DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22424#0027
Letter I.
BYZANTINE MS.
13
the prophet Nathan, upbraiding him in the name of the Most High
for the murder of Uriah. Behind David is an angel of great
beauty of form, motive, and colour. Christ washing the feet of his
Disciples. Here, in the earliest Byzantine representation of this
subject I know, we already find that significant gesture of Peter—•
pointing with his right hand to his head—which, as I have else-
where pointed out, may be traced in all representations of this
subject down to the 17th century. L. 67b, St. Macarius, in sup-
plication, with a white beard ; also L. 75b, another saint—are
again of that severe ascetic character peculiar to Byzantine art.
L. 82b and 83a, the Delivery of the Souls of the Patriarchs from
Purgatory. Here Christ is seen in a blue mandorla, which Satan
—a figure of dark colour, but entirely human—touches in his fall.
A very aged man and woman next Christ are probably Adam and
Eve. L. 85a, Philip baptizing the Eunuch; this latter is
standing up to his neck in a pyramid of water, the usual form in
the earliest representations of Christ's baptism. Philip is clothed
in purple. Close by, the two are seen in a chariot with four horses
driving away at full gallop. A youthful saint on horseback, with
the inscription © irpoKos (abbreviation for Procopos), to whom a
golden cross appears from out the segment of a circle in the sky, is
conspicuous for elevation of conception. L. 87b, the Crucifixion.
Here we have the great length and meagreness of the Byzantine
mode of treatment in the body of our Saviour; but, singular to
say, not yet the sunken head and swayed-out figure. On the con-
trary, the Saviour is quite upright, and still alive. From this it
appears that this treatment, which' Rumohr first pronounced cha-
racteristic of the Byzantine school, was, after the middle of the
11th century, by no means universally accepted in it. On the
other hand, we find here the four nails and the unusually wide
footboard. Christ is also, with the exception of hands and feet,
wrapped in a purple robe with the folds indicated in gold. The
only figures about the cross are Longinus the centurion piercing
the side with his spear, and the Jew giving him the sponge.
L. 85a, two more figures, striking at a bust-picture of Christ, which
they hold between them ; with the inscription, hy.ovoixa.yjai. L. 91a,
the youthful figure of Solomon, of very earnest and stately con-
ception, is very remarkable, showing on the one hand the costume
of a Byzantine monarch, and on the other the antique tradition of
BYZANTINE MS.
13
the prophet Nathan, upbraiding him in the name of the Most High
for the murder of Uriah. Behind David is an angel of great
beauty of form, motive, and colour. Christ washing the feet of his
Disciples. Here, in the earliest Byzantine representation of this
subject I know, we already find that significant gesture of Peter—•
pointing with his right hand to his head—which, as I have else-
where pointed out, may be traced in all representations of this
subject down to the 17th century. L. 67b, St. Macarius, in sup-
plication, with a white beard ; also L. 75b, another saint—are
again of that severe ascetic character peculiar to Byzantine art.
L. 82b and 83a, the Delivery of the Souls of the Patriarchs from
Purgatory. Here Christ is seen in a blue mandorla, which Satan
—a figure of dark colour, but entirely human—touches in his fall.
A very aged man and woman next Christ are probably Adam and
Eve. L. 85a, Philip baptizing the Eunuch; this latter is
standing up to his neck in a pyramid of water, the usual form in
the earliest representations of Christ's baptism. Philip is clothed
in purple. Close by, the two are seen in a chariot with four horses
driving away at full gallop. A youthful saint on horseback, with
the inscription © irpoKos (abbreviation for Procopos), to whom a
golden cross appears from out the segment of a circle in the sky, is
conspicuous for elevation of conception. L. 87b, the Crucifixion.
Here we have the great length and meagreness of the Byzantine
mode of treatment in the body of our Saviour; but, singular to
say, not yet the sunken head and swayed-out figure. On the con-
trary, the Saviour is quite upright, and still alive. From this it
appears that this treatment, which' Rumohr first pronounced cha-
racteristic of the Byzantine school, was, after the middle of the
11th century, by no means universally accepted in it. On the
other hand, we find here the four nails and the unusually wide
footboard. Christ is also, with the exception of hands and feet,
wrapped in a purple robe with the folds indicated in gold. The
only figures about the cross are Longinus the centurion piercing
the side with his spear, and the Jew giving him the sponge.
L. 85a, two more figures, striking at a bust-picture of Christ, which
they hold between them ; with the inscription, hy.ovoixa.yjai. L. 91a,
the youthful figure of Solomon, of very earnest and stately con-
ception, is very remarkable, showing on the one hand the costume
of a Byzantine monarch, and on the other the antique tradition of