- Centre National de la Recherche Scientifique / French National Centre for Scientific Research, CESOR/EHESS, Faculty MemberUniversity of Fribourg, Département Langues et Littératures, Department MemberUniversity of Fribourg, Institut des Sciences de l'Antiquité et du Monde byzantin, Department Memberadd
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Translation and discussion of Metochites's description of the Mosaics of Chora in his Poems I and II.
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In: P. Odorico, ed., La face cachée de la littérature byzantine. Le texte en tant que message immédiat [Dossiers Byzantins 11], Paris 2012, 123-135
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Though parts of the text traditionally called Theophanes Continuatus go back to the time of Constantine VII, it is in fact a compilation of various texts put together by a later redactor in the reign of Nicephorus Phokas. Likewise, the... more
Though parts of the text traditionally called Theophanes Continuatus go back to the time of Constantine VII, it is in fact a compilation of various texts put together by a later redactor in the reign of Nicephorus Phokas. Likewise, the original parts of text known as the De Cerimoniis were produced in the reign of Constantine, but the text has come down to us in a later redaction, apparently also from the time of Phokas. In the case of the De Cerimoniis, the final redactor has been identified as Basil the parakoimomenos, the bastard son of Romanus I Lecapenus. Similar interests and coincidences of composition in the two texts, particularly in Book VI of Theophanes Continuatus and chapter I,96 of the De Cerimoniis, suggest that the compiling of Theophanes Continuatus was also the work of Basil.
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Ostensibly written in response to demands by all and sundry for details of events in the Great Palace during the failed coup d'état on 31 July 1200 by John Komnenos, a relation of the former ruling dynasty, against the reigning emperor... more
Ostensibly written in response to demands by all and sundry for details of events in the Great Palace during the failed coup d'état on 31 July 1200 by John Komnenos, a relation of the former ruling dynasty, against the reigning emperor Alexios III Angelos (r.1195-2003), Mesarites's Account is surely not to be seen simply as an occasional piece, but also a political pamphlet. Composed in high, albeit eccentrically vivid personal style, this text with its pronounced imperial piety and xenophobic tendency would appear to convey a message to the élite of the city of the dangers of shifting alliances in the years before the Fourth Crusade. John Komnenos' attempted coup had resulted in the intrusion of the rabble together with Latin mercenaries into the Great Palace and their near profanation of the palace church of the Pharos, the sanctum sanctorum of the Empire with its famed relics of the Passion of Christ. Mesarites' injunction here to the marauding crowd, "Leave this church undefiled!," his pious catalogue of the relics and his subsequent account of John's gruesome end after fleeing from the palace hall of the Mouchroutas with its ceiling decorations in foreign style can be read as a warning against innovation, political, or otherwise.
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Research Interests: Late Antique and Byzantine History, Late Antique and Byzantine Studies, Byzantine Studies, Byzantine History, Byzantine Architecture, and 7 moreByzantine Iconography, Byzantine Paleography and codicology, Byzantine historiography, Byzantine Hagiography, Paleochristian and Late Antique Archaeology, Byzantine Theology, and Byzantine art
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ISBN: 9781108483056 Series: Sources for Byzantine Art History 3 In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts... more
ISBN: 9781108483056
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
Series: Sources for Byzantine Art History 3
In this book the beauty and meaning of Byzantine art and its aesthetics are for the first time made accessible through the original sources. More than 150 medieval texts are translated from nine medieval languages into English, with commentaries from over seventy leading scholars. These include theories of art, discussions of patronage and understandings of iconography, practical recipes for artistic supplies, expressions of devotion, and descriptions of cities. The volume reveals the cultural plurality and the interconnectivity of medieval Europe and the Mediterranean from the late eleventh to the early fourteenth centuries. The first part uncovers salient aspects of Byzantine artistic production and its aesthetic reception, while the second puts a spotlight on particular ways of expressing admiration and of interpreting of the visual.
