DOI Page / Citation link:
https://doi.org/10.11588/diglit.55208#0041
NOTES
1. Alwyn A. Green and Nicholas K. Kluge traced the Deesis Panel. The tracing was sent to the
Massachusetts Institute of Technology where, under the direction of Mr. K. J. Conant, it was photo-
graphed, backed on linen, and returned to Istanbul to be copied in colours cube by cube by Alwin A.
Green. This copy is now in the Metropolitan Museum.
2. Shakespeare, Antony and Cleopatra, Act iv, Scene xii, v. io.
3. See First Preliminary Report, pl. XVII (Christ); F. Smit, ‘Kachrie-Dzami’, Al'bom k XI tomu Izvestij
Russkago Archeologiceskago Instituta v Konstantinopole, 1906, pl. LX, 117 (Virgin).
4. ETdppivos (M. Chatzedakes, ’Ek tou ’EAttiou tou Twpaiou. ’Etfet. ‘ETaip. Bu£. SnouSoov, 1938,
xiv, p. 411).
5. See H. Peirce and R. Tyler, Byzantine Art, London, 1926, pls. 82 (the head), 97 and 98 (the hands),
A. Nekrasov, Drevnerusskoe izobrazitel’noe iskusstvo, s. 1., 1937, figs. 224-8 If. (heads, hands, and feet).
6. paKpo8dcKTuAo$ (Chatzedakes, op. cit., p. 411).
7. ‘The Oriental opinion of the wholesome operation of precious stones, in that they move the mind
with admirable beauties, remains perhaps at this day a part of the marvellous estimation of inert gems
amongst us. Those indestructible elect bodies, as stars, shining to us out of the dim mass of matter, are
comfortable to our fluxuous feeble souls and bodies: in this sense all gems are cordial, and of an
influence religious. These elemental flowering lights almost persuade us of a serene eternity, and are of
things, (for the inestimable purity,) which separate us from the superfluous study of the world.’ Ch. M.
Doughty, Travels in Arabia Deserta, London, 1921, i, p. 315.
8. The statement, according to which certain colours and tones evoke in us some definite feelings
(gloomy, gay, &c.), cannot be doubted. But it is generally less known that the domain of graphics
opens before the artist possibilities of the same kind. According to Georges Seurat, the vertical, rising
lines evoke in the spectator the feeling of satisfaction and joy, whereas the horizontal correspond to a
series of sad impressions. The Byzantines instinctively complied with this precept: compare, for instance,
the horizontal lines dominating the composition of the Burial of the Saviour, such as is seen, e.g., at
Nerez or at Miroz, and later on in the liturgical embroideries, and the ascending movement which
distinguishes the scheme of the classical composition of the Resurrection and of the Ascension, the
character of the triumph and of happiness which it is impossible not to feel.
9. See Archimandrit Kiprian (Kern), Angely, Inocestvo, Celovecestvo (K voprosu ob ucenom monasestve),
Paris, 1942, pp. 4 ff.
10. TpiyE$ 5e koi auTod etti ttoAu au£i'|Osicrai Kai KaTiouoai to dyy£Aosi8E$ ekeivo tou TrvsupaTos- x^piai
KaTaoTpcciTTopsvov TrEpiEOKSTrov TTpooxoiTov. Theodoros Daphnopates, Encomion on the Translation of the
Hand of the Prodromes from Antioch to Constantinople, ed. V. Latysev, Pravoslavnyj Palestinskij Sbornik,
Fasc. 59, St. Petersburg, 1910, p. 35.
11. Xpd>S 5e ©EoxapiTtoTOS . . . sirfivOEi toutw koi ettsttoAo^ev, cb$ av pq odpKa Traxs':ccv Kai uAiKqv
ETnxpwvvus, dAA’ 00$ ett’ duAcp Tivi ouaia pq sk otoixsicov auvTsOsipEvq ouyKSKpapsvos Kai 0Ecopoupsvo$
(op. cit., ibidem).
12. Average size of cubes for the hair of St. John: 0’4X 0-5 cm.; average size for the hair of Christ:
o-8X 0*9 cm.
13. Cf. L. Maculevic, ‘Vizantijskie reznye kosti Sobranija M. P. Botkina’ in Gosudarstvennyj Ermitaz,
Sbornik, Petersburg, 1923, p. 71. Of course, exceptions can be found. See A. Goldschmidt und K.
Weitzmann, Die byzantinischen Elfenbeinskulpturen, ii, Berlin, 1934, Nos. 56, 69, 151-4.
14. J. Ebersolt, Le Grand Palais de Constantinople et le Livre des Ceremonies, Paris, 1910, p. 133. A
striking example of this use of the two vestments is in the great mosaic on the West wall of Torcello,
where St. John the Prodromes appears twice, once in the representation of the Resurrection where he is
vested in the melote, and again, clad in a himation, as in the composition of the Deesis.
15. An example of such a method is to be noted in the 14th century mosaics of Kahriye-Cami:
F. Smit, Kachrie-Dzami, pl. 1. Cf. the gold grounds marked with squares on Gothic miniatures, also in
1. Alwyn A. Green and Nicholas K. Kluge traced the Deesis Panel. The tracing was sent to the
Massachusetts Institute of Technology where, under the direction of Mr. K. J. Conant, it was photo-
graphed, backed on linen, and returned to Istanbul to be copied in colours cube by cube by Alwin A.
Green. This copy is now in the Metropolitan Museum.
2. Shakespeare, Antony and Cleopatra, Act iv, Scene xii, v. io.
3. See First Preliminary Report, pl. XVII (Christ); F. Smit, ‘Kachrie-Dzami’, Al'bom k XI tomu Izvestij
Russkago Archeologiceskago Instituta v Konstantinopole, 1906, pl. LX, 117 (Virgin).
4. ETdppivos (M. Chatzedakes, ’Ek tou ’EAttiou tou Twpaiou. ’Etfet. ‘ETaip. Bu£. SnouSoov, 1938,
xiv, p. 411).
5. See H. Peirce and R. Tyler, Byzantine Art, London, 1926, pls. 82 (the head), 97 and 98 (the hands),
A. Nekrasov, Drevnerusskoe izobrazitel’noe iskusstvo, s. 1., 1937, figs. 224-8 If. (heads, hands, and feet).
6. paKpo8dcKTuAo$ (Chatzedakes, op. cit., p. 411).
7. ‘The Oriental opinion of the wholesome operation of precious stones, in that they move the mind
with admirable beauties, remains perhaps at this day a part of the marvellous estimation of inert gems
amongst us. Those indestructible elect bodies, as stars, shining to us out of the dim mass of matter, are
comfortable to our fluxuous feeble souls and bodies: in this sense all gems are cordial, and of an
influence religious. These elemental flowering lights almost persuade us of a serene eternity, and are of
things, (for the inestimable purity,) which separate us from the superfluous study of the world.’ Ch. M.
Doughty, Travels in Arabia Deserta, London, 1921, i, p. 315.
8. The statement, according to which certain colours and tones evoke in us some definite feelings
(gloomy, gay, &c.), cannot be doubted. But it is generally less known that the domain of graphics
opens before the artist possibilities of the same kind. According to Georges Seurat, the vertical, rising
lines evoke in the spectator the feeling of satisfaction and joy, whereas the horizontal correspond to a
series of sad impressions. The Byzantines instinctively complied with this precept: compare, for instance,
the horizontal lines dominating the composition of the Burial of the Saviour, such as is seen, e.g., at
Nerez or at Miroz, and later on in the liturgical embroideries, and the ascending movement which
distinguishes the scheme of the classical composition of the Resurrection and of the Ascension, the
character of the triumph and of happiness which it is impossible not to feel.
9. See Archimandrit Kiprian (Kern), Angely, Inocestvo, Celovecestvo (K voprosu ob ucenom monasestve),
Paris, 1942, pp. 4 ff.
10. TpiyE$ 5e koi auTod etti ttoAu au£i'|Osicrai Kai KaTiouoai to dyy£Aosi8E$ ekeivo tou TrvsupaTos- x^piai
KaTaoTpcciTTopsvov TrEpiEOKSTrov TTpooxoiTov. Theodoros Daphnopates, Encomion on the Translation of the
Hand of the Prodromes from Antioch to Constantinople, ed. V. Latysev, Pravoslavnyj Palestinskij Sbornik,
Fasc. 59, St. Petersburg, 1910, p. 35.
11. Xpd>S 5e ©EoxapiTtoTOS . . . sirfivOEi toutw koi ettsttoAo^ev, cb$ av pq odpKa Traxs':ccv Kai uAiKqv
ETnxpwvvus, dAA’ 00$ ett’ duAcp Tivi ouaia pq sk otoixsicov auvTsOsipEvq ouyKSKpapsvos Kai 0Ecopoupsvo$
(op. cit., ibidem).
12. Average size of cubes for the hair of St. John: 0’4X 0-5 cm.; average size for the hair of Christ:
o-8X 0*9 cm.
13. Cf. L. Maculevic, ‘Vizantijskie reznye kosti Sobranija M. P. Botkina’ in Gosudarstvennyj Ermitaz,
Sbornik, Petersburg, 1923, p. 71. Of course, exceptions can be found. See A. Goldschmidt und K.
Weitzmann, Die byzantinischen Elfenbeinskulpturen, ii, Berlin, 1934, Nos. 56, 69, 151-4.
14. J. Ebersolt, Le Grand Palais de Constantinople et le Livre des Ceremonies, Paris, 1910, p. 133. A
striking example of this use of the two vestments is in the great mosaic on the West wall of Torcello,
where St. John the Prodromes appears twice, once in the representation of the Resurrection where he is
vested in the melote, and again, clad in a himation, as in the composition of the Deesis.
15. An example of such a method is to be noted in the 14th century mosaics of Kahriye-Cami:
F. Smit, Kachrie-Dzami, pl. 1. Cf. the gold grounds marked with squares on Gothic miniatures, also in