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Mar. 12th, 2008

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Gratian's Decretum

 

Manuscript of Gratian's Decretum.   
Cologne, Cathedral Library, 127 fol. 9r.
Twelfth century.
Written at Cologne, (glossed) by various jurists.

Oct. 14th, 2007

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St. Ananias (Ανανίας, Νίνος, Ανανιας, Νινος)

 Ο Αγιος Ανανίας ο Απόστολος

Υπακούατε "εκ καρδίας εις ον παρεδόθητε τύπον διδαχής". Κάνετε υπακοή με όλη την καρδιά σας στον ακριβή κανόνα της χριστιανικής διδασκαλίας. Τέτοιος άνθρωπος υπακοής στο Θεό ήταν και ο απόστολος Ανανίας.

Διότι, όταν ο Θεός του είπε με όραμα να συναντήσει το Σαύλο, που ήταν ο φόβος και ο τρόμος των χριστιανών, έκανε υπακοή στα λόγια του Κυρίου. Αμέσως πήγε στην Ευθεία οδό και αναζήτησε το σπίτι του Ιούδα, όπου ήταν ο Σαύλος.

Τον θεράπευσε, τον βάπτισε χριστιανό, και έπειτα αυτός, με το όνομα Παύλος, έγινε ο μέγας Απόστολος των Εθνών.

Κατόπιν ο Ανανίας πήγε στην Ελευθερούπολη, όπου με τη διδασκαλία του είλκυσε στο Χριστό πολυάριθμες ψυχές.

Ο θόρυβος όμως που δημιούργησε η αποστολική του δράση, έκανε τον ηγεμόνα Λουκιανό να τον συλλάβει. Χρησιμοποίησε πολλούς και ποικίλους τρόπους προκειμένου να αλλαξοπιστήσει ο Ανανίας. Αλλά ο Ανανίας έμεινε αμετακίνητος στα χριστιανικά του φρονήματα. Τότε ο Λουκιανός τον μαστίγωσε με νεύρα βοδιών.

Επειτα, με σιδερένια νύχια του ξέσχισε τα πλευρά και έκαψε τις πληγές του με αναμμένες λαμπάδες.

Τέλος, αφού τον έβγαλε έξω από την πόλη, τον λιθοβόλησε. Ετσι, ο Ανανίας πήρε το αμαράντινο στεφάνι της υπακοής στο θέλημα του Θεού. 



St. Ananias. 
Mosaic (detail). 
5th century.
Hagios Georgios, Thessaloniki, Greece.
 


 

Aug. 2nd, 2007

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Leo VI (?) crowned by the Virgin.




Emperor Leo Vl crowned by the Virgin.
886-912.
Constantinople
, ivory.
Berlin, Museum fur Spatantike und Byzantinische Kunst 

Aug. 1st, 2007

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Leo VI AV Solidus. 908-912 AD.







Leo VI AV Solidus.
908(911?)-912 AD.
Constantinople mint.
4.41 g, 6h.
 
Obverse: Christ with cross-nimbus behind head, seated facing on lyre-backed throne, lyre-backed throne, raising right hand in blessing and holding Gospel in left; + IhS(VS) XP(ISTO)S REX REGNANTIVM: Jesus Christ, King of those who rule.
Reverse: Standing facing figures of Leo VI (l.) and Constantine VII (r.), each wearing loros and crown with cross and holding globus cruciger in outer hand and patriarchal cross between them; LEON ET CONSTANT(INVS) AVGG (AVGVSTI abbreviated) ROM(AION): Leo and Constantine, Augusti of the Romans.

It's rather interesting that  the image of lyre-backed throne seems to be the same as in previous mosaic of Hagia Sophia with the Emperor Leo VI, the Wise (886-912), prostrated before Christ seated facing on lyre-backed throne.

For reasons not yet clearly understood, Leo VI apparently did not mint solidi for the first twenty years of his reign. The solidi from his last years continue with an improved version of the Christ enthroned introduced by his father, Basil I, on the obverse and with standing portraits of Leo and his son Constantine VII, co-emperor after A.D. 908, on the reverse. The portraits are interesting for their depiction of the complex wrapping of the loros. The figures continue the convention of showing the senior emperor in larger scale on the left, but Constantine is depicted as nearly grown, while he was in fact a small child.

The future Constantine VII was the illegitimate son born before Leo’s uncanonical fourth marriage to Zoe Karbonopsina. Leo VI married her only after she had given birth to a son in 905, but incurred the opposition of the patriarch Nicholas, his former own imperial secretary (mystikos). He was eventually barred from attending St. Sophia. Leo replaced Nicholas Mystikos with his spiritual father Euthymios in 907. To strengthen his son's position as heir, Leo had him crowned as co-emperor on May 15, 908, when he was only two years old (on June 11, 911. - Jenkins Л., Grierson Ph. The Date of Constantine VII Coronation // Byz. 1962. Vol. 32. P. 135 ff.).
Leo VI died on May 11, 912 A.D.


Jul. 31st, 2007

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The Emperor Leo VI, the Wise (886-912), prostrated before Christ. Mosaic of Hagia Sophia

Over the Imperial Gate from the narthex to the church Leo VI, the Wise (886-912), is thus shown prostrated at the feet of Christ with medallions of the Virgin and an Archangel above. The Archangel no doubt symbolizes the belief that the chuch of Hagia Sophia was built with divine aid while Angels watched.



 

Ο αυτοκράτορας Λέων Στ΄ ο Σοφός γονυπετής μπροστά στο Χριστό. Στα μετάλλια η Παναγία και ο αρχάγγελος Γαβριήλ. (9ος αιώνας

Giving incorruptible Holy Sacrament to us in the communion after sacring was postulated by the Church Fathers. For instance in his Mt hom. 82 (83), 5 St. John Chrysostom speaks: «...let us approach this table and the nipple of the spiritual cup...like nursing children let us eagerly draw out the grace of the Spirit, for to share in the divinity of Christ is to be in communion also with the Father and the Holy Spirit, who share the same divine nature. So to receive the eucharist is to receive the Holy Spirit» (PG 58, 744 (= CPG § 4424)). In Ioh hom. 46 (47), 4: «From this table springs up a fountain that sends forth spiritual rivers... Many are the streams of that fountain which the Paraclete sends forth, and the Son is the mediator» (PG 59, 261-262 (= CPG § 4425)).
 
By ancient tradition only Emperor could enter the sanctuary to offer his gifts and receive communion as it was canonized by canon 69 of the Quinisext Council «in Trullo» in AD 691/2 (The Council in Trullo Revisited / eds.G. Nedungatt, M. Featherstone. (Kanonika 6). Rome, 1995. P. 151 = Mansi 11, 969). On Trullo and its canons, see: Nedungatt-Featherstone and V. Laurent. L’oeuvre canonique du Concile en Trullo (691-692), source primaire du droit de l’église orientale // Revue des études byzantines 23 (1965). Р. 7-41. On the imperial communion, see: R.F. Taft. The Byzantine Imperial Communion Ritual // Ritual and Art: Essays for Christopher Walter.ed. Pamela Armstrong. London, 2003; R.F. Taft . A History of the Liturgy of St. John Chrysostom. Vol. II: The Great Entrance. A History of the Transfer of Gifts and Other Preanaphoral Rites of the Liturgy of St. John Chrysostom (OCA 200). Rome, 1978. P. 26-31; F.J. Dölger. Kaiser Theodosius der Große und Bischof Ambrosius von Mailand in einer Auseinandersetzung zwischen Predikt und Meßliturgie // Antike und Christentum 1 (1929). P. 54-65.
 
In accord to the 10th-century De ceremoniis to hold the crown and chlamyde it were used liturgical tables during the imperial coronation and wedding rites (De cerimoniis I, 39 (30) - Le Livre des cérémonies de Constantin Porphyrogénète. Texte I-II. ed. A. Vogt. Paris, 1935, 1939). About the origins of these communion table (antimesion) one can see the anonymous 8/9th-century Narratio de S. Sophia §16, describing the sanctuary of Justinian’s Great Church, which says the Emperor «set up on the presbytery four silver tables (trapezas) on columns, and these, too, he gilded» (Scriptores originum Constantinopolitanarum. ed.T. Preger. (Bibliotheca Scriptorum Graecorum et Romanorum Teubneriana, Scriptores Graeci). Leipzig, 1901-1907. P. 94).
 
As described for the Hagia Sophia Christmas liturgy (Le Typicon de la Grande Église. Ms.Sainte-Croix n°. 40, Xe siècle. Introduction, texte critique, traduction et notes. ed. J. Mateos. 2 vols. (OCA 165-166). Rome, 1962-1963. Vol. I. P. 154-159) the Emperor was summoned to communion after the kiss of peace,
«The Emperor goes again to the metatorion, and at the time of the divine communion, the master of ceremonies signals the praepositus, and the praepositus [signals] the Emperor, and he goes out, preceded by the above-mentioned [officials], and when he is before the patriarch to communicate in the immaculate Body and Blood of Our Lord Jesus Christ, two porters hold a cloth spread out, and after receiving the precious gift in his hands, he kisses the patriarch and after descending the platform [of the communion antimension] and making the sign of the cross three times, he communicates in the Holy sacrament. Then he mounts the same platform again and the porters spread the cloth under him, and after receiving the eucharistic wine from the patriarch, he descends, and having prayed, both [the Emperor and the patriarch] bow to each other, then turning, he retires to the metatorion and dines with the patricians and dignitaries whom he will have invited» (De cerimoniis I, 32 (23) - Le Livre des cérémonies de Constantin Porphyrogénète. Texte I. ed. A. Vogt. Paris, 1935. P. 124).



Jul. 30th, 2007

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Michael Sikidit's persuasion that the communion is corruptible and incorruptible simultaneously


Concerning the question about peacock as the symbol of resurrection in close connection with the tradition about incorruptibility of peacock’s meat it must be remember the theological dispute on the same theme. In XII c. Byzantine monk Michael Sikidit in his «Theological chapters to the unintelligible pages of Holy Scripture» expressed persuasion that the communion is corruptible and incorruptible simultaneously: it is corruptible after sacring before eucharist, and it is incorruptible immediately after the eucharist. Before priest or layman tasted the Holy Sacrament, it is as passive and mortal, as it was subjected to suffering and death, when Eucharist was established on by the Lord’s Supper. It is truly divided, it is crushed and eats up by the teeth of communicats. But as it rose in incorruptibility, impassivity and glory after death on the cross and burial, so it occurs also in the Liturgy, when having been buried in communicat it rises immediately in the glory, being connected with the essence of the soul of communicat, granting it to its incorruptibility and renew it to the eternal life.
 
This impious person - monk Michael Sikidit - taught together with other absurdities that the Holy Sacrament and Lord’s blood given to us in the communion are corruptible and it forms only the victim, deprived of reason and of soul, and that in the sacrament of communion we do not assume entire Christ, but only His part, and which therefore- that expanded in communion is material, it is mortal, it is subjected to a touch and a feeling of sight. 

Jul. 29th, 2007

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The symbolism of peacock

Peacock (pavum, ταώς).

The symbolism of peacock belongs to the antiquity, where it equally expressed immortality. Ancient established the symbolic value of this bird on the tradition about incorruptibility of its meat. That is why Pythagoras moves the soul of immortal writers, as, for instance, Homer, into the peacock. In this selection of bird for the migration of souls, some writers saw hint to the immortality of soul. Tertullian expressed it very clearly and definitely: «Platon’s students assert that the souls immediately enter into bodies, but not into the previous and frequently not into the human as Evforb, which is converted into Pythagoras, but into the bird, and Homer is converted into the peacock. Despite to this, they proclaim, that the soul accurately returns again to the earth for the residence in the flesh, preferring to better assume of the condition of immortality, than to completely deny its, and to knock the door of truth». - «Nimirum magna merces bonis in animalia quaecunque restitui. Pavum se meminit Homerus Ennio somniante... Damnatus est igitur Homerus in pavum, non honoratus» (Tertullianus. De resurrect. Carnis. Cap. I. - De anima. Cap. 33).
But some scientists do not recognize popular belief about incorruptibility of meat for the sole, and they assume that the circle, formed by peacock’s tail, had to this influence because and circle, and the snake, circularly located, indicated immortality. Even form of tail is assigned the very origin of the Greek name ταώς (peacock). Ancient Greeks likened the figure of peacock’s tail to stars or to eyes; its golden circles on blue background of remaining feathers easily could direct to such comparison, which brought Greeks to the dedication of this bird to Juno, the goddes of sky and the goddes of stars, why Ovidius is called the peacock: «Junonis volucrum quae cauda sidera portat» (Metamorph. XV, 385).
As a result of the same understanding, with deification (consecratio) of Roman empresses allowed peacockes to raise their souls to the bosom of Juno as the goddes of stars. That is why on the medals in the honor of these rites empress is depicted as that sitting on the peacock, that raises her to sky. The inscription – «sideribus recepta» - completely corresponding to this value. With deification of emperors the eagle, dedicated to Jupiter, substituted peacock. Emperor Adrian place gold peacock with precious stone in temple Juno (Pausanias 1. II. Cap. 17).
All researchers of the Christian antiquities consider peacock in the Christian symbolism for the symbol of the resurrection: «Sunt qui (pavonem) resurrectionis symbolum esse arbitrentur. Quorum sane etsi veteruin patrum auctoritate non constet, tamen nulla satis gravi ratione reprobari potest, sententia» (Origenis III. Р. 98). Furthermore, Christians focused special attention on legend about incorruptibility of peacock’s meat. To this perhaps were directed their words of Apostle Paul (1 Kor.15, 53). This legend was so positively accepted that St. Augustin said: «Deus creator omnium dedit carni pavonis mortui ne putresceret» (De civit. Dei. Lib. XXI).
We already above noted how the circular shape of peacock’s tail gave to this bird the value of immortality and eternity. The same can be noted, also, on the Christian monuments. Meanwhile the peacock is placed also in the relationship with four times of the year, whose symbolic value is known. As the symbol of resurrection peacock was depicted with those symbols, which related to the paradise in its different symbolic nuances. We see that constantly the symbols indicate the relationship of the sacrament of communion to the resurrection and to the paradise. In the identical value and the peacocks, as the symbols of resurrection, are depicted on the mural paintings and on the inscriptions with the symbols of this sacrament.
This formula «in pace», as we frequently saw, embraces all values, which are contained in the images, which seemingly they supplement by its words – «in pace fidei resurrecturm». Peacock on the branch make the same sense – «in pace fidei resurrecturm» as one can see in the votive crown of Emperor Leo VI (886-912).
  

Jul. 28th, 2007

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Emperor Leo Vl’s Votive Crown



                                            Emperor Leo Vl’s
                                            Votive Crown
                                            886-912.
                                            Constantinople, gold,
                                            cloisonné enamel on gold, and pearls,
                                            height 3.5 cm (1 3/8 in.);
                                            diameter 13 cm (5 1/8 in.).
                                            Venice, Procuratoria di San Marco.
 
Among the oldest Byzantine enamels are those that have been categorized around the votive crown of Emperor Leo VI (886-912) in the treasury of San Marco, and which are characterized by the use of full enamel, transluscent green backgrounds, bright colours and simplified compartmental design. 

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