʆ ɕ ʮ% ʯ ʯ ̥ 'ʯ ̉ Ʌ% , ˻ Ʌ ( (!̘ Ʌ+ ə(2. ʯ ɵ ɕ̉ Ʌ!̥ ˈ̉ ˬ, Ʌʰ2 ɷ ʯ ʑ2 ʍ̦ ʩ ʰ%, (( ɢ(ʰ ( ɵ, ɸ ʮ Ʌ̉ ̉ %+ʯ (, ((̣ ( ̥ ̦ %2̣ ʯ ̉.’ Michael Psellos, Chronographia (VI.126), ed. and tr. D. Del Corno, S. Impellizzeri, vol. II, 69, 70 translated in E.R.A Sewter, Fourteen Byzantine Rulers, 221. Notes 141 10. On Beck’s reading of this as a sign of the effeminate air of the male characters in the romances see H.G. Beck, /#*&*5* , tr. (Greek) I. Dimitroukas (Athens, 1999), 224. 11. L. James, Light and Colour in Byzantine Art (Oxford, 1996), 131. 12. J. Ljubarskij, ‘Why Is the Alexiad a Masterpiece of Byzantine Literature?’, Anna Komnene and Her Times, 179. 13. Ibid. 14. On the Byzantine eikonismos see G. Dagron, ‘Holy Images and Likeness’, DOP, 45 (1991), 25–28. 15. For a discussion of physiognomics in Byzantium see G. Dagron, ‘Image de Bête ou Image de Dieu; la Physiognomonie Animale dans la Tradition Grecque et ses Avatars Byzantins’, Poikilia; Etudes Offertes à J.P. Vernant (Paris, 1987), 69–80. 16. ‘ʑ !!% ʯ , ʑ ɕ , Ʌ((’ ɵ( Ʌ2̘ Ʌʰ(!L’ Michael Psellos, Chronographia (I.35), ed. and tr. D. Del Corno, S. Impellizzeri, vol. I, 50. 17. ‘ ɷ ʍ̦ ! ɸ ʯ 2˼ ˻ ɥ 2̦ ʆL ʩ ʍ̦ ʩ ʅ ʯ ɢ ʁʳ ʑ !ʩ ʑ ɸ ʒ ʯ ɕ% ̉ ʁ%(̉’ Michael Psellos, Chronographia (VII.3.5), ed. and tr. D. Del Corno, S. Impellizzeri, vol. II, 368. 18. Michael Psellos, Chronographia (VI.151), tr. E.R.A Sewter, Fourteen Byzantine Rulers, 235. 19. For Agapitos’s date of c.1300 for the romances of Velthandros and Chrysandza and Kallimachos and Chrysorroi see P. Agapitos, ‘Narrative Structure in the Byzantine Vernacular Romances’, MiscByzMonac 34 (1991), 15–16. 20. ‘ə ((ʩ 2, ɵ ˻ ɢ(ˬ L (. .), ʇ ʪ)/- ɕ ɢ , Ʌ ((˻ ʰ. ɲ ɕ( ˻ ʚʰ, ʰ2, . ( , ʍ! ʩ ʰ($.’ > ) (688, 699–704), ed. E. Kriaras, /# Έ44 ) (Athens, 1959), 114–115. 21. Physical beauty in these descriptions consists of the familiar list of ideal features, suggesting that the ideal image of beauty in Byzantium appears not to have changed between the twelfth and the fourteenth centuries despite the numerous social and political changes of the intervening years. On the ideal of beauty in thirteenth-century writing see, for instance, Niketas Choniates’s description of beautiful characters in the Historia, including the young Renier of Montferatt, whose fair long hair shimmered like the sun, and Isaac Angelos with his ruddy complexion, red hair and healthy, vigorous body. In the fourteenth century, the Romaiki Historia of Nikephoros Gregoras equally praises Theodore Metochites for his tall stature, symmetrical body and cheerful eye, which attracted the gaze of beholders, while in the romance of Kalimachos and Chrysorroi the fair heroine possesses rivers of curls, hair that gleams brilliantly like the sun’s golden rays, a white body that evokes the nature of crystal, both white and blessed with the hue of a rose: “‘ ɸ , ɕ2ʳ (L ɸ ! ʍ ɱ ( ˻ L Ʌ(! ʎ ˻ Ʌ̉ ̘ ɢ(ʰ. ̥ ( ʎ ʍ ̘ (( L ʎ( ʳ ʁ%(ʳ ̘ ɢ . ɛ ʩ ʳ ̦ (̦ ʯ 142 Notes ə.’ ο )0,* ͩο ) (811–816), ed. E. Kriaras, /# Έ44 ), 45. 22. W. Treadgold, ‘The Bride-Shows of the Byzantine Emperors’, Byzantion, 49 (1979), 398. On the historicity of Byzantine bride shows see W. Treadgold, ‘The Historicity of Imperial Bride-Shows’, Jahrbuch der Österreichischen Byzantinistik’, 54 (2004), 39–52. 23. ‘ɱ ’ ɕʯ ̘ !(ʰ %ʰ % ʯ 2 ( Ʌʮ ̥ ʁ%(̥, ɕ ʯ ʍ Ʌ(( ʯ 'ʯ ˻ ʆ( 2. ( ʩ ɢ ʁ̘ ɖ2% ɕ̘, ˼ ʁ% ʎ% !( Ɋ ʯ ɦ ɕ̥, ʚ Ʌ ˻ !(˻ ̥ ʁ2 ʯ ˻ ( ̘ ʯ ̥ ̥ ˻ ʯ ̘ ɕ,*,. ʍ̉ ɕ% ̘ ʯ ' %ʰL ̥ ʝ2 ɢ ʍ ʯ ̥ !2 ʯ ̥ 2 ɢ !( ɢ2ʩ ʯ ʆ(2 ʰ %! ʯ ʳ ((ʳ ɕ(L ʩ ʍ ̘ Ʌ ʯ ʞ ɷ ʯ ʯ ! ʯ ʅ Ʌ’ Anna Komnene, Alexiad (III.3.2), ed. D.R. Reinsch and A. Kambylis, 93 translated in E.R.A. Sewter, The Alexiad, 109–110. 24. Anna Komnene, Alexiad (IV.6.8), tr. E.R.A. Sewter, The Alexiad, 149. 25. B. Baldwin, ‘Physical Descriptions of Byzantine Emperors’, Byzantion, 51 (1981), 12, n.18. 26. C. Head, ‘Physical Descriptions of the Emperors in Byzantine Historical Writing.’ Byzantion, 50 (1980), 237. 27. A. Laiou, ‘Introduction: Why Anna Komnene?’, Anna Komnene and Her Times, 9. 28. See Ibid., 1–14. 29. For the Greek text see Anna Komnene, Alexiad (I.5), ed. D.R. Reinsch and A. Kambylis, 20. 30. For the Greek text see Anna Komnene, Alexiad (III.1.2), ed. D.R. Reinsch and A. Kambylis, 87. 31. Ibid. 32. L. James, Light and Colour in Byzantine Art, 73. 33. Ibid., 84. 34. ‘˭ ʍ˻, ̦ %5, ʯ 52 ʍ̘ ʍ# ʎ ɦ(&,*, ɡ ( %˻.
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