<i>The clash of Gods: a reinterpretation of early Christian art</i> (review)
Ann Moffatt
206 Reviews As weU as providing the specialist art historian with slighdy mind-numbing technicalities and a useful survey of topics not often considered, especially in Mango's Necipoglu's contributions, book exemplifies tbe problems confronting conscientious guardians physical manifestations cultural heritage. Measuring budding is all very well, but bow does one prop it up? With what materials? For Hagia Sophia this adumbrates pleads for further investigations, gives no answers moment. Elizabeth Jeffreys Department M o d e m Greek University Sydney Mathews, Thomas F., The clash Gods: reinterpretation early Christian art, Princeton, Princeton Press, 1993; cloth; pp. x, 223; 138 plates; R.R.P. US$50.00. Mathews upsets traditional view, established between wars by Kantorowicz, Alfoldi Grabar, that images Christ developed from imperial iconography. H suggests 'emperor mystique' was influenced nostalgia each these scholars old German, Habsburg, Russian emphes respectively. Instead sees broader eclecticism ambivalence imagery argues contributed only to success also new religion 'the gods'. W h U Eusebios propounded theory divine kingship emperor, emperor might model himself on Christ, reverse did take place. modelled emperor. Church state remained distinct. which three centuries after Constantine focused divinity magician Christ. It even antiimperial , stressing his opposition Arianism Constantine, Constantius, Valens. appeared sella curulis an bearded phUosopher enthroned amongst disciples. This who sat while court stood respectfully consistory. Jupiter, fully God, flowing hah, seated high-backed throne. He miracle-worker wielding magic wandtikeMoses. could appear beardless youth, effeminate Apollo or Dionysos, pronounced swelling breasts two sarcophagi Ravenna, feature occurring statues 207 Serapis Apollo. sexually ambiguous image apse Hosios David Thessaloniki hermaphroditicfigurein dome Arian baptistery Ravenna scene Christ's entry into Jerusalem donkey full paradoxes. derived hunter's homecoming adventus. side-saddle like woman. rode humble Hephaistos when he joined company gods Dionysos mule. palm branchesrelateto Jewish feasts, spreading garments ground hospitality. Similarly isrecognizedthat processions so oftenrepresentedin apses churches had long history association withreligiousceremonies. Supporting anti-imperial. Moses shown closing Red Sea over pharoah. Daniel lion's den young men thefieryfurnace defied Nebuchadnezzar. magi were magicians came serve master-magician. In medium glass mosaic appears variously represented basilicas domes baptisteries. These larger-than-life imagesreplacedthe cult gods. crowns are offered wreaths conferred athletes used sacrifices. stars vaults 'fixed', those astrologers' cosmology according Lehmann's now lost ceiling decoration throne rooms emperors. leaves some questions partially answered. If if wears civUian dress, he? contest power, why pagans develop comparable narrative imagery, example miracle-working case Apollonios Tyana, Orpheus, Asclepius? What can explain authority Christ? describes him as...
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