Search Results (22)

A well-equipped legionary army prepared to lay siege to Pompeii. Among the weapons deployed along the northern stretch of the city walls were battering rams and mobile siege towers equipped with ballistae and scorpions. The impact marks from Republican-era stone balls and dart tips remain visible today between the Vesuvio and Ercolano Gates. In 2002 and 2016, the authors surveyed significant cavities using both direct and indirect methods. The collected data were then used to calculate the volume of fractured stone material. Given the hardness of the wall ashlars, ballistic parameters were quantified based on Hellenistic treatises. The results make it possible to derive dimensions for reconstructing artillery calibrated to the observed effects. Full article

This article adopts the thesis formulated by Laurent Pernot, according to which sophists existed in every period of history. By comparing the rhetorical strategies developed by the Second Sophistic authors—in particular Aelius Aristides—with the works of the Late Byzantine politician and literatus Demetrius Kydones, striking similarities emerge, allowing an argument for the continuity of the Sophistic tradition. Authors of the Second Sophistic did not only contribute to the Byzantine politikòi stylistic models, but provided them with pragmatic approaches to navigating moments of crisis, even at the cost of negotiating and transforming traditional values. This emerges also in Kydones’ attempt to bring together East and West in order to contain the Turkish threat. His efforts mirror those of Aelius Aristides and other members of the Second Sophistic who similarly tried to mediate with the Roman empire. Furthermore, Kydones’ adoption of Greek paideia as a form of “soft power” in the West played a key role in the diffusion of the Sophistic tradition among Italian Humanists, like Leonardo Bruni. This phenomenon is closely linked with the “Sophistic Renaissance” explored by MacPhail and Katinis. Full article

This paper explores the rituals enacted in or connected with two medieval churches, one walrus ivory cross and a central topic of medieval devotion, Christ’s passion. During Easter Week these memorialised the site in Jerusalem dedicated to the burial of Christ, the holiest place in Christendom. It focuses on the physical elements, the spaces, the paintings and sculpture, the ceremonial objects and relics and the performative nature of rituals associated with them. The Regularis Concordia, composed in Winchester at the end of the 10th century for the use of Benedictine monasteries included sung liturgical enactments based on the gospel accounts of Christ’s burial and resurrection. At the same time, in Saxony, the Abbey at Gernrode was founded for the use of women, secular canonesses, with a space in the south aisle that seems to have represented Christ’s place of burial and was later incorporated into two chambers evoking the Holy Sepulchre Chapel in Jerusalem. In the 12th century in Winchester Cathedral, a Holy Sepulchre Chapel was decorated with wall paintings depicting Christ’s death and resurrection. Around this time, the walrus ivory cross known as the Cloisters Cross was created and appears to have been designed for use in the increasingly elaborate liturgical enactments. The paintings at Winchester Cathedral, the sculpture at Gernrode and the Cloisters Cross each evidence the significance of evoking Christ’s passion and how liturgical space and objects served to bring it to life. Full article

In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage. Full article

This article examines the emergence of new representations of Byzantium in early Arabic literature, with a focus on the Sīra, the biography of the Prophet Muḥammad. This historical investigation leads to a dual conclusions that the Arab perception of Byzantium not only forged an “imaginary Byzantium” but also marked the emergence of Arab self-consciousness. This process significantly influenced the Arab historical and cultural narratives, framing them within the context of the Arabic identity that emerged in late antiquity. Nevertheless, this relationship between the early Islamic community and Byzantium does little to confirm accurate knowledge about Byzantium, rendering the emerging representations as not truly reflective of “reality”, but rather presenting us with an “imaginary Byzantium”. This applies whether related to events in the 1st/7th century or the transition from oral to written texts during the 2nd/8th and 3rd/9th centuries. Furthermore, these representations reveal more about the creators of this imaginary than the other itself, shedding light on the motives of early Muslim writers who used the Sīra as a vehicle for these imaginaries. Ultimately, the article identifies, through the textual analysis and historical contextualization of Sīra, two narrative layers therein that are related to the imaginary Byzantium. The first layer reflected a pervasive fear of Byzantium, while the second layer represented an attitude of challenge and rivalry. Full article

Flails are one of the most contentious and misunderstood classes of medieval weaponry, despite their prevalence in popular media: some researchers question their existence entirely and the bulk of historians are skeptical of widespread temporal and geographical prevalence, while others, and a significant volume of period evidence, would argue the contrary. While the expansive use of flails in Eastern Europe and Byzantium is familiar, many Central, Western, and Southern European sources are less well known or largely forgotten, especially those stemming from the later-early and early high medieval eras (up to 1250). In this work, I collate and discuss the bulk of the available literary references and artistic depictions of flails and their use alongside some of the archaeological finds from Western, Central, and Southern Europe, with an emphasis on the 12th and 13th centuries. The significance of this volume of evidence is examined, and an assessment of flails as a part of medieval culture and warfare is considered. Collectively, this would suggest that knowledge of flails as instruments of war and associated cultural connotations, if not their actual prevalence and use in warfare, was far more widespread across Europe this time period than has been previously estimated. Full article

Although John Chrysostom is critical of the theatre, delivering a homily was never a tiresome monologue of the preacher in Byzantium; it was a theatrical performance combining text-reading and multiple ceremonies, during which spaces, lights, and materials were manipulated to create marvellous spectacles and enslave the audience spiritually and emotionally. At times, orators described the physical features of the venues where they spoke, as did Leo VI the Wise for two newly founded churches and Constantine VII Porphyrogenitus for the second most important church of the Empire, the Holy Apostles. But in most cases, the performance aspect of their speeches could only be known indirectly from two ceremonial handbooks, Kletorologion and De Ceremoniis. It is also necessary to indicate that the spectacles in homilies were not always real and present; they sometimes came to exist in listeners’ minds through picturesque descriptions (ekphraseis) and fictional figures (ethopoiiai) composed by preachers. Full article

This article explores how the visual culture of Eastern Europe has been studied and often excluded from the grander narratives of art history and more specialized conversations due to political and cultural limitations, as well as bias in the field. The history and visual culture of Eastern Europe have been shaped by contacts with Byzantium, transforming, in local contexts, aspects of the rich legacy of the empire before and after the fall of Constantinople in 1453. This study expands and theorizes the eclectic visual cultures of Eastern Europe during the late medieval period by focusing on two ecclesiastical buildings of the 14th century built under princely and noble patronage in regions of North Macedonia and Wallachia, respectively: the Church of St George at Staro Nagoričane, near Skopje, modern-day North Macedonia (1315–17) and Cozia Monastery in Călimănești, Wallachia, modern-day Romania (founded 1388). The 14th century was a transformative period for the regions to the north and south of the Danube River, establishing the contacts that were to develop further during the 15th century and especially after 1453. Full article

This article examines the visual representation of pagan idols in Byzantine book illumination and investigates how such images were employed to convey a sense of geographical or ethnic distance. The main focus of this study is a group of illuminated manuscripts containing two of the most popular texts in the Byzantine world: Barlaam and Ioasaph and the Alexander Romance. These manuscripts include numerous representations of statuary that Byzantine readers would have easily recognized as being associated with the religious practices and superstitions of distant and foreign populations, thereby reinforcing their own self-identification with “civilized” characters. Through a comparative analysis of manuscripts such as Athon. Iviron 463 (Barlaam and Ioasaph) and Venice, Istituto Ellenico cod. 5 (Alexander Romance), this article explores the variety of iconographic solutions adopted by Byzantine artists to enhance the “ethnographic” function of idol images. A close examination of these solutions sheds new light on how visual narratives contributed to the construction of notions of identity, otherness, and ethnicity in Byzantium. Full article

The article presents the theological ideas and mystical–religious teachings of the Greek-Byzantine Church Fathers, which, at the same time, are philosophical because Byzantine theologians also reflected on human and their life, on the relationship between man and God, on the possibilities of God-cognition and obtaining higher sacred knowledge. Based on the analysis of the anthropological and epistemological ideas of the Greek Church Fathers, we highlight that philosophizing was always at the heart of Byzantine theology. Therefore, the Byzantine tradition of the Church Fathers is considered a unique type of philosophy of religion, which originated in the historical formation of the Christian faith in the era of the Triadic and Christological theological debates of the 4th to 7th centuries. This article reflects the teachings of three of the brightest thinkers-theologians of Byzantium—John Climacus, Maximus the Confessor, and Symeon the New Theologian. Their teachings are the foundation and main source of the mystical–religious tradition of Byzantine theology and philosophy. John Climacus’s conception of human self-improvement and self-cognition on the path of theosis is revealed as one of the first philosophical and moral systems of early Byzantium and the source of subsequent Christian concepts of Eastern Christianity. Maximus the Confessor’s conception of the logoi—or energies—of God is presented as a system of symbols with profound philosophical and anthropological meaning. The human being in St. Maximus’s doctrine is the main and self-sufficient symbol of the universe, connecting the two worlds—the Divine and the earthly ones. The doctrine of Symeon the New Theologian on uncreated light is revealed as a personal comprehension of God in the perception of Divine Light. The transforming power of the Light is demonstrated, which changes the nature of a human being and raises an individual to the height of spiritual unity with God. Finally, conclusions are made about the beginning and formation of the philosophy of religion as a special type of philosophical–religious thinking found already in the period of early Christianity. Full article

Béla III from the Árpád dynasty, who later became the King of Hungary and Croatia, was previously the heir to the Byzantine Imperial Throne. Some genealogical aspects of this unusual individual are collected in the present study. Possible archaeogenetic relevance is also discussed. Full article

This article explores the use and adaptation of the iconographic motif of the waiting servant, known primarily from late Roman wall paintings, mosaics, and other media, within the sphere of Late Antique furnishing textiles. Taking as a case study a fifth- to sixth-century CE hanging in the Art Institute of Chicago’s collection, the first section argues that the addition of elaborate, multihued architectural settings and floral motifs in this hanging and several comparable examples built upon the existing waiting-servant iconography offer an enhanced message of “the good life” within the household. Such compositional elements were rooted in earlier Greek and Roman artistic traditions, namely architectural polychromy and the visual interplay between artifice and reality. However, they also exemplify the Late Antique “jeweled style”, an aesthetic characterized by dazzling visual and polychromatic effects and an interest in artistic mimicry of other media. Striking visual parallels between the waiting-servant hangings and contemporary painted interiors suggest that textiles were considered on par with permanent media and operated in a system of cross-media artistic exchange. The article concludes with a consideration of the materiality of the Chicago hanging and its potential functions within a Late Antique residence, exploring how its portability as a woven object encouraged its flexible use within the home and allowed it to convey and even amplify particular messages through its juxtaposition with other objects, architecture, or people. Full article

John II Komnenos was the son of Emperor Alexios I Komnenos and Eirene Doukaina, and brother of Princess Anna Komnene, the author of the Alexiad. Born in 1087, he was crowned soon after his fifth birthday as co-emperor with his father, and in 1105, he was married to Piroska Árpád, daughter of King Ladislaus I of Hungary and Adelaide of Rheinfelden. He is principally known for continuing his father’s work of stabilising Byzantium after the crises of the eleventh century. This included major wars of defence and conquest in both the Balkans and Anatolia, and especially a major eastern expedition in 1137–1139. During this campaign, he conquered Cilicia, but he was recalled to defend his borders against the Turks before he could make further conquests in Syria and bring the crusader states under his aegis. He died in a hunting accident just before he returned to Syria, with intentions to go to Jerusalem as well. His best-known iconographic representation is a mosaic of him and his wife in the Great Church of Sophia. Whilst there is also an image of him in a contemporary ornate gospel book, his most common representations are found on his many coin issues and seals. Full article

The connection between Umayyad and Byzantine mosaic manufacture is a debated issue: on the one hand, Arab sources report that Umayyad caliphs received craftspeople and materials to adorn religious buildings from the Byzantine emperor; on the other hand, the reliability of these texts has long been disputed among scholars, and other possible influences have been hypothesised. Was early Islamic mosaic manufacture related to Byzantine tradition and to what extent? Were materials and artisans gathered from Byzantium and/or territories under the Byzantine control? Based on a multi-analytical approach, glass tesserae from Khirbat al-Mafjar, the Great Mosque of Damascus, and the Dome of the Rock have been analysed. Results speak of a tale of two legacies, demonstrating that, parallel to a continuity with the manufacture of glass tesserae in the late antique Levant—pointing, more specifically, to a re-use of materials from abandoned buildings—legacies other than Byzantine occurred. It emerged that Egypt definitively played a role in mosaic making during the Umayyad caliphate, acting as a supplier of skilled artisans and materials. Full article

The unique art that was developed in Byzantine times is widely accepted as a precursor to the Renaissance and is still evident in monuments either from or influenced by the Byzantium. Visiting such a site is a unique experience due to the lavishly painted interior for both tourists and scholars. Taking advantage of the emerging 5G technologies, cloud/fog computing, and Augmented/Mixed Reality mechanisms, a common smart device (e.g., smartphone, tablet) could be employed to give a better experience to the end-users. The proposed framework is intended to provide visitors with interpretative information regarding the visited monuments and their paintings. Under the framework introduced in this paper, camera input is uploaded to a cloud/fog computing infrastructure where appropriate algorithms and services provide monument and painting recognition and the mobile application retrieves and projects the related information. In addition, the designed immersive user interfaces assist visitors in contributing in cases of monuments and paintings for which no available information exists. This paper presents the state of the art in approaches for immersive experiences in Digital Culture, reviews the current image recognition approaches and their suitability for Byzantine paintings, proposes interaction techniques appropriately designed for observation and interaction of paintings, and discusses the overall framework architecture that is needed to support the described functionality while stressing the challenging issues of the above aspects thus paving the road for future work and providing guidelines for a test-bed implementation. Full article