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lisez: [.]' () '. P. Uspenskij 1859)[Putesestvie Meteorskie I Osoolympiiskie monastyri.., S. Peterburg 1896, 433 ]. . (1889) [ 1 (1892), 539-543, 542, . 4] ' .'. , 1381/82: ]'(6890) . ' (= 1 . 1381 31 . 1382). , , 1 1381. : ) 1303, ) 1333 [, 11]. ) (. , 523), 1335, , , . (1333), (1333-. 1363), - , , (1386/87, 1393).

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IVAN DRPIC

THE SERRES ICON OF SAINTS THEODO RES: NOTES ON ALOST CULT IMAGE

Students of Byzantine art are well aware of the fact that, due toirretrievable losses of objects and monuments, our knowledge of the Empire'sartistic culture is often fragmentary. This is why the examination of textual sourcesrecording what has been lost is an indispensable complement to the study of whathas been preserved. The aim of the present paper is to resuscitate a lost object onthe basis of the available literary evidence as well as possible visual comparanda.

In the later Middle Ages, the Metropolis at Serres was the principal centerof the cult of Saints Theodore Stratelates and Theodore Tiron in the Balkans.Judging by the early fourteenth-century ekphrasis of the Metropolis, penned byTheodore Pediasimos, the focus of the cult of the two warrior saints in the basilicawas an icon mounted in silver and displayed for veneration inside a canopy-likestructure, referred to as oikiskos, which stood on the northeast side of the nave,opposite the metropolitan's throne. Two sources shed further light on the history,form, and function of this cult image.

The icon of Saints Theodores is the subject of a hitherto neglected epigramcomposed by Nicholas-Nektarios of Otranto. A writer and diplomat from SouthernItaly, Nicholas-Nektarios probably visited Serres on one of his trips toConstantinople in the service of the Roman Curia in the first decades of thethirteenth century. The image which he saw was in the form of a stoneperhapsmarblerelief. He attributes it to the patronage of a learned metropolitan by thename of John. This prelate can be identified with John, metropolitan of Serres, whosigned two synodal acts in 1191 and 1192, and whose seal is preserved in theDumbarton Oaks Collection.

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The stone carving came to be venerated for its thaumaturgie properties.This is likely the reason why it was enshrined in the oikiskos mentioned inPediasimos' ekphrasis. According to a story included in the collection of themiracles of Saints Theodores, compiled by the same author, the sculpted bodies ofthe two saints bled on one occasion. The same source informs us when and why theicon was enhanced with a precious-metal mount. While on a military campaignagainst Bulgarian rebels that took place in 1255, Theodore II Laskaris came toSerres and paid a visit to the Metropolis in order to implore the two holy warriorsto assist him in his endeavor. The saints responded favorably to the emperor'sprayers and granted the Byzantine army a brilliant victory. In gratitude, TheodoreII ordered that their figures in the icon be adorned with gilded silver. The emperormost likely m ade a vow to adorn the icon in exchange for the anticipated assistanceof his heavenly namesakes and allies. Comparable examples in Byzantine, Serbian,and Russian sources show that luxury icon revetments were commonly presentedas votive offerings in the context of a military victory.

The Serres icon of Saints Theodores thus emerges from the textual recordas an important and, indeed, unusual cult image. It was a miracle-working stonerelief enhanced with precious-metal appliqu and displayed in an elaboratearchitectural setting. In the concluding part of the paper, I tentatively propose thatthe icon depicted the two warrior saints not as a pair of frontal figures but ratherfacing each other, with their arms raised in prayer towards a figure of Christ above .This rare iconography is attested already in the Komnenian era, but the majority ofexamples date from the fourteenth and fifteenth centuries and, significantly, comefrom areas geographically close to Serres. It is conceivable, therefore, that the cultimage of the most important late medieval shrine of Saints Theodores provided avisual formula that was replicated elsewhere.

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FRIGERIO-ZENIOY

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IVANAJEVTIC

ANTIQUE ELEMENTS IN LATE BYZANTINE WALL PAINTING:AN EXAMPLE FROM M EDIEVAL SERBIA

The reuse of antique motifs in Late Byzantine painting is one of thequestions that still awaits for a proper answer though the topic has long beenthe subject of study among art historians. In the present paper, I will argue thatby expanding its socio-historical perspective, it is possible to bring back thistopic into the debate and show its importance for the understanding of LateByzantine culture.

Antique components are particularly striking in personifications of thenatural phenomena, numerous in Late Byzantine wall painting probably inrelation with the general iconographical enrichment of decorative programs. Inthis study, I will examine one example: personifications of the Earth and Desertincorporated in the illustration of the Christmas hymn (Sticherion).

In the Christmas hymn in Zica (1314-1315), the personification of Earthand Desert differ from the representations in other contemporary monumentslike in the Vlacherna church in Arta, the Virgin Peribleptos in Ohrid or theHoly Apostles in Thessaloniki. They are depicted as young girls, wearing longpeploi, holding the same attributes, a cave and a crib. But the way in which theyare inserted into the scene, standing in contra-posto positions just below theglory containing the representation of the Virgin with Christ, is what reallymarks them as unique. Placed in the lower zone of the scene together with therepresentatives of mankind, Earth and Desert lift their arms to hold out theirgifts to Christ. At the same time they seem to support the glory of light likeantique caryatides would support architectural elements of a temple.

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Taking into consideration that the painter of Zica departed from thedominant iconographical model of the Christmas hymn, I suggest that hemodified the appearance of the personifications in order to adapt them better toa new, more solemn concept and content of the composition. In that concept,king Milutin, surrounded by nobles, and archbishop Sava III, accompanied bychurch dignitaries, represent mankind. The wall paintings of the VirginPeribleptos church in Ohrid and Zica are ascribed to the same workshop: thethessalonician atelier of Michael and Eutychios. In both cases, Earth and Desertconfirm that the artists disposed of a rich classical culture. But, the way theirknowledge was put to use in Zica might be seen as a result of their interactionwith patrons (archbishop Sava III and king Milutin) who were most probablybehind the complex iconographie version of the Christmas hym n.

The personifications of Earth and Desert are one of those antique elementsspecifically reused in Late Byzantine w all painting that point to patronage as amajor force behind the antiquarianism. If Byzantines see antique motifs as ahallmark of high-level artistic production and prestige, medieval Serbiaconfirms that the same phenomenon is manifest in works of art sponsored bythe elite within the sphere of Byzantine cultural influence. Indeed the prominentrole played by antique motifs in the painted decoration of churchescommissioned by Serbian rulers may be seen as part of an effort to ensurecontinuity with regard to the high cultural ideals of Byzantium. Personificationsin Zica clearly illustrate the taste of the patrons issued from the ruling elite.Taking into consideration the revived patronage under the Palaeologoi and theincreasing role of donors in the shaping of religious imagery, such examplesshow importance of the social context as a catalyst for the reuse of antiquemotifs in Late Byzantine art.

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PARIS.GR. 135 LAUD.GR.86 BODLEIAN LIBRARY.0 135 catenae 200 , . 247, 1361/2 .

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29 2009

1. : 66,412 22 2. : 13, 3083 3. : 3,115 28 4. : Bosphorus University, Department of History,34342

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