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Jul. 12th, 2008

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The Sacred Relics of Constantinople

 
Robert of Clari

The Sacred Relics of Constantinople

When the city was captured and the pilgrims were quartered, as
Ι have told you, and the palaces were taken over, then they found in the palaces riches more than a great deal. And the palace of Boukoleon was very rich and was made in such a way, as Ι shall tell you. Within this palace, which was held by the marquis, there were fully five hundred halls, all connected with one another and all made with gold mosaic. And in it there were fully thirty chapels, great and small, and there was one of them which was called the Holy Chapel, which was so rich and noble that there was not a hinge nor a band nor any other part such as is usually made of iron that was not all of silver, and there was no column that was not of jasper or porphyry or some other rich precious stone. And the pavement of this chapel was of a white marble so smooth and clear that it seemed to be of crystal, and this chapel was so rich and so noble that no one could ever tell you its great beauty and nobility. Within this chapel were found many rich relics. One found there two pieces of the True Cross as large as the leg of a man and as long as half a toise, and one found there also the iron of the lance with which Our Lord had His side pierced and two of the nails which were driven through His hands and feet, and one found there in a crystal phial quite a little of His blood, and one found there the tunic which He wore and which was taken from Him when they led Him to the Mount of Calvary, and one found there the blessed crown with which He was crowned, which was made of reeds with thorns as sharp as the points of daggers. And one found there a part of the robe of Our Lady and the head of my lord St. John the Baptist and so many other rich relics that Ι could not recount them to you or tell you all the truth.

Now there was still another relic in this chapel, which we had forgotten to tell you about. For there were two rich vessels of gold hanging in the midst of the chapel by two heavy silver chains. In one of these vessels there was a tile and in the other a cloth. And we shall tell you where these relics came from. There was once a holy man in Constantinople. It happened that this holy man was covering the house of a widow with tile for the love of God. And as he was covering it, Our Lord appeared to him and said to him (now this good man had a cloth wrapped about him): "Give me that cloth," said Our Lord. And the good man gave it to Him, and Our Lord enveloped His face with it so that His features were imprinted on it. And then He handed it back to him, and He told him to carry it with him and touch the sick with it, and whoever had faith in it would be healed of his sickness. And the good man took it and carried it away; but before he carried it away, after God had given him back his cloth, the good man took it and hid it under a tile until vespers. At vespers, when he went away, he took the cloth, and as he lifted up the tile, he saw the image imprinted on the tile just as it was on the cloth, and he carried the tile and the cloth away, and afterwards he cured many sick with them. And these relics were hanging in the midst of the chapel, as
Ι have told you. Now there was in this chapel still another relic, for there was an image of St. Demetrius, which was painted on a panel. This image gave off so much oil that it could not be removed as fast as it flowed from the picture. [And there was another palace in the city, called the palace of Blachernae.] And there were fully twenty chapels there and at least two hundred chambers, or three hundred, all connected with one another and all made of gold mosaic. And this palace was so rich and so noble that no one could describe it to you or recount its great nobility and richness. In this palace of Blachernae there was found a very great treasure, for one found there the rich crowns which had belonged to former emperors and the rich ornaments of gold and the rich cloth of silk and gold and the rich imperial robes and the rich precious stones and so many other riches that no one could number the great treasure of gold and silver that was found in the palaces and in many other places in the city.
 
[From The Conquest of Constantinople, translated by Ε. Η. McNeal, New York: Columbia University Press, (reprint 1964), 1936. P. 102-105]

May. 5th, 2008

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Lecture on «Imagining Constantinople» by Cyril Mango

The Gennadius Library holds a lecture on «Imagining Constantinople» by Cyril Mango, professor emeritus at Oxford University, starting at 7 p.m. at Cotsen Hall (9 Anapiron Polemou). For details, call 210.721.0536 or log on to www.gennadius.gr.

Sep. 20th, 2007

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Macarios the Egyptian, 1

De angelo custode

With his spiritual eyes, Macarios saw a guardian angel weeping outside a brothel at Constantinople for his charge who was defilling himself within. The man's freewill prevented the angel's intervention. The angel was praying that the man would repent of his own freewill and thus grant him a day of happiness. 
«. . . there is no more filthy sin than adultery, πoρvεία and the cursed sin of Sodom. A person guilty of such sin God will more warmly receive than any other sinners, because the condition arises from free will». 
PG 34. Col. 221-224 (BHG 999n).

Sep. 10th, 2007

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EUCHOLOGIUM (Ottob.gr. 344) VI

EUCHOLOGIUM of the cathedral of Otranto with a most interesting Italian-Greek text concerning the ceremony of wedding. Puglia, XII c. (Ottob.gr. 344) 




Wedding ring.
Byzantium.
924 AD.
Louvre.

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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