Inscription and divine presence: golden letters in the early medieval apse mosaic
Erik Thunø
Click to increase image sizeClick decrease size ACKNOWLEDGEMENT I am grateful Jeffrey F. Hamburger and Karl Morrison for their valuable comments on this paper. Notes Abbreviations: LP — Le Liber Pontificalis. Texte, introduction et commentaire, ed. Louis Duchesne (Paris: E. De Boccard, 1955–1957), 3 vols; CBCR Richard Krautheimer, Corpus basilicarum christianarum Romae (Vatican City: Ponteficio Istituto di Archeologia Cristiana, 1937–1970), 5 ICUR Giovanni Battista de Rossi, Inscriptiones Christianae urbis septimo saeculo antiquiores (Rome: Ex Officina Libraria Pontificia, 1857–1888), 2 ILCV Ernst Diehl, Latinae Veteres (Berlin: apud Weidmannos, 1925–1985), 4 vols. 1 – For the inscription in S. Cecilia, see above, page 282. On mosaic general, which until early eighteenth century extended apsidal arch representing Virgin Child center, approached by virgin martyrs adored 24 elders, Ciampini, Vetera monumenta, typographia J. Komarek, 1690–1699), vol. 2, pp. 153–62, pls. 51–52; Musaici cristiani e saggi dei pavimenti delle chiese Roma anteriori al secolo XV Guglielmo Haass, 1899), unpaginated, pl. 24; Marguerite van Berchem Etienne Clouzot, Mosaïques chrétiennes du IVe au Xe siècle (Geneva: Les presses l'Imprimerie “Journal Genève”, 1924), 245–49; Walter Oakeshott, The Mosaics of Rome (London: Thames Hudson, 1967), 212–13; Matthiae, Mosaici medioevali poligrafico dello Stato, 1, 234–35; John Osborne Amanda Claridge, Paper Museum Cassiano dal Pozzo. Wall Paintings Roman Churches, Harvey Miller, 1996), 78–81. Laura Kendrick, Animating Letter: Figurative Embodiment Writing from Late Antiquity Renaissance (Columbus: Ohio State University Press, 1999); Erik Thunø, ‘Looking at letters: “Living writing” Sabina Rome,’ Marburger Jahrbuch 34 (2007), 19–43; 20–21, 32–35; Hamburger, ‘Script as image’, with extensive bibliography. ‘Totum quod legimus divinis libris nitet quidem fulget … .’; Jerome, Ad Paulinum Presbyterum (Epistula 58, 9), Saint Jérôme, Lettres, trans. Jérôme Labourt Belles 1953), 3, p. 83; letters,’ 33. concept ‘Living Writing’ opposed letter that ‘kills’ (2 Cor. 3: 6ff.), Letter, 65. See also Peter Brown, ‘Images a substitute writing,’ East West: Modes Communication, Evangelos Chrysos Ian Wood (Leiden: Brill, 1999), 15–35, esp. 28–29, who argues gradual convergence lectio pictura, reaching an equal footing sixth century. ‘aureis litteris conscribendum per omnes ecclesias locis eminentissimis proponendum esse dicebat’; Augustine, Civitate Dei, X, 29, David Wiesen (Cambridge, MA: Harvard Press; London: W. Heinemann, 1984), 392–93. 33 image,’. Dominic Janes, God Gold (Cambridge: Cambridge 1998), 63–93. gilt writing, 75–76; Ulrich Ernst, ‘Leuchtschriften: Vom Himmelsbuch zur Lichtinstallation,’ Beiträge zu einer Kulturgeschichte des Leuchtenden, Christina Lechtermann Haiko Wandhoff (Bern: Lang, 2008), 71–89, 71–76; 33; image’; Facetten mittelalterlicher Schriftkultur. Fiktion und Illustration. Wissen Wahrnehmung (Heidelberg: Winter, 258–63. 6 53, 5), Lettres 14; Christ's flesh scripture his body, 65ff., patristic references. Urban Küsters, ‘Der lebendige Buchstabe: Christliche Traditionen der Körperschaft im Mittelalter,’ Audiovisualität vor nach Gutenberg: Zur medialen Umbrüche, Horst Wenzel, Wilfried Seipel, Gotthart Wunberg (Vienna: Kunsthistorisches Museum, 2001), 107–17 image.’ 7 Burnam, ‘The Early gold silver manuscripts,’ Classical Philology 6:2 (1911), 144–55; Herbert L. Kessler, Book icon,’ In Beginning: Bibles before Year 1000, Michelle P. Brown (Washington, D.C.: Freer Gallery Art Arthur M. Sackler Gallery, Smithsonian Institution, 2006), 77–103, 77ff; Facetten, 267–279 8 letters.’ building inscriptions Pantheon Arch Constantine, instance, were originally filled such litterae aureae; Nicolette Gray, A History Lettering: Creative Experiment Letter Identity (Oxford: D.R. Godine, 1986), 20. 9 Armando Petrucci, ‘La scrittura fra ideologia rappresentazione,’ Storia dell'arte italiana, 14 (Turin: Einaudi, 1978–83 pt. 3), 5–7; Carlo Carletti, ‘Epigrafia monumentale apparato nelle IV VII sec: dalla lettura alla contemplazione,’ Atti del VI Congresso Nazionale Cristiana (Florence: La Nuova Italia Editrica, 275–86; letters’. 10 Joseph Wilpert, Die römischen Mosaiken Malereien kirchlichen Bauten vom IV. bis XIII. Jahrhundert, vol (Freiburg Breisgau: Herder, 1916), 1272; Cäcilia Davis-Weyer, ‘Das Traditio-legis-bild seine Nachfolge,’ Münchner Bildenden Kunst 3/12 (1961), 7–45, 25–26; Yves Christe, L'Apocalypse Jean. Sens développement ses visions synthétiques Picard, 80. Valentino Pace, ‘Da Costantino Foca: osservazioni marginali su temi centrali dall'arte tarda antichità primo medioevo,’ Società cultura età tardoantica, Arnaldo Marcone Monnier Università, 2004), 224. Charles Rufus Morey, contrary, described clouds evoking sunset: Lost Frescoes Medieval Period (Princeton: Princeton 1915), 35. Jean-Michel Spieser, Representation Christ apses Christian churches’, Gesta 37/1 (1998), 63–73. 11 ‘Traditio-legis-bild,’ 24–26, cites poetry Lactantius Claudian. Roelof den Broek, Myth Phoenix According Traditions 1972). 12 those connections, Franz Dölger, Sol salutis: Gebet Gesang Christlichen Altertum (Münster: Aschendorff, 1971, 3rd 1972), 212–44, 370–77; Martin Wallraff, Christus verus sol Aschendorffsche Verlagsbuchhandlung, 119–20, 169–70, 158–62. Jerzy Miziołek, verus. Studia nad ikonografią chrystusa w sztuce pierwszego tysiąclecia (Wrocław: Zakad Narodowy im. Ossolinskich, 1991), 167–82, 174. 13 rising sun Incarnation, 26; sol, 174–90. Sonnengleichnis Weihnachtspredigt Bischofs Zeno von Verona: als wahre ewige Sonne,’ Antike Christentum (1940–1950), 1–56. interactions between apse imagery liturgy Eucharist, Geir Hellemo, Adventus Domini. Eschatological Thought 4th Century Apses Catecheses 1989); Dale Kinney, Apocalypse monumental decoration,’ Middle Ages, K. Emmerson Bernard McGinn (Ithaca: Cornell 1992), 200–16; Ursula Nilgen, ‘Die Bilder über dem Altar: Triumph- Apsisbogenprogramme Rom Mittelitalien ihr Bezug Liturgie,’ Liturgie Mittelalter, Nicolas Bock, Sible Blaauw, Christoph Luitpold Frommel, Kessler (Munich: Hirmer, 2000), 75–89. 15 image’. 16 analytical overview apses, triumphal arches elsewhere, Christa Belting-Ihm, ‘Zum Verhältnis Bildprogrammen Tituli Apsisdekoration früher westlicher Kirchenbauten,’ Testo Immagine nell'Alto Medioevo, Settimane Studio Centro Italiano Studi sull'Alto Medioevo 41 (Spoleto: Presso la sede Centro, 1994), 839–84; Building dates construction Old St. Peter's: reconsideration,’ Römisches Bibliotheca Hertziana 25 (1989), 3–23, 8ff., lists large number now lost collected compilers syllogae on; ‘Texte dans les absides Xle-Xlle siècles en Italie’, Epigraphie iconographise, Robert Favreau (Poitiers: Université Poitiers, 153--64. ‘A Note Peter's,’ Dumbarton Oaks Papers (1987), 317–20; 19ff. 17 other surviving apostles, Ihm, Programme christlichen Apsismalerei 4. Jahrhundert Mitte 8. Jahrhunderts (Stuttgart: Steiner, 11–15; general mosaics imagery, cristiani; Rome; medioevali; Maria Andaloro Serena Romano, ‘L'immagine nell'abside,’ Arte iconografia da Cola Rienzo (Milan: Jaca book, 93–133. 18 ‘Verhältnis Tituli,’ 868–73. few variations occur within proposed scheme: San Venanzio Chapel exceptionally consists white letters deep-blue background; Domnica, Pope Paschal is not holding model church, but kneels front Virgin. close adaptation scheme found Basilica Eufrasiana Poreč, Croatia (524–556). Ann Terry Henry Maguire, Dynamic Splendor: Cathedral Eufrasius Poreč (University Park: Pennsylvania 2007), 4–5. may include Susanna, commissioned Leo III (795–815): most recently Alto Bauer, Das Bild Stadt Frühmittelalter (Wiesbaden: Reichert, 106–09, further Exceptions are III's triclinia Lateran Palace SS. Nereo ed Achilleo; whereas first two had different types inscriptions, showed no titular saints, latter seems have neither nor human figures. Hans Belting, Beiden Palastaulen Leos III. die Entstehung päpstlichen Programmkunst,’ Frühmittelalterlichen Studien (1978), 55–84; Rom, 115–20, 195–99, 19 conch was demolished when basilica enlarged reoriented thirteenth century, what been its former golden has recorded inscribed nineteenth above represents patron pope saint; 2: 10; medioevali, 149–62; Programme, 138–39, 20 HAEC DOMVS AMPLA MICAT VARIIS FABRICATA METALLISOLIM QVAE FVERAT CONFRACTA SVB TEMPORE PRISCOCONDIDIT IN MELIVS PASCHALIS PRAESVL OPIMVSHANC AVLAM D[OMI]NI FORMANS FVNDAMINE CLAROAVREA GEMMATIS RESONANT DINDIMA TEMPLILAETVS AMORE DEI HIC CONIVNXIT CORPORA S[AN]C[T]ACAECILIAE ET SOCIIS RVTILAT FLORE IVVENTVSQVAE PRIDEM CRVPTIS PAVSABANT MEMBRA BEATAROMA RESVLTAT OVANS SEMPER ORNATA PER AEVV[M]; 1; 151, 156, 6; 444, 170; cristiani, 24. translation inscription. sentences interrupted ornamental heart-shaped leaves, typical Paschal's inscriptions. addition calling attention borrowings Virgil, Ovid, Sedulius, normal type inscription, notes inscription's grammatical metrical errors, make only approximate: Favreau, Épigraphie médiévale (Turnhout: Brepols, 1997), 118–19. 21 LP, 2:55–58; Lives Ninth-Century Popes, Raymond Davies (Liverpool: Liverpool 1995), 14–18. bodies placed under altar Tiburtius (brother Valerian), Maximus (a soldier), third-century popes Lucius. account, particular literary genre, Gritje Hartman, ‘Paschalis I. Heilige Cäcilia: Ein Translationsbericht Pontificalis,’ Quellen Forschungen aus italienischen Archiven Bibliotheken 87 36–70; Caroline Goodson, Papal Power, Renovation, Church Rebuilding Relic Translation, 817–824 2010), 245–52, includes discussion reconstruction arrangement altar. 22 CBCR, 1:94–111; ‘Material memory: Cecilia Trastevere, Europe 15/1 2–34. edition Cecilia's late fifth-century Passio, Hippolyte Delehaye, Études sur le légendier romain: saints novembre décembre (Brussels: Société Bollandistes, 1936), 73–96, 194–220. relationship Passio account Pontificalis, Hartmann, Cäcilia,’ 50–62; I, 244–52. 23 Sant'Agnese appears flames sword beneath her feet, referring saint's Passio: 141–2. Marco names depicted footstools: Claudia Bolgia, Gregory Marco, Rome: response Venice, Byzantium, Carolingians,’ Speculum 81/1 (2006), 1–33, here 3. 2:57; 18. these identifications, literature referred n. above. ‘Mosaics IV,’ 24–29. 26 Rotraut Wisskirchen, Mosaikprogramm Prassede Rom: Ikonographie Ikonologie Aschendorff 1990), 42. 27 Klaus Gereon Beuckers, ‘Stifterbild Stifterstatus. Bemerkungen Stifterdarstellungen Papst Paschalis (817–824) ihren Vorbildern,’ Form Stil: Festschrift für Günther Binding zum Gerburtstag, Stefanie Lieb (Darmstadt: Wissenschaftliche Buchgesellschaft, 56–75, 66; papal donor portrait Gerhart Ladner, Papstbildnisse Altertums Mittelalters Pontificio 1941), 62–64; Carola Jäggi, ‘Donator oder Fundator? Genese monumentalen Stifterbildes,’ Georg-Bloch-Jahrbuch Kunsthistorischen Instituts Universität Zürich 9/10 (2002–2003), 27–45, 37–38; Jean-Pierre Caillet, ‘L'Affirmation l'autorité l’évêque sanctuaires paléochrétiens Haut Adriatique: l'inscription à l'image,’ Deltion tes Christianike Archaiologike Hetaireia (2003), 21–30; Emanuel Klinkenberg, Compressed Meanings: Donor's Model around 1300 2009), 19–28. square halo, implies yet-to-become saint still alive, So-called nimbus,’ Studies, (1941), 15–45; Osborne, Portrait Clemente, Re-examination so-called “square” nimbus medieval art,’ British School 47 (1979), 58–66. 28 Meanings, 21. Through Cosmas Damian Prassede, Popes Felix literally express hopes receiving heavenly reward undertakings. 29 temporal spatial implications donor's presence apse, Marie Yasin, ‘Making use Paradise: benefactors, visions, antique commemorative imagination’, Looking Beyond. Visions, Dreams, Insights & History, Colum Hourihane 39–58. Saints Spaces Antique Mediterranean. Architecture, Cult Community 275–278. 30 Paschal, patronage role mediator sacred, Image Relic: Mediating Sacred L'Erma Bretschneider, 2002), 157ff., 176ff.; saints’ relics means ecclesiastical power, Saints: Its Rise Function Latin Christianity (Chicago: Chicago 1981), 37; Patrick Geary, Furta Sacra: Thefts Relics Central Ages 1990). 31 Beat Brenk, Galeno Cosma Damiano. Considerazioni attorno all'introduzione culto Damiano Roma’, Salute guarigione nella Antichità, Hugo Brandenburg, Stefan Heid Markschies City, archeologia cristiana, mentions Symmachus (498–514); 1:262. 32 Cornelius Claussen, Kirchen Mittelalter 1050–1300, Cosmatorum II, (Stuttgart, 369. fragmentary history Damiano,’ 82ff. 1:30–35 (Sant'Agnese); 2:124–125 (San Lorenzo); Rome. Profile 312–1308 1980), 83–85. 1:330; Gillian Mackie, Chapels West. Decoration, Patronage (Toronto: Toronto 2003), 212–30. cult translations Rome, Catacombs Ages,’ 53 (1985), 278–329; ‘Building bodies: architecture veneration Formation Reflections Éamonn ó Carragáin Carol Neuman Vegvar (Aldershot, Ashgate, 51–81; 198–211, 35 2:54; 228–44. mosaics, Mosaikprogramm. 36 IV’, 24–9, demonstrates Persian Abdon Sennen brought cemetery Ponziano Via Portuense crypt Marco. 37 100–01, 122–23; Cristina Ranucci, ‘Il mosaico absidale: sulle vicende conservative fortuna critica,’ Caelius Santa Tommaso Formis il Clivus Scauri, Alia Englen (Rome, 228–40; ‘Decus suus splendet ceu Phoebus orbe: Zum Text Apsis Domnica Rom,’ Sichtbarkeit Unsichtbaren. Korrelation Wirkungskreis Bibel, Bernd Janowski Nino Zchomelidse Deutsche Bihelgesellschaft, 147–65; ‘Materializing invisible art: Mosaic Seeing Invisible Giselle Nie, Morrison, Mostert 2005), 265–89. 38 mediating power Mary, Saints, 1–49; Deshman, ‘Servants Mother ancient art’, Word 5/1 33–70; Likeness Presence: Before Era 30–46; Arnold Angenendt, Reliquien. Geschichte ihres Kultes frühen Gegenwart C.H. Beck, 103–15; Relic, 86–87, 176–78; Spaces, 210–39. 39 arrangement, memory,’ 22–24, figure 8; burial underneath tradition, Godefridus J.C. Snoek, Piety Eucharist: Process Mutual Interaction 175–86. 40 invisible,’ 266–68. significance metallis, Eve Borsook, ‘Rhetoric or reality: expressions metaphysical idea’, Mitteilungen Institutes Florenz 44 (2000), 2–19, 4–5, references, 267–68. 42 Arwed Arnulf, Architektur- Kunstbeschreibungen 16. Deutscher Kunstvevlag 51–71; ‘Inscriptions light splendor: From Saint-Denis back,’ Inscriptions Liturgical Kristin B. Aavitsland Turid Karlsen Seim, Acta ad archaeologiam artium pertinentia (seria nova) (forthcoming). 43 Ovid describes palace ‘Bright (clara micante) flashing pyrope mimics flames’/‘the double doors radiated (radiabant lumine) brightness silver,’ Metamorphoses I–IV, D.E. Hill (Warminster, 1985), 49 (Book 1–5); Kunstbeschreibungen, 61–62, (p. 31) Homer's description Alkinoos Odyssey earliest ekphrasis building. authors Vergil, Horace, Claudian, Lucan, all read throughout Ages. visual arts, Michael Roberts, Jeweled Style: Poetry Poetics Press 1989), 66–122. Procopius, aedificiis, Chapter H.B. Dewing G. Downey (London New York: Loeb Library 1940), 11–33; Paul Silentary, ‘Description Hagia Sophia,’ Three Political Voices Age Justinian, Bell 195–212. extracts ekphrasis, Cyril Mango, Byzantine Empire 312–1453 (Englewood Cliffs, Prentice-Hall, 72–78, 80–91. 45 Suger, administratione, 174, l. 775–84; 180, 813–21, Abt Suger Saint-Denis. Ausgewählte Schriften, Andreas Speer (Darmstadt, Wissenscheq Buchgesell 325–26; 89–135, 263–6; splendor’, discusses connections Suger's mosaics. 46 analogy, Anatole Frolow, mosaïque murale byzantine,’ Byzantinoslavica (1951), 180–209, 208; reality,’ 48 church: ‘At temple, ruin shaking it, terrible [threatened] collapse, being solid secure strength, small, filthy, then devoid great decoration; rotted roof hung grace’; Splendor, Edmund Thomas Witschel, ‘Constructing reconstruction: Claim reality rebuilding West,’ 60 (1992), 135–79. critical Garrett Fagan, Reliability inscriptions,’ 64 (1996), 81–95.
Word & Image