DOI Page / Citation link:
https://doi.org/10.11588/diglit.55204#0024
18 THE MOSAICS OF THE NARTHEX
prominence given to three lines, one across the brow, the other two on either
side of the cheeks. The latter, if prolonged, would meet near the tip of the chin
and give to the face somewhat the shape of an inverted cone. There is conveyed
to us the impression of a long face with a slightly protruding lower jaw. The
mouth with its heavy lower lip is voluptuous, the energetic curve beneath the
left moustache indicates the prominence of a sensuous chin. The wedge-shaped
beard falls below the collar-bone; the artist shows us that it was rough and
grizzled. The colours are clearly distinguishable from the white of the inter-
stices and from some staining by lime, for here again the Fossati workmen had
reinforced a defective spot near the lower part of the beard, and it has not
appeared prudent to interfere with the disposition effected by them. When we
compare this face with the images of emperors on the coins, there can be no
hesitation in recognizing the monarch as Leo VI (886-912). The identification
afforded by the definite portraiture of the coinage is corroborated by the direct
testimony of Anthony of Novgorod in 1200, by that of an ivory in the Berlin
Museum, and by the omission of the mosaic from Constantine’s list of works
executed by Basil I.
It is the face of a man past middle life. The hair, like the beard, is tinged with
grey. We notice the colour in the slightly wavy locks falling over his back and,
on his head, both above the imperial crown, which fits closely around it, and
below this band, where the hair lies on the forehead in a neatly clipped fringe.
With the aid of Pls. XIV and XXI slight flaws are recognizable which time has
produced in the mosaic work on the head. These, as well as the white of the
plaster, mar the rendering of the hair to a small extent and, more seriously, the
cross, formed of four flaming pearls, which rises from the golden circlet and
surmounts the head. Only the top pearl and the one over the left eye remain,
a hole marks the place of the lower one, and the fourth is smeared with the
conserving plaster of the Fossati. The circlet itself is enamelled in red, em-
bellished with two rows of pearls, an d in its centre beneath the cross there is set
what appears to be a special jewel consisting of two large gems, a lordly green
emerald encased within a massive black one. The diadem is without pendants.
Breaking the line of the nimbus, a little to the right of its summit, as seen by
the onlooker, is a damaged spot. Here a weak place was found by our pre-
decessors, strengthened by them and consolidated with the surrounding area.
The Emperor is vested in an ample cloak or the imperial chlamys, the soft,
dull, light yellow of which corresponds in fact to a white material. The tablion
is red and gold. The chlamys is fastened at his right shoulder by a jewelled clasp or
fibula without pendants, and beneath it are visible the sleeves of the divitission. In
these vestments we see the very garments which Constantine Porphyrogennetos,
prominence given to three lines, one across the brow, the other two on either
side of the cheeks. The latter, if prolonged, would meet near the tip of the chin
and give to the face somewhat the shape of an inverted cone. There is conveyed
to us the impression of a long face with a slightly protruding lower jaw. The
mouth with its heavy lower lip is voluptuous, the energetic curve beneath the
left moustache indicates the prominence of a sensuous chin. The wedge-shaped
beard falls below the collar-bone; the artist shows us that it was rough and
grizzled. The colours are clearly distinguishable from the white of the inter-
stices and from some staining by lime, for here again the Fossati workmen had
reinforced a defective spot near the lower part of the beard, and it has not
appeared prudent to interfere with the disposition effected by them. When we
compare this face with the images of emperors on the coins, there can be no
hesitation in recognizing the monarch as Leo VI (886-912). The identification
afforded by the definite portraiture of the coinage is corroborated by the direct
testimony of Anthony of Novgorod in 1200, by that of an ivory in the Berlin
Museum, and by the omission of the mosaic from Constantine’s list of works
executed by Basil I.
It is the face of a man past middle life. The hair, like the beard, is tinged with
grey. We notice the colour in the slightly wavy locks falling over his back and,
on his head, both above the imperial crown, which fits closely around it, and
below this band, where the hair lies on the forehead in a neatly clipped fringe.
With the aid of Pls. XIV and XXI slight flaws are recognizable which time has
produced in the mosaic work on the head. These, as well as the white of the
plaster, mar the rendering of the hair to a small extent and, more seriously, the
cross, formed of four flaming pearls, which rises from the golden circlet and
surmounts the head. Only the top pearl and the one over the left eye remain,
a hole marks the place of the lower one, and the fourth is smeared with the
conserving plaster of the Fossati. The circlet itself is enamelled in red, em-
bellished with two rows of pearls, an d in its centre beneath the cross there is set
what appears to be a special jewel consisting of two large gems, a lordly green
emerald encased within a massive black one. The diadem is without pendants.
Breaking the line of the nimbus, a little to the right of its summit, as seen by
the onlooker, is a damaged spot. Here a weak place was found by our pre-
decessors, strengthened by them and consolidated with the surrounding area.
The Emperor is vested in an ample cloak or the imperial chlamys, the soft,
dull, light yellow of which corresponds in fact to a white material. The tablion
is red and gold. The chlamys is fastened at his right shoulder by a jewelled clasp or
fibula without pendants, and beneath it are visible the sleeves of the divitission. In
these vestments we see the very garments which Constantine Porphyrogennetos,