By Anthony Cutler, Reader in Ancient History Department of Classics Arietta Papaconstantinou
Reflecting the various pursuits of Jean-Michel Spieser, his colleagues, scholars and acquaintances give a contribution papers curious about themes starting from the altering function of the apse and the format of overdue old basilicas to holy relics acknowledged to were introduced from Constantinople. the various articles tackle the character and impression of particular media - goldsmiths' paintings, ivory and ceramics - whereas a gaggle of hugely unique, broader reviews is dedicated to such higher concerns as ritual exhibit within the 10th century, the metaphorical value of pottery and an interrogation of the meant impact of Byzantine icons on Western medieval artwork. all through, the success of the authors is to maneuver from concrete observations of specific items to the bigger which means they held in the event you commissioned and made use of them.
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Extra info for The Material and the Ideal: Essays in Medieval Art and Archaeology in Honour of Jean-Michel Spieser
Sample text
Von Galerius und Constantius Chlorus flankiert. Im Zentrum eine Büste. Die Apsiskalotte zeigt einen blauen Grund, auf dem ein Adler mit ausgebreiteten Flügeln zu erkennen ist, der in seinen Fängen einen Eichenkranz hält. Es handelt sich um das Bild einer Theophanie, wie sie schon in augustaeischer Zeit35 verbreitet war. Gemeint ist der Adler Jupiters, der die corona civica überbringt. Die Eiche war der Baum Jupiters, der die beiden Augusti Diocletian und Maximianus Herculius ehrt. 37 Die dreidimensionale Kult-oder Götterstatue insinuierte in der antiken Religiosität die Vorstellung von der tatsächlichen Präsenz des Gottes in der Statue.
M. Jones, The Later Roman Empire, 2 (Oxford, 1964), pp. -P. ”36 Yet according to Pappus, what made the difference between a welltrained mêchanikos and a simple architektôn was precisely the mastery of epistêmê as opposed to technê alone. 37 Here the supervisor seems to be the ergolabos, while architektôn evidently takes on a higher symbolic value—one can hardly imagine a count being the emperor’s “master-builder”… The term also comes up in the aforementioned Life of Martha. As we saw, the saint had given instructions for the ground plan of the church: … a man called Angoulas, who was also a member of the brotherhood, strenuously opposed this course of action: he had secretly directed Theodore Apothetes, who was one of the builders (oikodomos), to start work in accordance with his own design, not according to the plan that had been indicated by St Martha.
3 H. Junecke, “Die Messfigur,” Jahrbuch des Deutschen Archäologischen Instituts und Archäologischer Anzeiger 85 (1970), pp. 544–574: “Der Verfasser … [macht die] Behauptung, daß die von ihm vorgeschlagene Methode seit archaischen Zeiten bis zum Ende des 18. Jhs. ununterbrochen in Gebrauch war. … In keiner der europäischen Architekturtheo- 32 arietta papaconstantinou Such interpretations are doubly anachronistic, because their proponents are working backwards from two sets of subsequent material: first, they read Vitruvius through the eyes of his Renaissance commentators who tended to overinterpret the symbolic aspects of his work;4 second, and this is particularly true concerning students of late antique architecture, they take perhaps too literally some highly literary descriptions of famous buildings.