DOI Page / Citation link:
https://doi.org/10.11588/diglit.55208#0026
CHRIST 17
sleeves. The rectilinear folds astonish us with red-violet and deep amethyst for
the darker shades and rosier-violet for the lights. Deepening green-grey strokes
indicate the outlines and folds of the gold clave on the right shoulder. The
himation thrown over the left shoulder is in several tones of the blue of the
murex. The folds are in shadowy, especially large, very dark, almost black
tessellae which give to the himation an appearance of heavy silk.
The large Book of the Gospels which rested on the knee of Christ was sup-
ported by the left hand (Pl. XX). The cover is of beaten gold, casting niello-
red shadows, and enriched with irregular red, blue, and green stones: rubies,
it may be, sapphires, and emeralds, held in gold settings deepening the red
shadows in the gold. Byzantine jewellers never coruscated or flanged their
gems; they used stones as they lay in the quarries, or pebbles smoothed by the
sun and wind and sea, serene in their operative and religious influence [7]. The
edges of the leaves show the imperial violet dye of the parchment. Between
the leaves are four dark blue oblong markers. The gilded leather clasps end in
ornamented fastenings incised in pale violet and white amethyst. We may very
well be looking at one of the sumptuous covers of the Books of the Gospels in
the long accumulated treasure of the Skeuophylakion scattered in the desecra-
tion of the Great Church during the Fourth Crusade.
The throne represented in the mosaic was probably in the form of a stone
seat without a back, not unlike the throne in the Zoe Panel. Only a fragment
of it adorned with a jewelled ornament is preserved (Pl. XXI). The oval jewel
in the centre appears to be a light sapphire; the four rectangular jewels sur-
rounding it are in three tones of green and seem to be intended to represent
clouded beryl. All the jewels are in gold setting with four prongs. Above this
group of jewels the gold surface of the throne appears to have been studded
with pearls, one of which, in orient dolomite, remains, and another indicated
only by the imprint in the setting-bed.
In the figure of Christ such is the setting of the cubes that over all appears
a super-investiture of light. All the lines of the panel are brought here into a
centre, not to let that centre rest but to become a point of departure for the
beholder.
THE MOTHER OF GOD
At the right side of Christ stands the Mother of God. Only the head, the neck,
the right shoulder, and a fragment of the nimbus survive. The Intercessor, full
of grace, is turned inclining her head with lowered eyes towards her Son. Her
arms must have been stretched slightly forwards in prayer as indicated in the
accepted composition of the Deesis (Pl. XXXIV).
c
sleeves. The rectilinear folds astonish us with red-violet and deep amethyst for
the darker shades and rosier-violet for the lights. Deepening green-grey strokes
indicate the outlines and folds of the gold clave on the right shoulder. The
himation thrown over the left shoulder is in several tones of the blue of the
murex. The folds are in shadowy, especially large, very dark, almost black
tessellae which give to the himation an appearance of heavy silk.
The large Book of the Gospels which rested on the knee of Christ was sup-
ported by the left hand (Pl. XX). The cover is of beaten gold, casting niello-
red shadows, and enriched with irregular red, blue, and green stones: rubies,
it may be, sapphires, and emeralds, held in gold settings deepening the red
shadows in the gold. Byzantine jewellers never coruscated or flanged their
gems; they used stones as they lay in the quarries, or pebbles smoothed by the
sun and wind and sea, serene in their operative and religious influence [7]. The
edges of the leaves show the imperial violet dye of the parchment. Between
the leaves are four dark blue oblong markers. The gilded leather clasps end in
ornamented fastenings incised in pale violet and white amethyst. We may very
well be looking at one of the sumptuous covers of the Books of the Gospels in
the long accumulated treasure of the Skeuophylakion scattered in the desecra-
tion of the Great Church during the Fourth Crusade.
The throne represented in the mosaic was probably in the form of a stone
seat without a back, not unlike the throne in the Zoe Panel. Only a fragment
of it adorned with a jewelled ornament is preserved (Pl. XXI). The oval jewel
in the centre appears to be a light sapphire; the four rectangular jewels sur-
rounding it are in three tones of green and seem to be intended to represent
clouded beryl. All the jewels are in gold setting with four prongs. Above this
group of jewels the gold surface of the throne appears to have been studded
with pearls, one of which, in orient dolomite, remains, and another indicated
only by the imprint in the setting-bed.
In the figure of Christ such is the setting of the cubes that over all appears
a super-investiture of light. All the lines of the panel are brought here into a
centre, not to let that centre rest but to become a point of departure for the
beholder.
THE MOTHER OF GOD
At the right side of Christ stands the Mother of God. Only the head, the neck,
the right shoulder, and a fragment of the nimbus survive. The Intercessor, full
of grace, is turned inclining her head with lowered eyes towards her Son. Her
arms must have been stretched slightly forwards in prayer as indicated in the
accepted composition of the Deesis (Pl. XXXIV).
c