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34 THE IMPERIAL PORTRAITS OF THE SOUTH GALLERY
Cf. Fossati, op. cit., pp. 40 and 46, and F. W. Hasluck, Letters on Religion and Folklore, London, 1926,
P- 53*)
6. The modern restoration falsifications of mosaics throughout Southern and Eastern Europe have
lost this understanding of the gold background in the inattention.
7. On the basis of textiles preserved in the museums N. Toll made a table of fifteen hues of purple
going from light violet, almost blue, to dark brown (Koptskija Tkani, Prague, 1928, Pl. XI).
8. Cf. Gerstle Mack, Paul Cezanne, London, s.d., p. 380.
9. Mr. F. A. Bannister of the Department of Mineralogy in the British Museum suggests the
likeness to a fine flesh-coloured marble called ‘Rosa Carnagione’ which conies from Montagne Grise
near Kleber, Oran province, Algeria.
10. Book covers similarly decorated with ivy-leaves (KtcrcrocpuAAa) appear already in the paintings
of Saqqara (J. E. Quibell, Excavations at Saqqara, 1907-8, Cairo, 1909, Pl. VIII and frontispiece). The
motive becomes characteristic in the art of the uth-i2th cents. (Barany-Oberschall, op. cit., pp. 62 fF.
Cf. N. Kondakov, Istorija i pamjatniki vizantijskoj emali, St. Petersburg, 1892, Pls. 5 and 7, and Sobranie
M. Botkina, St. Petersburg, 1911, Pls. 60, 61, 64, &c.).
11. Cf. First Preliminary Report, p. 17 and Pl. XIII.
12. Cf. Second Preliminary Report, p. 15 and Pl. VI.
13. See examples of similar works in S. Bertaux, E Art dans I’Italic Meridionale, i, Paris, 1904, pp. 496 ff.
14. A. Lucas, Ancient Egyptian Materials, London, 1932, 2nd ed., passim.
15. For bags of this kind serving especially for gifts which the emperors used to make to churches,
see I. Reiske, Commentarii ad Const. Porphyrogenitum De Cerimoniis Aulae Byzantinae, Bonn, pp. 122
and 487 ff, and D. Beljaev, Byzantina, ii, St. Petersburg, 1893, PP- T57 ff- The contents of the apokombion
varied from 3 kg. (10 Byzantine pounds) to 30 kg. (100 Byzantine pounds) of gold. Judging by the
dimensions of the bag represented in the mosaic, it is the smallest—and also the most usual—gift.
16. Cf. contemporary descriptions of Constantine IX: Michael Psellos, Chronographia, vi. 125-6,
ed. E. Renauld, ii, pp. 30-1, and the Panegyric to the Emperor Monomachos, ed. C. Sathas, Bibliotheca
Graeca Medii Aevi, t. v, pp. 106 and 116; John Mauropous, Verses on the first meeting with the Sovereign,
Migne, P.G., t. 120, col. 1164 ff; Christophoros of Mytilena, On the Emperor Constantine Mono-
machos, ed. Ed. Kurtz, Die Gedichte des Christophoros Mytileanos, Leipzig, 1903, p. 32, No. 54; Zonaras,
Epitomae, xvii. 20, Bonn, p. 615. All these authors agree in praising the physical beauty of the
emperor, their descriptions, however, do not correspond always with the portrait of the mosaic: thus,
Psellos and Christophoros of Mytilena insist on the fair colour of Constantine’s hair which they compare
to sun-rays. Perhaps this is but a rhetorical formula, the comparison of the emperor with the sun being
a commonplace of Byzantine literature (see F. Dolger in Gnomon, xiv. 4, 1938, p. 209, cf. the use of
other rhetorical formulae in the description of Psellos, E. Legrand et C. Sathas, Les exploits de Digenis
Acritas, Coll, de Monuments pour servir a Vetude de la langue neo-hellenique, Nouvelle Serie, t. 6, p. 280, and
E. Renauld, Etude de la langue et du style de Michel Psellos, Paris, 1920, pp. 511-12).
17. The size of enamel is like that in the corona ferrea at Monza: there the enamel is green.
18. It has not yet been possible to locate the dolomite from which this stone comes.
19. Similar rectangles on the mosaic of the Raising of Tabitha in the Capella Palatina of Palermo.
The lozenges formed of isolated smaller motives—sometimes of crosses—are met with frequently on
tissues from the Late Classical times (see, e.g., O. von Falke, Kunstgeschichte der Seidenweberei, Berlin,
1936, figs. 10, 89, &c. H. Peirce and R. Tyler, L’Art byzantin, Paris, 1932-4, i. 144&, ii. 193a). The
Byzantines came to attribute a religious significance to this decoration, which originally was purely
ornamental; see an ’'Excppacris tcov luAoxovTOtpicov of the 12th cent.: ‘the gold ornament of the peplos
of the emperor (Manuel II?) formed a cruciform design, so that all the parts of the body should be
crucified with Christ in accordance with the word of the great Apostle’ (Sp. Lampros, Neo$ cEAAr|Vo-
iavr)|ioov, v, 1908, p. 17). Cf. the representation of the Crucifixion and of the Passion on the vestments
described by St. Nicephoros (J. B. Pitra, Spicilegium Solesmense . . . , iv, p. 371) and Asterios of Amasia
(Migne, P.G., t. 40, col. 166).
20. Cf. the inscription privilegia on the scroll which Constantine IV Pogonatos hands to the Bishop
Reparatus on the mosaic of S. Apollinare in Classe.
Cf. Fossati, op. cit., pp. 40 and 46, and F. W. Hasluck, Letters on Religion and Folklore, London, 1926,
P- 53*)
6. The modern restoration falsifications of mosaics throughout Southern and Eastern Europe have
lost this understanding of the gold background in the inattention.
7. On the basis of textiles preserved in the museums N. Toll made a table of fifteen hues of purple
going from light violet, almost blue, to dark brown (Koptskija Tkani, Prague, 1928, Pl. XI).
8. Cf. Gerstle Mack, Paul Cezanne, London, s.d., p. 380.
9. Mr. F. A. Bannister of the Department of Mineralogy in the British Museum suggests the
likeness to a fine flesh-coloured marble called ‘Rosa Carnagione’ which conies from Montagne Grise
near Kleber, Oran province, Algeria.
10. Book covers similarly decorated with ivy-leaves (KtcrcrocpuAAa) appear already in the paintings
of Saqqara (J. E. Quibell, Excavations at Saqqara, 1907-8, Cairo, 1909, Pl. VIII and frontispiece). The
motive becomes characteristic in the art of the uth-i2th cents. (Barany-Oberschall, op. cit., pp. 62 fF.
Cf. N. Kondakov, Istorija i pamjatniki vizantijskoj emali, St. Petersburg, 1892, Pls. 5 and 7, and Sobranie
M. Botkina, St. Petersburg, 1911, Pls. 60, 61, 64, &c.).
11. Cf. First Preliminary Report, p. 17 and Pl. XIII.
12. Cf. Second Preliminary Report, p. 15 and Pl. VI.
13. See examples of similar works in S. Bertaux, E Art dans I’Italic Meridionale, i, Paris, 1904, pp. 496 ff.
14. A. Lucas, Ancient Egyptian Materials, London, 1932, 2nd ed., passim.
15. For bags of this kind serving especially for gifts which the emperors used to make to churches,
see I. Reiske, Commentarii ad Const. Porphyrogenitum De Cerimoniis Aulae Byzantinae, Bonn, pp. 122
and 487 ff, and D. Beljaev, Byzantina, ii, St. Petersburg, 1893, PP- T57 ff- The contents of the apokombion
varied from 3 kg. (10 Byzantine pounds) to 30 kg. (100 Byzantine pounds) of gold. Judging by the
dimensions of the bag represented in the mosaic, it is the smallest—and also the most usual—gift.
16. Cf. contemporary descriptions of Constantine IX: Michael Psellos, Chronographia, vi. 125-6,
ed. E. Renauld, ii, pp. 30-1, and the Panegyric to the Emperor Monomachos, ed. C. Sathas, Bibliotheca
Graeca Medii Aevi, t. v, pp. 106 and 116; John Mauropous, Verses on the first meeting with the Sovereign,
Migne, P.G., t. 120, col. 1164 ff; Christophoros of Mytilena, On the Emperor Constantine Mono-
machos, ed. Ed. Kurtz, Die Gedichte des Christophoros Mytileanos, Leipzig, 1903, p. 32, No. 54; Zonaras,
Epitomae, xvii. 20, Bonn, p. 615. All these authors agree in praising the physical beauty of the
emperor, their descriptions, however, do not correspond always with the portrait of the mosaic: thus,
Psellos and Christophoros of Mytilena insist on the fair colour of Constantine’s hair which they compare
to sun-rays. Perhaps this is but a rhetorical formula, the comparison of the emperor with the sun being
a commonplace of Byzantine literature (see F. Dolger in Gnomon, xiv. 4, 1938, p. 209, cf. the use of
other rhetorical formulae in the description of Psellos, E. Legrand et C. Sathas, Les exploits de Digenis
Acritas, Coll, de Monuments pour servir a Vetude de la langue neo-hellenique, Nouvelle Serie, t. 6, p. 280, and
E. Renauld, Etude de la langue et du style de Michel Psellos, Paris, 1920, pp. 511-12).
17. The size of enamel is like that in the corona ferrea at Monza: there the enamel is green.
18. It has not yet been possible to locate the dolomite from which this stone comes.
19. Similar rectangles on the mosaic of the Raising of Tabitha in the Capella Palatina of Palermo.
The lozenges formed of isolated smaller motives—sometimes of crosses—are met with frequently on
tissues from the Late Classical times (see, e.g., O. von Falke, Kunstgeschichte der Seidenweberei, Berlin,
1936, figs. 10, 89, &c. H. Peirce and R. Tyler, L’Art byzantin, Paris, 1932-4, i. 144&, ii. 193a). The
Byzantines came to attribute a religious significance to this decoration, which originally was purely
ornamental; see an ’'Excppacris tcov luAoxovTOtpicov of the 12th cent.: ‘the gold ornament of the peplos
of the emperor (Manuel II?) formed a cruciform design, so that all the parts of the body should be
crucified with Christ in accordance with the word of the great Apostle’ (Sp. Lampros, Neo$ cEAAr|Vo-
iavr)|ioov, v, 1908, p. 17). Cf. the representation of the Crucifixion and of the Passion on the vestments
described by St. Nicephoros (J. B. Pitra, Spicilegium Solesmense . . . , iv, p. 371) and Asterios of Amasia
(Migne, P.G., t. 40, col. 166).
20. Cf. the inscription privilegia on the scroll which Constantine IV Pogonatos hands to the Bishop
Reparatus on the mosaic of S. Apollinare in Classe.