DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.55207#0020
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- Frühchristliche und byzantinische Kunst
12 THE IMPERIAL PORTRAITS OF THE SOUTH GALLERY
and weave in the garments of the figures in the Narthex and the Vestibule.
In these, the glass gives the effect of incandescence, charged with light, as
light is drawn upon for exhaustless decoration. Verisimilitude is sought in
these tissues by arranging the cubes on a basis somewhat corresponding
to the natural folds of a woven fabric.
Christ is seated on a throne of marble, sparkling with gems. Three thrones,
the one in the Narthex [n], the one in the Vestibule [12], and the one in this
panel present evident differences in material, construction and, perhaps, even
symbolism. The first is a palace throne of great splendour. The Throne in
the Vestibule is more architectural and like the Throne of Ezekiel’s vision-
the colour of amber. Here, in the case of the third, the work is of a skilled
marmaropoios of the time [13].
In shades of olive-green the throne appears to be cut from marble like that
of the Proconnesian marble panelling beneath it. Gold strokes reproduce the
brilliance of the stone in sunlight. The throne is composed of two parts, of
which the upper is the wider. Two recesses are indicated on the side. The
borders are dark-blue enamel edged with gold and studded with pearls. Three
square semi-precious stones, or stonelike pastes, are visible on the upper part.
The first and second from left to right are probably meant to simulate the
reddish-brown of carnelian or of red chalcedony and the third the green of
beryl or feldspar [14]—from its opaque appearance probably feldspar. The lower
part of the throne is divided horizontally by a blue band similar to the one
above. Two large rectangular blue stones are in claw-setting. Below the band,
in the dilapidated part of the mosaic, remain fragments of stones in a similar
cutting of carnelian red.
A blue-green cushion on which Christ is seated has the appearance of a long,
loosely filled bolster, piped with two narrow bands of red and olive-green
edged with gold. The ends are capped by rosettes of burnt sealing-wax-red
and light olive-green, and are turned upwards and outwards by the weight of
the body.
The feet of Christ rest on a circular foot-stool of gold rimmed in red, only
traces of which remain.
and weave in the garments of the figures in the Narthex and the Vestibule.
In these, the glass gives the effect of incandescence, charged with light, as
light is drawn upon for exhaustless decoration. Verisimilitude is sought in
these tissues by arranging the cubes on a basis somewhat corresponding
to the natural folds of a woven fabric.
Christ is seated on a throne of marble, sparkling with gems. Three thrones,
the one in the Narthex [n], the one in the Vestibule [12], and the one in this
panel present evident differences in material, construction and, perhaps, even
symbolism. The first is a palace throne of great splendour. The Throne in
the Vestibule is more architectural and like the Throne of Ezekiel’s vision-
the colour of amber. Here, in the case of the third, the work is of a skilled
marmaropoios of the time [13].
In shades of olive-green the throne appears to be cut from marble like that
of the Proconnesian marble panelling beneath it. Gold strokes reproduce the
brilliance of the stone in sunlight. The throne is composed of two parts, of
which the upper is the wider. Two recesses are indicated on the side. The
borders are dark-blue enamel edged with gold and studded with pearls. Three
square semi-precious stones, or stonelike pastes, are visible on the upper part.
The first and second from left to right are probably meant to simulate the
reddish-brown of carnelian or of red chalcedony and the third the green of
beryl or feldspar [14]—from its opaque appearance probably feldspar. The lower
part of the throne is divided horizontally by a blue band similar to the one
above. Two large rectangular blue stones are in claw-setting. Below the band,
in the dilapidated part of the mosaic, remain fragments of stones in a similar
cutting of carnelian red.
A blue-green cushion on which Christ is seated has the appearance of a long,
loosely filled bolster, piped with two narrow bands of red and olive-green
edged with gold. The ends are capped by rosettes of burnt sealing-wax-red
and light olive-green, and are turned upwards and outwards by the weight of
the body.
The feet of Christ rest on a circular foot-stool of gold rimmed in red, only
traces of which remain.