Patmos

nota a Trib. Messina 30 luglio 86, in Dir. trasp., 1988, I 181. A seguito di urto con altra nave, avvenuto nello stretto di Messina 21 marzo 1985, Ia petroliera Patmos, di proprietà della Patmos Shipping Co., subiva danni allo scafo, dai quali derivava uno spandimento di idrocarburi in mare. Con ricorso presentato il 2 giugno 1985 avanti il Tribunale di Messina, la società proprietaria, unitamente al P.&I. Club che ne assicurava la copertura per la  responsabilità da inquinamento da idrocarburi, chiedeva I'ammissione al beneficio della limitazione del debito, di cui all'art. 5 della C.L.C. 1969. Successivamente all'ammissione al beneficio, il giudice istruttore, con propria ordinanza del 18 febbraio 1986 formava lo stato passivo, che veniva impugnato da parte di alcuni creditori con varie opposizioni.

Nell'Apocalisse chi è il personaggio a cui si allude con il numero 666? Chi sono i 144.000 segnati e chi sono i due testimoni? Perchè lo scontro ultimativo fra il Bene e il Male si svolgerà proprio ad Harmaghedon? Qual è, in definitiva, il senso ultimo del libro?
Un'interpretazione rivoluzionaria del libro dell'Apocalisse.

Hölderlin selbst verstand sich offenkundig als ein Dichter der festen Form. Nicht alle seine Versuche aber hat er bis zu diesem Punkt gebracht. Wir wollen ihm keine feste Form aufzwingen, wo er zu ihr nicht fand und ihn genauso wenig zu einem Stilleben verketten, wo die Bewegung nicht zum Abschluß kam. Wenn wir diese
Verskomplexe hingegen so lesen, wie sie geschrieben vorliegen, werden sich uns überraschend neue Sinndeutungen erschließen. Es werden hier keine vier Fassungen von ›Der Einzige‹ konstituiert, keine fünf Fassungen der ›Mnemosyne‹ usw. Es gibt nur eine mehrmals versuchte, niemals abgeschlossene ›Mnemosyne‹, ein mehrmals in Angriff genommenes und vorläufig abgeschlossenes, dann immer wieder neu aufgegriffenes Gedicht ›Der Einzige‹ (bei dem nur Manuskript-Verluste nicht alles zu belegen erlauben),
nur ein einmal abgeschlossenes und preisgegebenes, dann dreimal erneut aufgegriffenes Gedicht ›Patmos‹. Es gibt also keine drei oder mehr ›Mnemosynen‹ usw., die man unabhängig voneinander lesen kann (oder sogar soll). Es gibt hingegen Schreibprozesse an ›Mnemosyne‹ usw. Diese Schreibprozesse wollen in ihrer Aufeinanderfolge betrachtet werden, mehr oder weniger wie ein einziger, einheitlicher Schreibprozess.

In de tweede helft van de eerste eeuw verscheen een wonderlijk boek: de Openbaring. In het Grieks heet het Apocalypse, wat je zou kunnen vertalen met onthulling, ontdekking (van het Griekse apo-kaluptein = bekendmaken, openbaren). Het boek Openbaring, dat zaken wil ‘onthullen’ die voor velen verborgen zijn, is gegoten in de vorm van een visioen over wat gebeurt of weldra zal gebeuren.

Abstract: This paper aims to present seven architectural sculptures (epistyles or cornices, templon piers and relief slabs) preserved on Patmos. They are all dated to the 11th and 12th centuries, are decorated with popular motifs of the marble sculpture of this period and are probably connected with the two principal construction phases of the monastery of Saint John the Theologian: the first phase coincides with the establishment of the monastery by the Blessed Christodoulos and the second was completed after the return of his disciples from Euboea, who translated his holy relics to Patmos and revived the monastic community in the early 12th century. Some of them may belong to the original templon of the catholicon which was hastily constructed with the available building material under the supervision of Christodoulos himself, while others reflecting the influence of contemporary Constantinopolitan sculpture possibly belong to the second, better planned construction phase of the 12th century.

This article aims to present systematically for the first time a reused votive inscription of the 5th or the 6th century, preserved now in the church of Saint Thallelaios at Chora, Patmos. It commemorates the paving of a basilica at the expense of the tribune Paul after he was rescued from a shipwreck, during Melitios’ episcopate. The inscription is probably connected with the Early Christian basilica of Saint John the Theologian, the remains of which are recorded in the inventory of the island before it was handed over to Hosios Christodoulos. A foundation inscription mentioning bishop Epithymetos and a boundary mark also originate from the same monument.

ΔΧΑΕ, Τόμος ΚΔ' (2003) • Σελ. 293-308, ΑΘΗΝΑ 2003
George Kakavas
ISSUES OF PATMIAN ICONOGRAPHY IN TWO CRETAN TRIPTYCHS
IN THE BYZANTINE AND CHRISTIAN MUSEUM, ATHENS
Two unpublished triptychs in the collection of the Byzantine and Christian Museum, whose art bears the stamp of the principles of Cretan painting but whose iconography refers to the holy island of Patmos as the possible place of their creation, are examined.
1. The central leaf of the first triptych (T 2857) is decorated by a gilded wood-carved frame, the apex of which is crowned by a large pinecone (Figs 1-3). Depicted in the upper zone are the Virgin Platytera enthroned, flanked by St John the Baptist and St John the Theologian in veneration, and in the lower zone the full-bodied figures of Three Hierarchs. The inside of the side leaves is divided into three registers. Shared between the upper register of both leaves is the scene of the Annunciation; in the middle register of the left leaf are the full-bodied figures of Sts Nicholas and Constantine, and in the lower Sts Panteleemon and Paraskevi; in the middle register of the corresponding right leaf are St Onouphrios and "Our Father Hosios Christodoulos" (OCIOC ΠΑΤΗΡ ΗΜΩΝ XPICTOΔΟΥΛOC), and in the lower Sts Barbara and Marina. When the triptych is closed, the lateral leaves are decorated above with the Holy Trinity and below with the Archangels Michael and Gabriel.
The small triptych is of interest for the iconography and composition of its representations. The iconographie type of the enthroned Virgin is the established one in the art of fifteenth-century Cretan icons, the most probable model for which is the despotic icon painted by Andreas Ritzos for the katholikon of the monastery of St John the Theologian on Patmos. The representation of Hosios Christodolous of Latros, founder of the Patmos monastery, is copied to the minutest detail from the monumental figure of the hosios on the bema door in the parekklesion dedicated to him in Patmos, which is dated around 1600. The original composition of the main representation on the triptych can be considered as a singular schema of Deesis, in which the Precursor, left, in the usual position of the Virgin, and the Theologian, right, in the traditional place of the Baptist, intercede to the Christ Child, who now sits in his mother's embrace, instead of to Christ Pantocrator or Great High Priest. The choice of the two homonymous saints in the composition is perhaps not fortuitous but is connected with the name of the dedicator or copied from some disseminated variation of the
Deesis.
The iconography and style of the painting, together with the wood-carved frame, point to a Cretan workshop and date the triptych to the latter years of the sixteenth century. The iconographie relationship of the triptych with Patmos is obvious, both in the depiction of Hosios Christodoulos holding the church in his hands and that of the Virgin enthroned in a type that has been associated with Patmos. The presence of St John the Theologian, in the expanded central composition of the triptych, could also be considered an indication that the triptych was painted for Patmos.
2. On the central leaf of the second triptych (T 2851) with the integral wooden frame, arched and surrounded by intricately carved decoration, is depicted a variation of the
subject of Christ Man of Sorrows (Figs 6, 7, and 10). The lifeless Christ, inside an open sarcophagus, is flanked by the Theotokos left and St John the Theologian right. Depicted on the inside of the left leaf is a winged St John the Baptist, and on the corresponding face of the right leaf, St James the Adelphotheos. When the leaves are closed, the author of the Book of Revelation, St John the Theologian, is shown fullbodied on the left, and Hosios Christodoulos, founder of the Patmos monastery, holding a model of the monastery's katholikon, on the right. Of particular interest is the integral, carved wooden frame of the central leaf, which has one of the most popular and established shapes of sixteenthcentury Cretan triptychs.
The representation on the central leaf is an amalgamation of Passion themes, since to the solitary figure of Christ Man of Sorrows are added the figures of the Theotokos and St John, from the Deposition or the Lamentation. The representation of James, son of Joseph from his first marriage and thus "the brother of the Lord", as hierarch and not as apostle, renders visually an old tradition according to which Christ ordained him as first Bishop of Jerusalem. The model for the monumental figure of the Theologian on the outside of the triptych is encountered in fifteenth-century Cretan painting, such as on the bema door in Patmos, which is ascribed to Andreas Ritzos or his workshop. However, the depiction of the Theologian together with the founder of the monastery, Hosios Christodoulos, in the triptych, is close in iconography to the corresponding types of the two saints on the bema doors of the Patmian parekklesion of Hosios Christodoulos, which has been dated around 1600.
The art of the triptych places it in the late sixteenth or the early seventeenth century. Iconographic and typological traits link it with Patmian works produced by Cretan artists. The presence of Hosios Christodoulos with the accurate model of the katholikon of the Patmos monastery, as well as of the Theologian himself twice, once on the central leaf as a young man and once on the outside of the side leaf as an old man, suggests that Patmos is the most likely place from which it was commissioned. The Patmian orientation in the choice of iconographic subjects is reinforced by the presence of St James the Less or Adelphotheos, Bishop of Jerusalem, who is constantly depicted in wall-paintings and icons on Patmos, as if belonging to the roll of saints (hagiologion) specifically associated with the island. The combination of these three Patmian themes indicates that triptych was commissioned by a Patmian. The strict choice of the specific saintly figures, hierarchs, ascetics and monks, as well as the meaning of the central representation of Christ Man of Sorrows, which can be paralleled with the humility of the spirit and the body, one of the greatest virtues of monachal life, also prescribe the status of its possessor as a monk or a priest.

St. John the Theologian at Lakki, Leros, is a three­ aisled domed basilica with traces of several building phases and repairs. The restoration of the church has revealed important elements of its history. The foundations of the original tim­ ber­roofed basilica with a narthex were laid on the soft bedrock of the area. The colonnades dividing the aisles incorporated dis­ similar columns and capitals, reworked for aesthetic reasons at one of the later stages of intervention; their original provenance is unclear. The church had a synthronon and arched windows. The masonry was irregular, with a light coating of plaster interrupted in places to expose courses of brick on both sides of the wall and the arches of the openings; such was the original decoration of the monument. The plaster was divided into zones decorated with incisions. Its large size, in conjunction with the terracotta decoration, indicates that is was probably an episcopal church, a possibility also supported by the inscription on the marble lintel originally placed over the central west door. This inscription dates from the earliest phase of the building and mentions the year 1082 and the name of a bishop Nicholas as founder. During the first decades of the 13 th century, perhaps after an earthquake, the church acquired a cross­vaulted roof with a dome. The façade was remodelled according to the dominant trend of the period. The apse to the left of the sanctuary (prothesis) was rebuilt without the brick courses, and the outside of the building was decorated with chevron patterns. The windows were blocked and the interior was covered with murals, taking advantage of the increased surface made available for painting. Judging from the north aisle—dedicated to the Blessed Christodoulos, the founder of the Patmos Monastery—the painting programme was of special character. The style of the murals, dating from the first half of the 13th century, recalls monuments of Rhodes, such as St. Michael at Thari and St. Phanourios in the medieval town, which possibly reflect the art of the Byzantine empire of Nicaea. The third important modification of the church, dating from the post­Byzantine period, involved the walling of both colonnades, the blocking of three out of the four windows of the dome and the construction of a wall dividing the sanctuary from the nave. At this time the murals were badly damaged, since a pale plaster coating covered much of the interior.

The healing of the blind man in the Gospel of John chapter 9 is the lengthiest and most complex scene, and the only miracle of Jesus mentioned elsewhere in the gospel. It is positioned just before the ascent to the climax of the gospel, the B in a work notable for its overall inclusio A-B-A structure – on either side of this episode the two halves of the gospel are just about mirror images. The structure of this telling also is a microcosm of the gospel's overall inclusio structure: It begins with the disciples asking Jesus whether the blind man sinned or his parents, has at the center the parents appearing and being accused of sin, and ends, as I read it, with the blind man's father asking Jesus if his sins have rendered him spiritually blind. An analysis of chapter 9 suggests this blind man is the son of the gospel author, and examination of several other early proto-Christian texts supports this conclusion.

Le  lendemain  du  massacre  de  Piazza  Fontana,  Pasolini  écrit  Patmos.  Comme  un  rythme  obsédant les  interpolations  tirées  du  premier  chapitre  de  l'Apocalypse  de Jean  scandent  le  temps  du  poème, temps cyclique de l'angoisse et de l'attente. La  voix  de  jean  se  substitue  par  moments  à  celle  du  « littérateur »  (« j'en  parle  en  tant  que littérateur »,  « en tant que littérateur schizoïde », « en tant que littérateur qui fait de la littérature », Patmos in Trasumanar e organizzar, Milano, Garzanti 1971, respectivement pp.112, 113 et 117) qui devient  visionnaire,  écrivain  apocalyptique,  prophète  et  martyr  (martys  =  témoin)  de  la « révélation ».

... Further experiments were conducted employing filters designed using the Parks-McClellan algorithm. ... 2512–2515. IEEE Computer Society Press, Los Alamitos (1988) 5. Sacha, JR, Irwin, MJ: Number representation for reducing switched capacitance in subband coding. ...

... Further experiments were conducted employing filters designed using the Parks-McClellan algorithm. ... 2512–2515. IEEE Computer Society Press, Los Alamitos (1988) 5. Sacha, JR, Irwin, MJ: Number representation for reducing switched capacitance in subband coding. ...

This monograph explores the significance accorded to St John’s island of Patmos (Rev. 1:9) within the wider reception history of the Apocalypse. In contrast to the relatively scant attention paid to John’s island in modern commentaries, this reception-historical survey reveals both the greater prominence accorded to Patmos by earlier interpreters, and the richer diversity of readings the text has provoked. These include interest in the physical character of Patmos and its significance as an island; the date and reason for John’s sojourn there; attempts to locate Patmos in a geography which is sometimes more mythical than literal; the meaning of the name ‘Patmos’ for a biblical book which treats other place names symbolically. This diversity is supported by a close reading of Rev. 1:9, which highlights the extent to which even its literal sense is highly ambiguous. This book brings together for the first time in a coherent narrative a wide range of interpretations of Patmos, reflecting different chronological periods, cultural contexts, and Christian traditions. It understands biblical interpretation broadly, to include interpretations in biographical traditions about John, sermons, liturgy, and visual art, as well as biblical commentaries. It also considers popular and marginal readings alongside magisterial and centrist ones, and draws analogies between similar hermeneutical strategies across the centuries. The final chapter explores the wider implications of this study for New Testament scholarship, advocating an approach which encourages use of the imagination and reader participation, and which works with a broader concept of ‘meaning’ than traditional historical criticism.

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