DOI Page / Citation link:
https://doi.org/10.11588/diglit.55205#0025
THE EMPERORS 19
The light spots on the garments here and on the other two figures are due
to repairs by the Fossati and our own conservations. In executing their repairs
the Fossati used tessellae taken from other parts of the mosaic in question, and in
strengthening a position where the tessellae were in danger of falling they were
not careful to preserve the original surface, and generally brought their plaster to
a higher level than that of the original setting-bed. Their work is thus easily
recognized.
The most sumptuous part of the imperial vestments is the loros, a long, wide
band of gold cloth that draped the whole body of the Emperor. The width of
these two loroi is approximately constant, though the loros of Constantine is
drawn somewhat wider at his shoulder. They are represented as made of a
gorgeous heavy, stiff brocade woven with metal threads of gold and silver, and
they are embroidered with a pattern in green.
From the lower edge of the divitission of Justinian the loros goes upwards to
his right shoulder, covering the middle part of his divitission. From the right
shoulder the loros descends behind the back and reappears beneath the right arm.
It now rises again across the chest to the left shoulder, and from the left shoulder
it falls across the back and passes once more under the right elbow, whence it
falls aslant towards the knee. Here it turns, and we are shown the blue lining,
to deprive it of the splendour accorded to Constantine, until the garment is
thrown over the left arm, when the embroidered face again appears. At its
lower end we see the blue lining again and the loop at the tip. The loros worn
by Constantine may similarly be traced from the lower edge of the divitission
up over the right shoulder, down the back, underneath the right arm, up across
the chest, over the left shoulder, athwart the back, and reappearing at the waist.
From this point it falls aslant to the knees; there it turns and, showing a little
of its lining, rises over the left forearm, and finally falling, it again reveals its
patterned surface.
Similar ornamentation is repeated on both loroi, but it is developed in a more
ornate way on the loros of Constantine. The loroi on the mosaic are identical
with those seen on many representations of Emperors of the same epoch alike
with regard to their shape and the manner in which they are worn. But design
and decoration here are somewhat unusual. These loroi are destitute of the
precious stones and pearls that usually adorn this vestment of the Basileus. It
was on the loros, as numerous examples show, that all the splendour and richness
of the imperial robes were lavished, while here the whole ornamentation con-
sists in an embroidered pattern. Embroidered loroi are found on the Exultet
Roll in Bari and ornament the vesture of the Angel on the steatite icon in the
Boldini Collection in Florence. It may further be compared with that on the
The light spots on the garments here and on the other two figures are due
to repairs by the Fossati and our own conservations. In executing their repairs
the Fossati used tessellae taken from other parts of the mosaic in question, and in
strengthening a position where the tessellae were in danger of falling they were
not careful to preserve the original surface, and generally brought their plaster to
a higher level than that of the original setting-bed. Their work is thus easily
recognized.
The most sumptuous part of the imperial vestments is the loros, a long, wide
band of gold cloth that draped the whole body of the Emperor. The width of
these two loroi is approximately constant, though the loros of Constantine is
drawn somewhat wider at his shoulder. They are represented as made of a
gorgeous heavy, stiff brocade woven with metal threads of gold and silver, and
they are embroidered with a pattern in green.
From the lower edge of the divitission of Justinian the loros goes upwards to
his right shoulder, covering the middle part of his divitission. From the right
shoulder the loros descends behind the back and reappears beneath the right arm.
It now rises again across the chest to the left shoulder, and from the left shoulder
it falls across the back and passes once more under the right elbow, whence it
falls aslant towards the knee. Here it turns, and we are shown the blue lining,
to deprive it of the splendour accorded to Constantine, until the garment is
thrown over the left arm, when the embroidered face again appears. At its
lower end we see the blue lining again and the loop at the tip. The loros worn
by Constantine may similarly be traced from the lower edge of the divitission
up over the right shoulder, down the back, underneath the right arm, up across
the chest, over the left shoulder, athwart the back, and reappearing at the waist.
From this point it falls aslant to the knees; there it turns and, showing a little
of its lining, rises over the left forearm, and finally falling, it again reveals its
patterned surface.
Similar ornamentation is repeated on both loroi, but it is developed in a more
ornate way on the loros of Constantine. The loroi on the mosaic are identical
with those seen on many representations of Emperors of the same epoch alike
with regard to their shape and the manner in which they are worn. But design
and decoration here are somewhat unusual. These loroi are destitute of the
precious stones and pearls that usually adorn this vestment of the Basileus. It
was on the loros, as numerous examples show, that all the splendour and richness
of the imperial robes were lavished, while here the whole ornamentation con-
sists in an embroidered pattern. Embroidered loroi are found on the Exultet
Roll in Bari and ornament the vesture of the Angel on the steatite icon in the
Boldini Collection in Florence. It may further be compared with that on the