L'immagine di Cristo. Dall'acheropita alla mano d'artista: dal tardo Medioevo all'età barocca. Ediz. italiana, inglese, tedesca e francese 8821007936, 9788821007934

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STUDI E E TESTI TESTI STUDI 432 432

L'IMMAGINE DI CRISTO L'IMMAGINE DI CRISTO DALL'ACHEROPITA ALLA MANO DALL'ACHEROPITA ALLA MANO D'ARTISTA D'ARTISTA medioevo all'età barocca Dal tardo medioevo all'età barocca

a cura di Christoph L. L. Christoph

FROMMEL e Gerhard WOLF e Gerhard

CITTÀ Biblioteca BIBLIOTECA

DEL VATICANO DEL VATICANO Apostolica Vaticana VATICANA APOSTOLICA 2006

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STUDI E E TESTI TESTI STUDI 100. Tavole e indici generali dei dei primi cento voluvoluTavole e indici generali primi cento 100. mi 1942 (rist. 1973), pp. XXII, testi ", 1942 (rist. 1973), pp. xΧΠ, mi di di "Studi "Studi ee testi", 182. 182. 200. Tavole e indici generali dei di dei volumi volumi 101-200 101-200 di 200. Tavole e indici generali "Studi testi",", 1959 1959 (rist. (rist. 1987), 1987), pp. pp. 151. 151. "Studi ee testi 305-306. Santi, G. G. La le gesta Federico di di Federico di La vita vita ee le gesta di 305-306. Santi, Montefeltro Duca d'Urbino. Poema Poema in terza ririDuca d'Urbino. in terza Montefeltro ma (Cod. Vat. Ottob. lat. lat. 1305) 1305) aa cura cura di di L. L. MiMima (Cod. Vat. Ottob. chelinì Tocci. Tocci. Voll. Voli. I-Π. I-H. 1985, 1985, pp. 771, pp. xcvill, xcviuI, 771, chelini 19 19 tav. tav. 307. Moroni, O. Carlo Gualteruzzi (1500-1577) (1500-1577) ee íi Moroni, O. Carlo Gualteruzzi corrispondenti. XII, 308. 308. 1984, pp. pp. xii, corrispondenti. 1984, 308. Corrispondenza Della Casa -- Carlo Carlo Giovanni De lla Casa Corrispondenza Giovanni Gualteruzzi (1525-1549), cura di di O. O. (1525-1549), edizione edizione aa cura Gualteruzzi Moroni. 1986, L, 607. 607. Moroni. 1986, pp. pp. L, 309. Hurtubise, P. Une famille-témoin: les les Salviati. Salviati. Une famille-témoin: Hurtubise, P. 1985, 527. 1985, pp. pp. 527. 310. Mclamara, McNamara, M. M. Glossa Psalmos. The The HiberHiberin Psalmos. Glossa in no-latin Gloss Gloss on on the the Psalms Psalms of ofCodex Codex Palatinus Palatinus no-latin latinus 68. 68. 1986, 1986, pp. pp. 387. 387. latinus 311. Dykmans, Dykmans, M. le Pontifical romain. Révisé Révisé au au romain. M. le Pontifical XVe siècle. 1985, pp. 205, 22 tav. tav. XVe siècle. 1985, pp. 205, 312-313. van van Heck, Heck, A. A. Pii Pii II Rerum II Commentarli Commentarti Rerum 312-313. memorabilium quae temporibus suis suis contigecontigememorabilium quae temporíbus runt. Vol. Vol. I-II. I-II. 1984, 1984, pp. pp. 859, 859, 28 28 tav. tav. runt. 314. Argyriou, Argyriou, A. A. Macaire la polémique polémique Macaire Makrès Makrès et et la contre l'Islam. Édition princeps princeps de del'Eloge l'Eloge de de Μ. M. contre l'Islam. Édition Makrès et et de de ses sesdeux deuxoeuvres œuvres anti-islamiques, anti-islamiques, Μakrès précédée d'une d'une étude étude ccritique. 1986, pp. pp. x, X, 348. 348. ritique. 1986, précédée 315. Mogenet, Mogenet, J. J. Le Le «Grand de Théon Théon «Grand Commentaire» Commentaire» de d'Alexandrie aux faciles de de Ptolémée. Ptolémée. d'Alexandrie aux tables tables faciles Livre I.L Histoire texte, édition édition critique, critique, tratraHistoire du du texte, Livre duction. Revues Revues et complétées par par A. Tihon. A. Tihon. duction. et complétées Commentaire par A. 359. Commentaire par A. Tihon. Tihon. 1985, 1985, pp. pp. 359. 316. Oechslin, Oechslin, L. L. Die Uhr als Model des des Kosmos Kosmos Die Uhr als Model und der astronomische astronomische Apparat Apparat Bernardo Bernardo Faund der Facinis. 1985, pp. pp. 156. 156. cinis. 1985, 317. Bedini, S. A. A. Clockwork Paci-Clockwork cosmos. cosmos. Bernardo Bernardo Faci Bedíni, S. ni and the Farnese Farnese Planisferologio. Planisferologio.1985, 1985,pp. pp.223. 223. ni and the 318-319. Buonocore, M. M. Bibliografía maBibliografia dei fondi fondi ma318-319. Buonocore, noscritti Vaticana (1968-1980). (1968-1980). noscritti della della Biblioteca Biblioteca Vaticana Voi. I-H. vii, 1414. 1414. Vol. I-II. 1986, 1986,pp. pp. XL xliii, 320. Sauget, J.-M. Deux Deux «panegyrika» «panegyrika» melkites melkites pour pour Sauget, J.-M. la partie de de l'année l'année liturgique: liturgique: «Jérusa«Jérusala seconde seconde partie lem S. S. Anne 37». 1986, 1986, pp. pp. 88. 88. lem Anne 38» 38» et et «Harisâ «Hañs ~~37». 321. Carboni, Incipitario della della lirica lirica italiana italiana dei Carboni, F. F. Incipitario dei secoli XV-XX. IV. Angelica di Roma. di Roma. secoli XV-XX. IV. Biblioteca Biblioteca Angelica 1986, 624. 1986, pp. pp. 624. 322. A Catalogue of Canon and Roman Law Law A Catalogue of Canon and Roman Manuscripts in in the theVatican Vatican Library. Library. ComComManuscripts piled at the the Institute Institute ofofMedieval Medieval Canon Canon law law piled at under the the direction direction of of S. Kuttner, with the aid aid under S. Kuttner, with the of the Deutsches Deutsches Histo Historisches Institut Rom, Rom, of the risches Institut under the the direction direction of of R. R. Elze. Elze. Vol. Vol. I:I: Codices under Codices Vaticani latini latini 541-2299, 1986, pp. pp. XXLi, xxlv, 334. 334. Vaticani 541-2299, 1986, 323. Tavole generali dei volumi 201-300 Tavole ee indici indici generali dei volumi 201-300 di di «Studi ee testi», cura di di P. Vian. 1986, 1986, pp. pp. 1, v, testi», aa cura P. Vian. «Studi 160. 160. 324. Rationes Italiae nei secoli XIII XIII ee Rat"ones decimarum decimarum Italiae nei secoli XrV. Lombardia Lombardia et Pedemontium, aa cura cura di di M. M. XIV. et Pedemontium, Rosada. Con carta topografica delle rt a topografica delle diocesi. diocesi. Rosada. Con ca 1990, 1990, pp. pp. XXXII, xxxττ, 605, 605, 22 c. c. geogr. geogr.

325. Bandelier, Bandelier, A. A. F. F. AA History the Southwest. Southwest. AA History of of the Study of of the the Civilization Civilization and and Conversion Conversion of of the the Study Indians in in Southwestern Southwestern United United States States and and Indians Northwestern Mexico Mexico from the Earliest Earliest Time Time to to Northwestern from the 1700, Vol. Notes in in 1700. Vol. II: II: the the original original Text Text and and Notes French (1887) (1887) edited, with English English Summaries Summaries French edited, with and Additional Additional Notes Notes from from MS. MS. Vat. Vat. lat. lat. 14111, 14111, and by E. J. Burrus Burrus in Collaboration with with M. M. T. in Collaboration T. by E. J. Rodack, Parts one and and two. two. 1987, 1987, pp. pp. 516. 516. Rodack, Parts one 326. Sauget, Sauget, J.-M. Un Gazza chaldéen disparu disparu et et Gazz~~chaldéen J.-Μ. Un retrouvé: le le ms. ms. «Borgia «Borgia sy syriaque 60». 1987, 1987, pp. pp. riaque 60». retrouvé: 94. 94. 327. Dykmans Dykmans M. Pierre Marso. Marso. L'Humanisme de de Pierre M. L'Humanisme 1988, pp. 143. 1988, pp. 143. 328. A Canon and and Roman Roman Law Law M ManuanuA Catalogue Catalogue of of Canon scripts in in the theVatican VaticanLibrary. Library. Compiled at Compiled at scripts the Institute Institute of of Medieval Medieval Canon Canon law law under under the the the direction of S. Kuttner, with aid of of the the S. Kuttner, with the the aid direction of Deutsches Rom, under under the the Deutsches Historisches Historisches Institut Institut Rom, direction of R. R. Elze. Elze. Vol. Vol. II: II: Codices Codices Vaticani Vaticani direction of latini 2300-2746. 1987, pp. pp. xxx, 366. latini 2300-2746. 1987, xxx, 366. 329. Miscellanea Bibliothecae Apostolicae Apostolicae VatiVatiMiscellanea Bibliothecae canae. I.I. 1987, 1987, pp. 258. canae. pp. 258. 330. Carboni, F. Incipitario Incipitario della lirica italiana italiana dei dei della lirica Carboni, F. secoli XV-XX. V. Biblioteca Apostolica Apostolica VaticaVaticasecoli XV-XX. V. Biblioteca na. Fondi Fondi Boncompagni, Boncompagní, Borghese, Borghese, Borgiano Borgiano na. latino, Capponi, Carte Belli. 1988, 1988, pp. pp. 256. 256. Carte Belli. latino, Capponi, 331. Miscellanea Bibliothecae Apostolícae Apostolicae VatiMiscellanea Bibliothecae Vaticanae. II. 1988, 1988, pp. 329. canae. II. pp. 329. 332. Piazzoni, A. M. M. -- Vi Vian, P. Manoscritti Vaticani Manoscritti Vaticani Piazzoni, A. an, P. latini 14666-15203. (Catalolatini 14666-15203. Catalogo Catalogo sommario sommario (Cataloghi sommari sommari ee inventari dei fondi fondi manoscritti, manoscritti, inventari dei ghi 1). 1989, 1989, pp. 305. 1). pp. XXVIII, xxviii, 305. 333. Miscellanea Bibliothecae Apostolicae Apostolicae VatiMiscellanea Bibliothecae Vaticanae. III. III. 1989, 1989, pp, 370. canae. pp. 370. 334-335. Carboni, F. Incipitario lirica italiana italiana Carboni, F. Incipitarío della della lirica 334-335. dei secoli secoli XV-XX. XV-XX. VI-VII. Biblioteca Apostolica Apostolica dei VI-VIΙ. Biblioteca Vaticana. Fondo: Fondo: Paletta. prima: A-M. A-M. Vaticana. Patetta. Parte Parte prima: Parte seconda: seconda: N-Z. dell'AmbasciaParte N-Z. ee Biblioteca Biblioteca dell'Ambasciata di presso la Santa Sede. pp. la Santa Sede. 1990, 1990, pp. ta di Spagna Spagna presso 1091. 1091. 336. La La «Raccolta Autografi FerFerprima» degli degli Autografi «Raccolta prima» rajoli. Introduzione, Introduzione, inventa inventario indice aa cura ri o ee indice cura rajoli. di P. Vian (Cataloghi (Cataloghi sommari sommari ee inventari inventari dei dei di P. Vian fondi manoscritti, 1990, pp. XXV, 275. 275. 2). 1990, pp. xxv, fondi manoscritti, 2). 337. Alteri, Alteri, G. G. Tipologia delle monete monete della della RepubRepubTipologia delle blica di Roma (con (con particolare riferimento al particolare riferimento al blica di Roma denario). 1990, 1990, pp. pp. 350, 350, 126 126 tay. tav. denario). 338. Miscellanea Miscellanea Bibliothecae Bibliothecae Apostolicae Apostolicae VatiVaticanae. IV. FV. 1990, 399. canae. 1990, pp. pp. 399. 339. Pagano, Pagano, S. S. IlIl processo processo di Endimio Calandra Calandra ee di Endimio l'inquisizione aa Mantova nel 1567-1568. 1991, Mantova nel 1567-1568. 1991, l'inquisizione pp. XXI, XXI, 406. 406. pp. 340. Tihon, A. le «Grand Commentaire» Commentaire» de de Théon Théon Tihon, A. le «Grand d'Alexandrie aux faciles de de Ptolémée. Ptolémée. d'Alexandrie aux tables tables faciles Livres IIII et III. $diti Édition critique, traduction. traduction, Livres et III. οn critique, commentaire, 1991, 1991, pp. pp. 367. 367. commentaire. 341. Enee Silvii Piccolominei Piccolommei postea Pii pp. pp. II II De De Enee Silvii postea Pii viris illustribus, illustribus, edidit Heck. 1991, pp. viris edidit A. A. van van Heck. 1991, pp. xvi, 122. 122. XVI, 342. Ceresa M. Bibliografia fondi manoscritti manoscritti Ceresa M. Bibliografia dei dei fondi della Biblioteca 1991, pp. pp. (1981-1985). 1991, della Biblioteca Vaticana Vaticana (1981-1985). XLV, 696. xLV, 696.

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L'IMMAGINE DI CRISTO DALL'ACHEROPITA ALLA ALLA MANO MANO D'ARTISTA DALL'ACHEROPITA

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STUDI E TESTI TESTI STUDI E 432 432

L'IMMAGINE DI CRISTO L'IMMAGINE DI CRISTO DALL'ACHEROPITA ALLA ALLA MANO DALL'ACHEROPITA MANO D'ARTISTA D'ARTISTA Dal medioevo all'età barocca Dal tardo medioevo all'età barocca

a cura di

Christoph L. FrOMMEL FROMMEL ee Gerhard WOLF

CITTÀ DEL VATICANO Biblioteca APOSTOLICA Apostolica VATICANA Vaticana BIBLIOTECA 2006

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Descrizione bibliografica in in www.vaticanlibrary.vatlib.it www.vaticanlibrary.vatlib.it

L'indicazione de della dei diritti diritti(© (©Copyright) Copyright) L'indicazione lla riserva dei relativi alle alle singole riproduzioni fotografiche fotografiche relativi è alle pagine pagine 557-559 557-559 (Referenze fotografiche) fotografiche)

Proprietà lettera letteraria ria riservata © Biblioteca Apostolica Vaticana 2006 ISBN 88-210-0793-6 88-210-0793-6 ISBN

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SOMMARIO

- G. WOLF, Wolf, Introduzione Ch. L. Frommel FROMMEL — Lidov, The Miracle of Reproduction: The Mandylion Mandylion and and Keramion Keramionas as A. LIDIΙ, of the Sacred Sacred Space Space a Paradigm of M. BACCτ, Bacci, Epigoni dell'immagine di Cristo Cristo "non "non M. Epigoni orientali e occidentali dell'immagine fatta da mano mano d'uomo" d'uomo" bianco e grigio: significato del colore negli negli NILGEN, Oro, porpora, bianco U. Nilgen, grigio: Il significato abiti di Cristo T. Verdón, reso visibile visibile VERDON, II Cristi del Beato Angelico: Il mistero reso G, Muzj, M. G. MUZJ, La Veronica e i temi della visione faccia a faccia A. DE De Marchi, aenigmate A. MARCHI, Per speculum in aenigmate H. L. KESSLER, Kessler, Face Face and Firmament: Firmament; Dürer's Dürer's An An Angel Angel with the the SudaSudaΗ. rium the Limit Limit of of Vision Vision r u m and the Morello, Il Salvatore del Bramante e le postille di padre Resta G. MQRELLΙ, Bertelli, I volti di Cristo secondo Leonardo C. BERrELLI, M. Rohlmann, Bild and und wahrer Leib: Leib: Wandlungen Wandlungen Christi Christi in in ROHLIANN, Wahres Bild Dirk Bouts' Lôwener Dirk Löwener Sakramentsaltar Sakramentsaltar H. Pfeiffer, rappresentazione di di Dio sugli affreschi affreschi di Η. PFEIIIIiR, Aspetti Dio sugli Aspetti della rappresentazione Michelangelo nella Cappella Sistina S. Danesi dei dolori" dolori" da Savonarola Savonarola a MicheMicheS. DANESI Squarzina, SQUARZINA, Cristo "uomo "uomo dei langelo K. WELL-GARRIS Weil-Garris BRANDT, Brandt, The Body as "vera effigies" Michelangelo's K. The Body effigies" in Michelangelo's Art: The Minerva Christ Art: Nova, Il Cristo in forma Pietatis Pietatis del Rosso Fiorentino fra fra devozione devozione e A. NovA, bellezza Il Redentore di Tiziano e l'invenzione di un ritratto ritratto storico storico del Ph. Helas, HE AS, Il Salvatore S. EBERT-SCHIFFERER, Ebert-Schifferer, Guido Reni e l'icona sintetica S. R. Preimesberger, tui" PREIMESBERGER, "Respice faciem Christi tui" M. FUMAROLI, Fumaroli, De De l'icône en négatif à l'image rhétorique: rhétorique: les les autopo autoportraits M. rtraits du Christ L Lavin, Il Volto Mellan: quae occulocculI. LAVwν, llan : "ostendatque Volto Santo di Claude Me ` ostendatque etiam quae tet" Bibliografia delle Elenco de lle illustrazioni Referenze fotografiche fotografiche Tavole

7 17

43 61 75 91 117 143 167 187 199 231 241

269 323 341

375 397 413 449 493 545 557 561

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L. FROMMEL GERHARD WOLF WOLF CHRISTOPH L. - GERHARD INTRODUZIONE 31 gennaio 1438 1438 è una una data data memorabile memorabilenella nellastoria storiadell'immagine dell'immaginedidi Il 31 Cristo. Quel giorno JJan propria fi firma un dipinto dipinto Cristo. an Van Eyck appose la propria rma su un del Salvatore, che che ci è noto soltanto attraverso attraverso alcune alcune copie, copie, la la più antica antica delle misura 44 44 xx 32 32 cm e mostra, mostra, e autentica autentica de lle quali si conserva a Berlino: misura entro cornice di di fìnto su sfondo sfondo scuro, scuro, il il ritratto ritratto aa mezza mezza tr o una cornice fi nto marmo su en figura di Cristo in posizione frontale (tav. I). Il Salvatore ha una barba fi gura Cristo in posizione frontale (tav. I). Salvatore barba bruna bipa bipartita e i capelli castano chiari, che ricadono sulle spalle in rt ita e í capelli castano chiari, che ricadono sulle spalle in lunghi boccoli spirale che che incorniciano incorniciano l'orlo l'orlo dorato dorato della della lunghi boccoli ee con con punte a spirale veste rossa, dove dove èè leggibile leggibile l'epiteto l'epiteto apocalittico apocalittico"Rex "RexRegum". Regum". Nella Nella veste delicata pittura di Van Van Eyck, Eyck, che mostra mostra un un volto volto di di Cristo Cristo perfetto perfetto ee delicata armonioso, le qualità qualità dell'immagine dell'immagine si si fondono fondono con con quelle quelle del del suo suo proprototipo, celebrato al al contempo contempo dall'iscrizione dall'iscrizione sulla sulla cornice cornice Johannes de totipo, Johannes de me fecit fecit etetaplevit aplevit(sic!) (sic!) e del motto dell'artista dell'artista in in lettere lettere greche greche Als Als Eyck me ich kan ("Come io posso"). posso"). Van Eyck viene considerato l"inventore" D'inventore" del del ritratto ritratto nell neli'"ars nova" Van Eyck considerato -ars nova" fiamminga; ma quale èè stato, stato, tuttavia, tuttavia, il suo modello modello per per questa questa raffiguraffigufiamminga; di Cristo? Cristo? Si è sovente sovente osservato osservato che che Van Van Eyck Eyck ha ha voluto voluto richiarichiarazione di la tradizione tradizione della della"vera "veraimmagine", immagine",lala"vera "veraicon" icon"o o"Veronica", "Veronica", mare la come il il "Mandylion" "Mandylion" bizantino, non eseguita eseguita considerata, come bizantino, un'immagine non mano nata miracolosamente miracolosamente dal dal contatto contatto da m an o umana (acheiropoieton), ma nata con il volto di Cristo. Essa era era venerata venerata nella nella basilica basilicapontipontidi un panno con ficia di San Pietro come palladio di Santa Romana Chiesa e costituiva an an ficia S Pietro come palladio S ta Romana Chiesa e costituiva una meta meta privilegiata privilegiata per per ii pellegrini pellegrini che che si recavano aa Roma Roma per per lucrarvi lucrarvi indulgenze; fu riprodotta in in una unavasta vastaserie seriedi di ricche indulgenze; fu anche ampiamente riprodotta copie, che loro volta volta finivano finivano per per essere essere usate usatecome comesimulacri simulacrinelle nelle copie, che a loro fedeli. Il ben noto noto schema schema figurativo, partire figurativo, affermatosi a partire preghiere dei fedeli. dal tardo XI XIII il volto volto isolato isolato ee fr frontale Cristo su un ΙΙ secolo, dal secolo, mostra il ontale di Cristo senza íi segni segni de della in effetti effetti anche anche nel nel quadro quadrodi diVan Van panno senza ll a passione, che in Eyck sono assenti. Nella Nella lettura lettura crístologica cristologica del del salmo salmo45,3 45,3"Speciosus "Speciosus Eyck forma prae filiis filiis hominum", Cristo Cristo èè considerato considerato come come il più più bello bello degli degli esseri umani. In lui lui la la forma forma umana umana(maschile) (maschile) avrebbe avrebbe raggiunto raggiuntolalasua sua completezza. Nell'opera Nell'opera di di V Van Eyck l'autenticità l'autenticità dell'immagidell'immagimassima completezza. an Eyck più garantita garantita dall'impronta dall'improntasul sulpanno, panno,bensì bensìdall'iscrizione dall'iscrizionedeldelne non èè più l'artista, che fa fa dire dire all'immagine all'immagine del del Dio Dio fatto fatto uomo: uomo: "me "me fecit", fecit", ee lo lo l'artista,

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8

CHRISTOPH L. L. FROMMEL FROMMEL -- GERHARD GERHARD WOLF WOLF CHRISTOPH

fio" del del suo suo creatore. creatore. ÈÈ la la stessa stessa epoca epoca in in cui cuiLeon LeonBattiBatticonfronta con l"io" Alberti, nel suo trattato trattato "De "De pictura", pictura", definiva definiva l'artista l'artistacome comeun unindiindista Alberti, divinus", in grado di suscitare suscitare una unavita vitamimetica mimeticanelle nelle figuviduo "quasi divinus", figuquadro. Nell'immagine Nell'immagine di di Cristo Cristo di diVan Van Eyck Eyck ciò ciò non nonsignifica significasolo solo re del quadro. la capacità di sintetizzare la totalità delle conoscenze circa l'aspetto la capacità di sintetizzare la totalità delle conoscenze circa l'aspetto fisico di Cristo, Cristo, così come come era era stato statoelaborato elaboratonello nellosviluppo sviluppodell'iconodell'iconofisico grafìa medievale, medievale, ma, di trasformare trasformareilil ritratritratgrafia ma, nella sua perfezione, anche di una finzione finzione artistica artistica vera vera ee propria. propria. La La pietra pietra di di paragone paragone della della to in una capacità mimetica mimetica del quadro quadro èè l'imitazione l'imitazione del del marmo marmo nella nellacornice cornice capacità dipinta: in questo modo modo l'opera l'opera di di Van Van Eyck Eyck era in in grado grado di di offrirsi offrirsi alle alle dipinta: aspettative degli degli osservatori osservatori desiderosi il volto volto divino divino in in una una aspettative desiderosi di vedere íl dell'incontro facie ad faciem faciem escatologico e nel contemcontemprolepsis terrestre dell'incontro per mezzo mezzo dell'a dell'arte, che la la "vera "vera icon", icon", l'archetipo l'archetipo po superarle per rte, tanto più che si mostrava mostrava ai pellegrini pellegrini solo solo da lontano in forma forma scarsamente scarsamente romano, si percepibile, tanto essere definita definita da da Lutero Lutero un un "Klaretlin "Klaretlin für fürein ein percepibile, tanto da da essere schwarzen Bretlein" (un chiarettino chiarettino per peruna unatavoletta tavolettanera). nera). parte di di Van Van Eyck Eyck de della di Cristo Cristo ebbe ebbe La reinvenzione da parte lla vera immagine di tale successo successo da da assumere assumere le le stesse stesse funzioni funzioni delle delle copie copie tradizionali tradizionali un tale Veronica. In quanto immagine immagine di di devozione devozione essa essa era era diffusa diffusa sia siaalal della Veronica. Sud, ma ma conobbe conobbe anche anche numerose numerose trasformazioni. trasformazioni. Da Da una una Nord che al Sud, questo fu fu una unaconseguenza conseguenza del del suo suocoinvolgimento coinvolgimento nel nel contesto contesto parte questo emotivo ee narrativo della della Passione Passione ee quindi quindi con conlalasua suaretorícizzazione: retoricizzazione: emotivo l'ideale ritratto iconico del bel figlio dell'uomo si trasformava nell'immaritratto iconico del bel figlio dell'uomo si trasformava nell'immadel Salvatore Salvatore sofferente, saputo gine ricca di pathos del sofferente, nel nel modo modo in in cui ha saputo modo spettacolare Fra' Fra' Angelico Angelico in una una tavola tavola conserconserrappresentarlo in modi Questo ci introduce introduce all'altro all'altro polo polo della della storia storiadell'immagidell'immagivata a Livorno. Questo Cristo, l'aspetto della della sofferenza, sofferenza, che che aveva aveva avuto avuto un un suo suo molo ruolo già già ne di Cristo, nella leggenda leggenda della Veronica e che, nelle nelle interpretazioni interpretazioni figurative figurative del del nella della Veronica XV secolo, un volto volto pieno pieno di di dolore, dolore, XV secolo, trasformava trasformava spesso la "vera icon" in un in una testa testa abbondante abbondante di di sangue sangue eeferite. ferite. La Labellezza bellezza del del quadro quadro eelele sembianze del suo "oggetto" "oggetto" non necessariamente necessariamente coincidevano, coincidevano, ee non non è un caso se se nelle nelle fonti fonti si si parlava parlava spesso spesso di di una una"bella "bellapietate": pietate": in inquesto questo soprattutto la laqualità qualitàestetica esteticadell'immagine dell'immagineeequinquinmodo si considerava soprattutto di anche il il suo suo appello appello emozionale emozionale all'osservatore all'osservatore attraverso la la retorica retorica visiva dell'arte. dell'arte. D'altra parte ilil volto volto di di Cristo Cristo di di Van Van Eyck Eyck può puòessere essere visiva scollegato, in un un contesto contesto narranarrascollegato, "estrapolato" "estrapolato"dal dal quadro quadro ee trapiantato in tivo, formando così un punto punto focale focale iconico, iconico, come per per esempio esempio nel nel dittidittitivo, pittore al al Metropolitan Metropolitan Museum Museum di New York. Qui il il volto co dello dello stesso stessi pittore del Salvatore Salvatore della viene messo messo in scena scena alla alla maniera maniera di di del della fine fine dei dei tempi tempi viene una reliquia; reliquia; tramite la la pittura pittura la lacopia copiaritorna ritornaall'archetipo. all'archetipo. In Inrealtà, realtà,

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già lo stesso ritratto mezza figura compie una una tale tale operazione: operazione: esso esso èè in in ritratto aa mezza sostituire una una"vera "vera icon" icon" (che (che raffigura raffiguraun unvolto voltoisolaisolagrado appunto di sostituire un panno) panno) eeviene viene definito definitoper perlolopiù piùcome come"facies "faciesChristi". Christi".Ciò Ciò troto su un va una conferma conferma allorché allorché accade accadeche cheililvolto volto del del Salvatore di Van Eyck si trovi ad essere essere "scorporato" "scorporato" dal busto busto ee rítrasportato ritrasportatosul sultradizionale tradizionale trovi telo. Nella autenticata da dalla dell'artista, la la conconlla firma dell'artista, telo. Nella copia, copia, ora ora non più autenticata formità all'archetipo èè nuovamente nuovamente garantita garantitadall'osservanza dall'osservanzadell'antico dell'antico modello figurativo. Questo avviene avviene ad esempio su una una tavola tavola del del Maestro della Leggenda Manfrediana del del SeminaSeminadella Leggenda di di Sant'Orsola, Sant'Orsola, nella Pinacoteca Manfrediana Patriarcale di di Venezia. Venezia. Con Con ii pannelli pannelli laterali laterali di di Filippino Filippino Lippi Lippi essa essa rio Patriarcale un trittico trittico destinato destinato aaun unmercante mercantefiorentino, fiorentino,nel nelquale quale si trasformò in un pietà religiosa religiosa ee interessi interessi da dacollezionista. collezionista. si univano pietà L'immagine Cristo di Van Van Eyck Eyck ee le le sue sue trasformazioni trasformazioni cicistimostimoL'immagine di di Cristo lano a porre porre in in evidenza evidenza ii due due livelli livelli su su cui cui si si costituisce costituisce la la figura di di CriCristo nell'arte agli agli albori albori della della prima prima età etàmoderna. moderna.Uno Unoèèquello quellodella dellapolapolarità di bellezza bellezza e sofferenza, della ricerca ricerca di di un un ideale ideale della della figura umana e di una raffigurazione raffigurazione dell'espressione dell'espressione spirituale spirituale ee emotiva emotiva che che culmina culmina nel dolore ee potenzialmente potenzialmente deforma deforma ii lineamenti. lineamenti. Dall'altra Dall'altra parte parte lala nel dolore di Cristo Cristo solleva solleva la questione questione sulla sulla natura naturastessa stessadell'immagine dell'immagineee figura di della creatività umana. umana. Le Le condizioni condizioni terrene terreneeei i"limiti" "limiti"del delvedere vederecome come nell'immagine di di Cristo, Cristo, un un problema problemaartistico, artistico, del raffigurare diventano, nell'immagine "compito" artistico. artistico. un "compito" Le tematiche brevemente esposte esposte stanno al al centro centro del delpresente presente Le tematiche qui brevemente volume, che raccoglie raccoglie una serie serie di di saggi saggi che che affrontano affrontano ii fecondi fecondi paraparavolume, di Cristo Cristo nell'arte nell'arte della della prima prima età etàmodermoderdossi e le aporie dell'immagine di meglio il ruolo ruolo fondamentale fondamentale dell'immagine dell'immagine di di Cristo Cristo nel nel processo processo na, o meglio formazione. Questi Questi paradossi non rappresentano rappresentano in in sé sé uno uno spedella sua formazione. cificum dell'epoca, dell'epoca, ma loro origine origine nella nella natura natura del del rappresenrappresencifRcum ma hanno la loro nel mistero mistero dell'incarnazione, dell'incarnazione, nel nel verbo verbo (logos) che diventa tato, e quindi nel uomo e nell'insolubile nell'insolubile complessità la natura natura divina divina ee uomo complessità del del legame legame tra tra la quella umana in Cristo. Già Eusebio, rispondendo alla figlia di Costanquella in Cristo. Già Eusebio, rispondendo alla figlia di Costantino che che desiderava desiderava un'immagine un'immagine di di Cristo, Cristo, aveva aveva scritto scritto che, che, se selala raprappresentazione della divina era era impossibile, impossibile, quella quella della della natura natura presentazione della natura divina servo, insensata(forse (forse quequeumana, della figura dell'umile se rvo, era addirittura addirittura insensata autentica ee può può darsi darsi che che sia sia stata stataun unprodotto prodottodella della sta lettera non èè autentica durantel'iconoclastia l'iconoclastianella nellaBisanzio BisanziodeIl'VIII dellVlII secolo). secolo). Gli Gli acheipolemica durante leggende sono (o una una prima) prima) ropoieta con le loro leggende sono a loro volta un'ultima (o giustificazione della punto di di giustificazione della legittimità legittimità delle delle immagini immagini materiali materiali da un punto vista iconofilo, giacché essi non sono oggetti manufatti, ma si presenvista iconofilo, giacché essi sono oggetti manufatti, ma si presentano come come rappresentazioni rappresentazioni che che il Salvatore Salvatore stesso realizza realizza di di sé sé impriimprimendo il il suo volto volto su un un panno, panno, che che aasua suavolta voltadiventa diventareliquia reliquiaattraattramendo

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CHRISTOPH L. L. FROMMEL GERHARD WOLF WOLF - GERHARD CHRISTOPH FROMMEL -

verso il il contatto contatto — — un un contatto contatto sacro sacro che che sisi trasforma trasforma in invisione visione ee si si appropria dell'immaginazione dell'immaginazione dell'osservatore. dell'osservatore. appropria Copiare immagini natura, poste poste al al limite limite dell'umana dell'umanacapacità capacità Copiare immagini di di una tale natura, lla grazia percettiva, solleva solleva la la forza forza de della grazia che che gli gli originali originali percettiva, la questione se la si trasferisca trasferisca agli agli antigrafi, antigrafi, oo in in altre altre parole parole se se ee in in che che modo modolala emanano si un acheiropoieton. Proprio questo paradosso paradosso mano umana possa imitare un diventa una sfida per l'artista ee particolarmente particolarmente nel nel momento momento in in cui cui la la diventa una sfida lla realizzazione sua mano mano si si presenta presenta come come l'agente l'agente fondamentale fondamentale de della realizzazione sua Di pari passo, attraverso attraverso le le iscrizioni iscrizioni "me "me fecit fecitet etcomplevít" complevit" ee dell'opera. Di fi gura "ais kan" del del 31 31 gennaio gennaio 1438, 1438, la tavola tavola di Van Van Eyck Eyck si con configura "als ich ich kan" documento cruciale cruciale per per tale tale discorso. discorso. come un documento volume si pubblicano i contributi contributi di di un un convegno convegno internaziointernazioIn questo volume Pfeiffer S.J. per la Bibliotheca nale, da noi noi organizzato organizzato con con Heinrich Pfeiffer S.J. per la Bibliotheca nale, Hertziana, l'Università l'Università Gregoriana Gregoriana ee il il Palazzo Palazzo de delle Esposizioni, nel nel lle Esposizioni, Hertziana, marzo 2001 2001 in occasione della della mostra mostra "Il "Il Volto Volto di di Cristo". Cristo". Lo Lo scopo della della mostra quello di di presentare presentare la la storia storia degli degli acheiropoieta sulla base mostra fu quello acheiropoieta sulla delle fino al al Rinascimento. Rinascimento. Nel Nel caso casodella dellaSindoSindodelle loro copie dalle origini fino solo aa partire partiredal daltardo tardoXVI XVI ne di Torino, le cui copie sono rintracciabili solo secolo, questo Tra le le opere opere più piùimimsecolo, questo limite limite cronologico cronologico èè stato superato. Tra portanti dell'esposizione si annoveravano il quadro di Van Eyck di Berliportanti dell'esposizione si annoveravano il quadro di Van Eyck di Berlino, la tavola tavola di di Fra' Fra' Angelico Angelico di di Livorno, Livorno, la la "vera "vera icon" icon" fiamminga fiamminga di di no, rt e del dittico Bembo. InfatMemling facente facente pa parte InfatVenezia e la Veronica di Memling sezione più ampia, ampia, dedicata dedicata alla Veronica, seguiva la formazione ee ti, la sezione divulgazione della "vera immagine" di Cristo nei diversi diversi generi generi ee tecniche tecniche artistiche tra cui cui libri libri miniati, miniati, quadri, quadri,sculture, sculture,medaglie medaglieeerilievi. rilievi. Se Se il il dei punti punti di di partenza partenzadel delconcontema della Veronica costituiva costituiva anche uno dei vegno, ií suoi qui pubblicati pubblicati seguono seguono un un percorso percorsocomplemencomplemenvegno, suoi contributi qui mostra. Gli Gli autori autori prendono prendonoin inconsiderazione considerazionelelediverse diversetematematare alla mostra. la disputa disputa artistica artisticaeeartistico-letteraria artistico-letterariasull'immagine sull'immagine di di tiche inerenti la Cristo Rinascimento e il Barocco. Barocco. Che Che qui del primo primo Cristo durante il Rinascimento qui si tratti del letteratura sull'iconografia sull'iconografìa tentativo del genere, può forse sorprendere: la letteratura lle raffigurazioni di Cristo è molto vasta e numerosi numerosi lavori lavori si si occupano occupano de delle di Cristo Cristo da pa parte singoli artisti (ad (ad esempio esempio di di Dürer Dürer oo Rembrandt), Rembrandt), rt e di singoli mancata un'analisi un'analisi approfondita approfondita del del ruolo ruolo svolto svolto nella nella prima prima ma è sinora mancata età moderna moderna dall'immagine dall'immagine di Cristo da un punto punto di di vista vista de della storia lla storia di Cristo delle idee e nel suo rapporto con la tradizione medievale, nonostante che con la tradizione medievale, nonostante che de lle si combinino combinino intenti intenti ee argomenti argomenti fondamentali fondamentali di di quell'epoquell'epoin tale tema si ca: la ricerca degli artisti intorno intomo alla figura umana, alla "verità" dell'imdell'imca: rapporto con con la la sfera sfera estetica esteticaee spirituale. spirituale. magine e al suo rapporto

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Ciò vale elemento, che è posto posto in in evidenza evidenza dai dai Cíò vale specialmente specialmente per per un elemento, contributi raccolti raccolti nel nel presente presente volume, volume, con contrariamente a quanto avvenitrariamente a quanto avvenimostra "Il "Il Volto Volto di Cristo" Cristo" dove era espresso espresso solo solo in in modo modo impliimpliva nella mostra cito; il tema del del corpo corpo di di Cristo Cristo nel nel suo suodoppio doppiosignificato significato eenel nelcomcomcito: il suo doppio doppio aspetto aspetto sacramentale sacramentaleeecarnale. carnale.Mentre Mentre plesso intreccio tra ilil suo sviluppa il rapporto rapporto di di complementarità complementarità che che lega lega la la "vera "vera icon" icon" ee ilil si sviluppa "storico" ee "devozionale" "devozionale" di Cristo Cristo diviene, diviene, durante durante sacramento, il corpo "storico" oggetto degli degli sforzi artistici artistici attraverso attraverso lo lo studio studiodell'andell'anil Rinascimento, oggetto tico. La bellezza del nuovo nuovo Adamo Adamo si si con confronta con l'espressione del dodofronta con l'espressione del sofferenza in in costellazioni costellazioni ee soluzioni soluzionisempre semprenuove. nuove. lore e della sofferenza Segue presentazione dei dei principali principali argomenti argomentidel delvolume, volume,che che Segue una breve presentazione delle delle della Vera Vera Icon nel nel inizia con l'esposizione de ll e coordinate ee de lle radici della Medioevo orientale occidentale. Nella Nella Cappella Cappella de delle Reliquie del del papaMedioevo orientale e occidentale. lle Reliquie imperiale di Costantinopolí Costantinopoli venne venne elaborato, elaborato, nel nel X X secolo, secolo, un un nuinuolazzo imperlale di spazio spazio sacro sacro di cui cui erano erano protagonisti protagonisti iiil Mandylion Mandylion ee ilil KeraKeravo tipo di midion appesi appesi dalla cupola. cupola. n Il concetto assieme sacrale sacrale ed ed estetico estetico che che midion stava alla base di di questa questa disposizione disposizione venne venne replicato replicato ee moltiplicato moltiplicato nei nei decorativi ee iconografici iconografici de delle nella forma forma programmi decorativi lle chiese bizantine, nella contrazione iconica iconica dello dello spazio spazio (Alexei Lidov). Lidov). di una contrazione Michele Bacci Bacci parte dalle dalle tipologie tipologie de delle immagini non dipinte dipinte da da Michele ll e immagini umana ee ne ne mostra mostralalasopravvivenza, sopravvivenza, anzi anzi la la crescente crescente importanza importanza mano umana diffusione soprattutto nei nei racconti racconti dei dei pellegrini pellegrini di di Terra Terra Santa del XV XV e diffusione preponderante e XVI XVI secolo, secolo, mettendo mettendo al al contempo contempo in luce come diventi preponderante delle immagini-impronte all'interno all'internodei dei"loca "loca sancta" sancta"eenelle nelleloro loro il ruolo de lle immagini-impronte forme di rappresentazione. Il contributo di Ursula Nilgen affronta il forme rappresentazione. ll contributo di Ursula N ilgen il prendendo in in esame esame una una de delle tema della figura di Cristo prendendo ll e sue componenti vesti, ed esamina la la "corporeità" "corporeità" dei dei colori colori nel nel loro loro più cospicue, cioè le vesti, significato liturgico e simbolico simbolico dalla tarda tarda Antichità Antichità fino al al XV XV secolo, secolo, significato rapporto tra tra raffigurazione raffigurazioneeereliquia. reliquia. mettendo in evidenza anche il rapporto La seconda parte del del volume volume si si occupa occupa della della 'visu' Visio' ossia ossia della della 'visu Visio La facialis', cioè degli l'ottica terrena terrenaeelalavisione visioneinteriore interioreoppuoppufacialis', degli intrecci tra l'ottica escatologica. Stando aalle di Simeone Simeone aa Maria Maria nella nella preprelle parole di re quella escatologica. sentazione al tempio, "guardare" "guardare" significava significava per per ilil mistico mistico umanista umanistaFra' Fra' Angelico "trafiggere il cuore" (Timothy Verdón). Nella figura dell'onniAngelico il Verdon). dell'onniveggente nel "De visione visione Dei" Dei" di di Niccolò Niccolò Cusano Cusano ee nel nel dipinto dipinto veggente nel trattato "De devozionale di può intuire intuire la ladimensione dimensione"ontofaníca" "ontofanica"del del devozionale di Frate Klaus si può volto, in assonanza con con la la tradizione tradizionedella della"vera "veraicon": icon": èè nel nel passo passo finale volto, si descrive descrive la la kenosis kenosis del quadro, la sua trasformazione trasformazione in in dell'opera che si trasparenza, il suo passaggio alla visione spirituale (Maria (Maria Giovanpura trasparenza, Muzj). Il contributo di Andrea De Marchi Marchi ci riporta riporta nel nel mondo mondo delle delle na Muzj).11

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CHRISTOPH L. FROMMEL -- GERHARD CHRISTOPH GERHARD WOLF WOLF

immagini artistiche: in un arco fi no al XVI immagini arco cronologico cronologico che va da Giotto Giotto fino XVI secolo l'autore esamina secolo esamina ilil "lavoro" "lavoro" artistico artistico secondo secondo le le condizioni condizioni dell'otdell'ottica umana umana dopo dopo ilil peccato peccato originale, originale, cioè cioè la la visione visione nello nello specchio specchio ee nel nel Cor. 10, 3), e descrive il gioco alterno alte rn o tra tra la natura divina vetro opaco (1 Cor. 10, 3), il gioco divina della luce luce ee la sfera della sfera d'ombra, d'ombra, come come si si manifesta manifesta nelle nelle rappresentazioni rappresentazioni dell'Annunciazione o della Nascita di Cristo. L'analisi di Herbert Kessler Kessler di Cristo. L'analisi di Herbert che rappresenta la dell'acquaforte di Dürer del 1516, 1516, che la "vera "vera icon" icon" sorretta sorretta da un angelo angelo in un un cielo cielo notturno notturno in in tempesta, tempesta, evidenzia evidenzia come l'artista riesca ad esprimere esprimere graficamente graficamente il il ruolo intermediario delle delle immagini immagini come quello quello di di un velo come velo che, che, per paradosso, paradosso, viene viene disposto disposto e rimosso, a facie ad ad faciem illustrazione di quel quel "limit "limit of of vision" vision" che si si definisce definisce nel nel facie ll de a fine fine dei tempi, e al contempo arrivi della arrivi aa definire definire l'arte l'arte come come "puzzling "puzzling reflection". La terza parte comprende tre miLa tre saggi saggi dedicati dedicati aa diverse diverse modalità modalità di di mise en scène della figura figura di Cristo. Michael Michael Rohlmann Rohhnann offre offr e un'interpretaun'interpretazione dell'Altare del Sacramento Sacramento nella nella cattedrale zione dell'Altare del cattedrale di di Lovanio, Lovanio, opera opera di di Dirk Bouts, Bouts, come come manifestazione figurativa fi gurativa delle delle epifanie epifanie della della natura natura di Dirk Cristo: nel nel reciproco reciproco scambio tra (vera icon), corpo corpo carnale carnale e saCristo: tra volto volto (vera il presente, e in ci della pittucramento la storia si apre verso il ciò~~la "verità "verità della ra" trova la sua Carlo Bertelli esamina ra" sua espressione. espressione. Carlo modelli e implicaesamina modelli fi gura di Cristo di Leonardo nel cenacolo di Santa zioni della figura Santa Maria Maria delle delle fi nita ee Grazie, che che Vasari Grazie, Vasari aveva aveva definito definito come intenzionalmente intenzionalmente nonnon-finita ρuδ essere che ora, dopo i recenti restauri, può essere vista vista in chiave nuova. L'autore getta uno sguardo sguardo su su altre altre invenzioni invenzioni leonardesche leonardesche ee prima di tutto tutto sul del giovane giovane Salvatore. Salvatore. Il contributo di di Giovanni Morello sul ritratto del Giovanni Mo re llo ci ci conduce al al Laterano, Laterano, sulla sulla cui cui Porta Santa Bramante conduce Bramante aveva aveva dipinto una una fi gura di Cristo, figura Cristo, un frammento frammento del quale è stato stato rinvenuto rinvenuto nel nel chiostro chiostro il busto di Cristo midella doveva rappresentare midella basilica; basilica; probabilmente doveva rappresentare il racolosamente apparso apparso nell'abside. nell'abside. Tema centrale della sezione successiva Tema successiva è il il corpo corpo di di Cristo Cristo nell'internell'interHeinrich Pfeiffer mostra "il carattere lettepretazione di di Michelangelo. Michelangelo. Heinrich lettemostra "il rale" rappresentarale" degli degli affreschi affreschi della Cappella Cappella Sistina sull'esempio della rappresentazione posteriore di zione di Dio: Dio: nel nel Giudizio Giudizio Universale Universale Michelangelo Michelangelo avrebbe avrebbe diffuso il il suo suo personale personale pensiero pensiero artistico artistico eeteologico. teologico. Silvia Danesi Silvia Danesi Squarzina intravede Santa Maria Maria sosointravede nella nella prima versione del Cristo di Santa pra Minerva, Minerva, da lei causa di di una una vena vena lei riscoperta e a suo tempo rifiutata aa causa volto, un'espressione della influenzata da da nera nel volto, della spiritualità dell'artista influenzata Girolamo rapGirolamo Savonarola: Savonarola: sotto sotto tale tale angolazione angolazione viene viene interpretata interpretata la rappresentazione in bianchissimo bianchissimo marmo marmo del del Vir Vir dolorum. Weildoldrum. Kathleen Kathleen We il Garris il suo intervento ugualmente di Garris Brandt incentra il ugualmente su questa statua di Cristo fornisce nel contempo una panoramica panoramica sulle sulle rappresentazioni rappresentazioni Cristo ee fornisce nel contempo

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pittoriche di di Cristo Cristo realizzate realizzate dall'artista, dall'artista, il il quale non fu fu più più scultoree e pittoriche di interessato dalla dalla rappresentazione rappresentazione del del volto volto di di Cristo, Cristo, bensì bensì sisi di tanto interessato concentrò sul corpo nella sua bellezza bellezza apollinea ed erculea, in una una sorta sorta di compensazione della propria deformità, come appare evidente nella di compensazione deformità, come appare evidente nella versione del del Cristo Cristo della della Minerva. Minerva. Nella seconda di di queste queste versioni versioni prima versione individua un'estetica un'estetica del del composto composto oo contrapposto contrappostocome comeconconla studiosa individua sapevole bellezza ee passione. passione. Le Le osservazioni osservazioni di di sapevole gioco gioco degli degli opposti opposti fra bellezza sostenuto dagli dagli angeli" angeli" di di Rosso Rosso Fí0FioAlessandro Nova sul "Cristo morto sostenuto da contrappunto contrappunto aa tali tali argomentazioni. argomentazioni. In In questa questarapprerapprerentino fanno da sentazione di un corpo tanto estatico quanto pulsante, si riconoscono sentazione di corpo tanto estatico quanto pulsante, si riconoscono concentrate le tensioni più più volte volte riscontrate riscontrate nell'immagine nell'immagine di di Cristo Cristo del del Rinascimento. In questo questo corpo corpo volutamente volutamente sensuale sensuale ee palpabile, palpabile, Rosso Rosso Rinascimento. si in competizione competizione con la la scultura scultura ee tematizza tematizza ilil rapporto rapportocomcomsi pone in tra l'artistaconduce conducel'immagine l'immagineananplesso tr a il vedere e il toccare; tuttavia, l'artista che ad un li limite far sì sì che che la la raffinatezza raffinatezza estetica estetica quasi quasi non nonperperale da far che mite ttale autentica distinzione distinzione tra tral'intensità l'intensitàerotica eroticaeequella quellareligioreligiometta alcuna autentica sa del dipinto. L'ultima parte del volume volume èè dedicata dedicata esplicitamente esplicitamente aalla questione L'ultima parte del lla questione della "vera "vera immagine" nella prima età moderna, nel Rinascimento come immagine" nella mode rna, come Verso il 1500, 1500, come pone in in luce luce Philine Helas, Helas, nella Riforma cattolica. Verso tipo di di "vera "vera immagine" immagine" attraverso attraverso le le medaglie medaglie ee venne diffuso un nuovo tipo Si trattava trattava nella nella fattispecie fattispecie dell'immagine dell'immagine di di profilo profilo di diCristo Cristo la grafica. Si escludeva ogni visivo con quindi rappresenrappresenche escludeva ogni contatto visivo con lo spettatore ee quindi tava una una soluzione soluzione alternativa alternativa all'icona all'icona intesa intesa come come ritratto ritrattostorico. storico. tava attraverso vari vari media, media, questa questa figura Ampiamente posta in circolazione attraverso fi gura di profilo divenne anche il tema di rielaborazioni rielaborazioni artistiche artistichecome come il Ritratto del Salvatore di Tiziano nella Galleria Palatina, e doveva del Salvatore Tiziano nella Galleria Palatina, e doveva continuare aa ai frammenti frammenti fisionomici fisionomici di Lavater Lavater in in cui cui sisiponeva poneva proliferare fino ai dell'avvicinamento aporetico aporético aa Cristo Cristo attraverso attraversoimimcome quintessenza dell'avvicinamento Con l'immagine l'immagine di di Cristo Cristo di Guido Guido Re Reni si colgono colgono in ni si magini materiali. Con fondo, come dimostra il contributo contributo di di Sibylle Ebert-Schifferer, le trafondo, Sibyll e Ebert-Schífferer, sformazioni dell'icona-ritratto dell'icona-ritratto di Van Van Eyck Eyck "sub "sub specie specie passionis". passionis". SeSesformazioni condo l'autrice, l'autrice, la costruzione costruzione di di una una nuova nuovaicona iconanell'imitazione nell'imitazione della della condo natura, dell'antichità dell'antichità e di di Raffaello Raffaello spazza spazza via via gli gli ultimi ultimi residui residui della della natura, "vera icon" medievale: medievale: il il suo modello modello non non èè Apollo, Apollo, bensì Yexemplum dol'exemplum doloris rappresentato dal Laocoonte. Anche la teoria artistica della Conlo ris dal Laocoonte. Anche la teoria artistica della Connon regredisce regredisce affatto affatto dietro dietro alle alle conquiste conquiste dell'arte dell'arie stupenda troriforma non del colore; colore) infatti, nuova verità dell'immagine dell'immagine èè di di natura natura retorica retorica ee infatti, la nuova rimanda alla alla verità divina divina oltre oltre l'immagine. l'immagine. Nello Nello sguardo sguardo verso verso l'alto l'altosisi rimanda manifesta lo sforzo sforzo dell'effigie dell'effìgie sacra superare se se stessa, stessa, ed edèèforse forse manifesta sacra per superare questo che che si si fonda fonda l'estrema l'estrema popolarità popolarità de della immagilla nuova immagíproprio in questo

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CHRISTOPH L. L. FROMMEL FROMMEL -- GERHARD GERHARD WOLF CHRISTOPH WOLF

di Cristo Cristo nel nel XVII XVII eeXVIII XVIII secolo. secolo. Seguendo Seguendo il il percorso percorso dal dal Ponte Ponte ne di Sant'Angelo alla crociera di San Pietro Rudolf Preimesberger dimostra Sant'Angelo come nel XVII XVII secolo retoricizzazione della della "vera "vera secolo si si awii avvii un un processo di retorícizzazione icon" all'interno del luogo stesso in cui la sacra effìgie era anticamente icon" all'interno del luogo stesso la sacra ef figie anticamente venerata. In una una combinazione combinazione tra immagine che che si si prof profila cotra parola e immagine ila covenerata. estrema argutezza argutezza ee d'incessante d'incessante ccomplessità nel significato, significato, didime di estrema οmpless~tà nel per l'osservatore l'osservatore il il sacro sacro volto, volto, che che in in genere genere era era in inquelquelventa intuibile per inaccessibile alla alla vista vista (del (del resto resto si si ritiene ritiene che che fosse fosse già già scomscoml'epoca inaccessibile parso oo che che fosse fosse stato statosostituito sostituitogià giàall'inizio all'iniziodel delsecolo secoloXVI). XVI). La Laregia regia mediática delle copie che, nella poliedrica varietà dei generi artistici, cirmedíatica de lle dei generi artistici, circondano e conducono conducono lo lo spettatore spettatore verso verso il il velo velo invisibile invisibile tr trova condano ova la la sua massima espressione espressione nella strabordante di di pathos di Francesco Francesco massima nella statua strabordante Mochi, che, un intenso intenso grido, grido, sembra sembra precipitarsi precipitarsi fuori fuori dallo dallo Mochi, che, colta colta in in un zoccolo del statuario di Bernin), Bernini), zoccolo del pilastro pilastro (in (in contrasto contrasto con il il programma statuario volendo alludere, paradossale inversione, inversione, anche anche al al viaggio viaggio de della volendo alludere, in una paradossale lla donna gerosolimitana gerosolimitana verso verso Roma con con la la reliquia reliquia della della passione, passione, mentre mentre l'angelo che, espone un un velo velo di pietra pietra si si trattiene trattiene sulla sulla strada strada l'angelo che, sul ponte, espone in silenzioso raccoglimento. Marc Fumaroli Ftunaroli ritoma ritorna di nuovo al punto di partenza, alla fondamentale fondamentale aporia un'immagine non fatta fatta da da mano mano partenza, aporia di un'immagine La mano mano dell'artista, dell'artista, che che nell'icona nell'icona sembrava sembrava repressa, repressa, ritorna ritomaee umana. La viene celebrata età moderna; moderna; nella nella lettura lettura cristiana, cristiana,lalapitpitviene celebrata nella nella prima età tura sostituisce il dialogo tra Dio e l'uomo all'antico dialogo tra i vivi tr tura sostituisce il dialogo a dialogo tra i vivi ee ii morti, il quale era stato espresso espresso in termi termini mitici dalla famosa leggenda leggenda ni dalla famosa della nascita della pittura dalla dalla linea d'ombra proiettata proiettata dal dal profilo profilo deldeldella Queste sfere sfere si si fondono fondono grazie grazie al al nuovo nuovo ruolo molo acacl'amante sulla parete. Queste partire dal dal tardo tardoXVI XVI secolo; secolo; la traccia traccia quisito dalla Sindone di Torino a partire sul diventa in Marino Marino di di nuovo nuovo la la motivazione motivazione primaria primaria de della pitsul telo diventa lla pitmoderno poteva poteva dire: dire: "La peinture, c'est une toile et de la tura. Un aartista rt ista moderno sueur": il il lineamento lineamento crístomimetico cristomimetico che che collega collega l'immagine l'immagine acheropita acheropita nata dalla dalla mano mano dell'artista, dell'artista, sisi articola articolanel nelmodello modellodi diun'autoun'autocon quella nata trasforma ilil disegno disegno interno intemo in in un undisegno disegno esterno estemoee poiesis artistica, che trasforma al contempo può può infondere infondere alla alla figura figura un douceur salvifique douceur salvi fzque o una violence damnatrice. Anche di Irving Lavin è incentrato sulla sulla lence Anche l'intervento di Irving Lavin dell'artista. Nella Nella ge geniale ni ale incisione di Mellan del 1649, telo, nimbo, mano dell'artista. incoronato di di spine, spine, nonché nonchél'iscrizione l'iscrizione (forvolto del Cristo sofferente e incoronato non alter) alter) sono formati da un'unica un'unica linea linea ondulata ondulata di matur unicus una, non diverso punta del del naso, naso, sede sededello dellospirito. spirito. Allo Allo diverso spessore, spessore, che inizia sulla punta "ex lapide" della scultura rinascimentale rinascimentale corrisponde corrisponde qui qui un'immaun'immaex uno lapide" gine una sola sola linea linea che che si si ispira ispira all'antica all'antica leggenda leggenda d'artista, d'artista, che che gine fatta da una Apollo ee Protogene la linea linea dalla disputa tra Apollo Protogene sulla sulla capacità di disegnare la con Parrasio Parrasio all'arte all'arte di di disegnare disegnare ee nascondere nascondere in in virtù virtù più sottile, porta con "

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INTRODUZIONE INTRODUZIONE

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della linea, fino alla O O di di Giotto Giotto (simbolo (simbolo della della perfezione). perfezione). La La spirale spirale fi no afla de lla linea, forma al al volto volto di di Cristo Cristo nell'incisione nell'incisione di di Mellan Mellan èèsimbolo simbolodi disagsagche dà forma gezza divina; sulla lastra lastra tipografica tipografica attraverso attraverso la la mano mano gezza divina; nel nel suo suo girare sulla dell'artista, il mistero mistero dell'incarnazione dell'incarnazione del del Dio Dioincircoscrívíbile, incircoscrivibile, del del dell'artista, "theos in un un discorso discorso grafico, grafico, in inun'immaun'imma"theos aperigraptos", aperigraptos", viene viene tradotto in gine senza contorni ee senza senza margini. margini. In In questo questo modo modoviene viene celebrata celebratalala gine che evidenzia evidenzia la sua capacità capacità di di trascendere trascenderese sestessa. stessa. tecnica dell'artista, che L'opera di grafica stampata afferma afferma la la sua sua inimitabilità inimitabilità attraverso attraverso un un L'opera di grafica esempio di estrema ee si si presenta presentanello nello stesso stessomomento momentocome come esempio di bravura estrema argomento sia sia teologico teologico sia sia teorico-artistico. teorico-artistico. argomento L'esperimento di Mellan Mellan trova un suo pendant contemporaneo nelle nelle rifrifL'esperimento lessioni pittoriche Francisco Zurbarán Zurbaràn sulla sulla natura naturadell'immagine dell'immagine ee lessioni pittoriche di Francisco dell'arte nelle nelle sue Veroniche, Veroniche, in lineamenti di di Cristo Cristo sfumano sfumano fino fino dell'arte in cui i lineamenti alla traccia indistinta indistinta del del volto volto addolorato, addolorato, mentre mentre il il telo, telo, otticamente otticamente alla sfondo; ii dipinti dipinti di Zurbaràn Zurbarán messo a fuoco, diventa un trompe l'oeil sullo sfondo; servono come nature morte morte servono come come stimoli stimoli devozionali devozionali e, e, nel nel contempo, contempo, come oggetti privilegiati nei nei gabinetti gabinetti d'arte. d'arte. religiose che diventano oggetti collaborato aalla del Ringraziamo tutti coloro che hanno collaborato lla realizzazione del presente volume, in un'impresa non sempre facile. In una prima fase presente volume, in sempre facile. una prima fase ilil coordinamento redazionale redazionale èè stato stato curato curatoda dacollaboratori collaboratoridella dellaBiblioteBibliotecoordinamento in particolare particolare da daGiuseppe Giuseppe Bonaccorso Bonaccorso ed edElisabetta ElisabettaPaPaca Hertziana, in store; stato ripreso ripreso al al Kunsthistorisches Kunsthistorisches Institut InstitutdidiFirenze, Firenze, store; in seguito è stato dove si impegnati Heiko Heiko Damm, Damm, Stephanie Stephanie Hanke, Hanke, Urte Urte Krass Krass ee dove si sono impegnati Annette Hoffmann, inoltre partecipato partecipato alla alla ricerca ricerca iconograiconograAnnette Hoffniann, che che hanno inoltre fica. Siamo grati alla Biblioteca Apostolica Apostolica Vaticana per per la la pubpubfica. al la insigne Biblioteca Studi ee Testi, Testi, in in particoparticoblicazione della collezione di saggi nella collana Studi lare al Prefetto Don Don Raffaele Raffaele Farina Farina e, e, per perla lacollaborazione collaborazionenella nellaprepaprepadel volume, volume, al Viceprefetto Viceprefetto Ambrogio Ambrogio Piazzoní Piazzoni e aa Suor SuorCatheCatherazione del Clarke. Infine ringraziamo ringraziamo Michele Michele Bacci Bacci per per la la preziosa preziosa consulenza consulenza rine Clarke. Tiziana Pozzessere Pozzessere per le le precisazioni precisazioni sulle sulle didascalie didascalie eelelereferenze referenze e Tiziana fotografiche.

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ALEXEI LIDOV LIDOV ALEREI

MIRACLE OF OF REPRODUCTION: REPRODUCTION: THE MIRACLE MANDYLION AND AND KERAMION KERAMION AS AS THE MANDYLION A SACRED SPACE` SPACE* A PARADIGM PARADIGM OF OF THE SACRED

The aim paper is is to to present present aa new new interpretation interpretation of of one one of ofthe the The aim of this paper of Byzantine Byzantine imagery. imagery. It It concerns concerns the theiconographical iconographical major paradigms of tradition according according to which which two two miraculous miraculous images images of ofChrist Christ— —the the Mandylion (The Holy Cloth) and and the the Keramion Keramion(The (TheHoly HolyTile) Tile)— —were were represented in in aa very very prominent prominent position position in in the the Eastern EasternChristian Christian to be represented "cross-in-square" church. the apex apex of of the the "cross-in-square" church. These These images images were were placed placed at the west domed domed arches, arches, exactly exactly opposite opposite to to each each other other(fig. (fig. 1). 1). The The east and west Mandylion was face of the eastern arch at at the the border border Mandylion was represented represented on the face space and and the the sanctuary, sanctuary, whereas whereasthe theKeramion Keramionwas was between the domed space the same same place place of of the the western westernarch arch(fig. (fig.2,2,3). 3). This Thisprincipal principal depicted on the structure was was already already well-known well-known in the the iconographic iconographie programs programs of of the the 1 twelfth century . There is no doubt of its Byzantine origin, dating back twelfth century'. There is no doubt of its Byzantine origin, dating back the eleventh eleventh century, century, as as well well as as of ofthe theprincipal principalsignificance significance of ofthe the to the introduced most most probably probably from fromthe thehighest highestlevel level of ofthe theConConinnovation, introduced hierarchy and and afterwards afterwards spread spread throughout throughout the the stantinopolitan church hierarchy Christian world. world. The The role role of of the the paradigm paradigm was was developed developed in in the the Eastern Christian Paleologan period (1261-1453). Its was emphaemphaPaleologan period (1261-1453). Its highly highly respected respected status was sized by formal recommendation recommendation in in the the Hermeneia of Dionysius Dionysius of of sized by a formal Phouma, the the post-Byzantine post-Byzantine icon-painter's icon-painter's manual, manual, which whichcodified codifiedpreprePhourna, vious Byzantine Byzantine practice practice22.. The The same same iconographical iconographical pattern pattern survives survives vious * This been written written during duringmy mystay stayas asaavisiting visiting scholar scholaratatthe theGetty GettyResearch Research * This paper paper has has been Institute, Los Los Angeles, Angeles, in 2001. II would thank Gerhard Gerhard Wolf, Wolf, Herbert Herbert Kessler Kessler Institute, in spring spring 2001. would like like to to thank and Nicoletta Nicoletta Izar Izar for for the the reading reading and and discussion discussion of ofthe thefirst firstdraft draftofofthis thispaper, paper,asaswell wellasas and for their stimulating comments. comments. II am amvery very grateful grateful to toDebra DebraPincus, Pincus, John JohnLindsey LindseyOpie Opie and and for their stimulating Glenn Peers Peers who who generously generously edited edited my my "self-made" "self-made" English English text. text. Glenn 1 the wall-paintings wall-paintings of of the the Mirozh Mirozhmon monasas1 Among Amongthe the early early examples examples one one may may mention mention the tery near near Pskov Pskov in in Russian Russian North-West North-West (made (made by by Byzantine Byzantine painters painters in in the thesecond secondquarter quarter tery of the the 12th 12th century), century), of of the the Djudjevy Djudjevy Stupivi Stupovi monastery monastery in inSerbia Serbia(the (thesecond secondhalf halfofofthe the of 12th century), of the Saviour church church in in Nereditsa, Nereditsa, near nearNovgorod Novgorod at at the theRussian RussianNorth North 12th century), and and of the Saviour (1199). See See LAZARE'! Lazarev 1966, 1966, pp. pp. 101, 101,126, 126,247-249, 247-249,251-255, 251-255,fig. fig.56; 56;DJURIY DJURlC 1976, 1976, p.p. 257. 257. (1199). 2 Describing the decoration of the dome, he recommends: "Below, on the curved faces 2 Describing the decoration of the dome, he recommends: "Below, on the curved faces of the pendentives, paint the Four Four Evangelists, Evangelists, and between them at the the top top of ofthe the archiarchiof the pendentives, paint the and between them at

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ALEXEI LIDOV LIDOV ALEREI

today in in contemporary contemporary Orthodox Orthodox cross-ín-square cross-in-square churches churches where where the the today "Mandylion-Keramion paradigm" almost obligatory obligatory feature. feature. NoNo"Mandylion-Keramion paradigm" isis an almost where, however, found an an adequate adequate explanation explanation for for this this where, however, is is there there to be found unusual juxtaposition of two the most ancient miraculous images of unusual juxtaposition of two most ancient miraculous images of human hands". hands". Christ "not made by human Allow me miraculous appearappearAllow me to to remind remind you briefly of the story of the miraculous ance of these images images of Christ, Christ, as related related in in the theByzantine Byzantine Narratio Narratio de ance de text commissioned commissioned or written written imagine Edessena (further, Narratio) Narratio) — a text by the emperor emperor Constantine Constantine Porphyrogenetus Porphyrogenetus in conjunction conjunction with with the the by triumphal Translation Translation of of the the Mandylion Mandylion relic relic from from Edessa Edessa to toConstanConstan94433• . This so-called Narratio, kind of of offioffitinople in 944 This story, story, the so-called Narratio, became a kind cial source of information information concerning concerning the the Mandylion Mandylion and and Keramion Keramion in in cial Byzantium, on texts are based. based. With With regard regard to to the the apapByzantium, on which which all all other texts pearance of of the the Mandylion, Mandylion, the the texts texts record recordtwo twodifferent differentversions versionsfrom from contradictory sources. sources. According According to one, one, Christ Christ gave gave the the cloth cloth unknown contradictory to Ananias when he could not not depict depict his hisface: face: The Saviour then washed washed his his face face with with water, water, wiped wiped off off the the moisture moisture that thatwas was left on the towel towel that that was was given given to to him, him, and and in in some some divine divine and andinexpressible inexpressible left on the manner had had his his own own likeness likeness imprinted imprinted on onit.it.This Thistowel towelhe hegave gavetotoAnanias Ananias manner and instructed instructed him him to to hand hand ititover over to to Abgar Abgar (king (king of of Edessa) Edessa) so that the the latter latter might have have some some consolation consolation for for his his longing longing and and disease disease (Narratio, 13). might 13). According to version the Mandylion Mandylion was formed formed during during the the According to the the second version Christ's prayer prayer in in the the garden gardenof ofGethsemane: Gethsemane: According to Evangelist, sweat dropped from from him him like like drops drops ofofblood. blood. According to the the Evangelist, sweat dropped Then, they took this this piece piece of of cloth cloth which which we we see see now now from from one one of of the the Then, they say, say, he he took disciples, and wiped off the drops of of sweat sweat upon upon it. it. At At once once the the image imageof ofthat that disciples, divine face instructed him him divine face was was visible. visible. Jesus Jesus gave gave the the cloth cloth to to Thomas, Thomas, and and instructed that after after He He had had ascended ascended into into heaven heaven he he should should send send Thaddeus Thaddeus with with itit to to that Abgar, thereby he had had made made by by letter letter (Narratio, 17). Abgar, thereby fulfilling fulfilling the the promise promise he (Narratio, 17). The of the the mid-tenth-century mid-tenth-century Narratio versions as as The author of Narratio regarded both versions equally favoured the the first first equally plausible. plausible. However, However, later later Byzantine Byzantine tradition favoured version the formation formation of ofthe theimimversion only. only. The The second second tradition, concerning the volts, paint on the the eastern eastern one one the theHoly Holy Mandylion Mandylion and andon onthe theone oneopposite oppositethe theHoly HolyKeraKeravolts, paint on mion": Papadopoulo-Kerameus 1909, 84. mion": PAPADOPOULO-KERAMEUS 1909,p.p.215; 215; Hetherington HETHERINGTON1974, 1974, p. 84. 3 The Dobschütz's Dohschütz's hook publication of of the the entire entire corpus corpus of of 3 The book is is still still the the most most important important publication the Mandylion: Mandylion: Von Dobschütz 1899, 1899, pp. 102-196, 158*-249*, 158*-249*, 29**-156**. 29**-156**. texts concerning concerning the Voi DΟΒSCHÜTZ pp. 102-196, An English of the the Narratio Narratio Constantiní Constantini (VON An English translation of (VON DOBSCHÜTZ DOBSCHÜTZ1899, 1899,pp. pp. 39**-89**) 39**-89**) in the the book: book: WILSON can be found in WILSON 1978.

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THE MIRACLE MIRACLE OF OF REPRODUCTION REPRODUCTION THE

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"sweat and and blood" blood" of of the the Passion, Passion, as aswe we know, know, received received new new age with the "sweat West. life only in the West. With regard to to the the Keramion Keramion (The (The Holy Holy Tile) Tile) the the Narratio Narratio knows knows not two different different relics. relics. One One of of them them appears appearson onthe theway way only two stories but two to Edessa. Ananias Ananias made a stop at the town Hierapolis where he hid the made town Hierapolis where he hid the Mandylion in a heap of tiles outside the city. About midnight a great fire Mandylion of the city. About midnight a great fire Mandylion was hidden. The The Hieropolitans, Hieropolitans, the the Narappeared where the Mandylion ratio says, searched and found found there there not notonly onlywhat whatAnanias Ananias had hadplaced placedthere, there, searched the spot and one of of the the tiles tiles nearby, nearby, another anothercopy copyof ofthe thelikeness likeness of ofthe thedivine divine but also, on one face. Unexpectedly Unexpectedly and had been been transtransface. and incomprehensibly incomprehensibly the divine image had cloth, without without having having being being drawn drawn (Narratio, 14). ferred to the tile from the cloth, much later. later. When When the thegrandson grandson Another relic relic of the Keramion appeared much of Abgar returned back to paganism, the Mandylion was preserved in aa Abgar returned paganism, the Mandylion niche over the main gate gate of of Edessa. Edessa. To To save save the the precious precious relic relic aa bishop bishop closed up niche with with aa tile. tile. The The place place was was forgotten forgotten and andwas wasonly only closed up this niche another bishop bishop of of Edessa Edessa during duringthe thePersian Persiansiege siege revealed in a vision to another the niche niche over over the the gate, gate, and and of the sixth century. He opened the lamp to to protect protect it, it, on the piece of tile which which had been placed in front of the lamp he found that that there there had hadbeen beenengraved engravedanother anotherlikeness likenessofofthe theImage Imagewhich which the present present time time (Narratio, (Narratio, 32). 32). has by chance been kept safe at Edessa up to the Byzantine historians altogether clear Keramions. Byzantine historians are are not not altogether clear about the two Keramion. was known known that that the the Keramion Keramion was was transferred transferredto toConstantinople Constantinople by by It was the emperor emperor Nicephoros Nicephoros Phokas the translation translation of of the the the Phokas soon soon after after the Mandylion, in 966 966 or 968. 968. But which which Keramion Keramion was was involved involved remained remained Mandylion, of the the available available sources, sources, including includingaavery veryimporimporunclear. A comparison of story of of the the "Translation Miraculous Tile Tile from from Hieropolis Hieropolis"4, "Translation of of the Miraculous tant story allows us suggest that both both revered revered relics relics were were brought brought to toConstanConstanallows us to suggest by Nicephos Nicephos Phokas. Phokas. Anthony Anthony of of Novgorod Novgorod mentions mentions two twoKeraKeratinople by mions in the the Great Great Palace Palace in in 1200, 1200, aa few few years years before before they they disappeared disappeared míons for ever following following the Crusade. The The first first Keramion, Keramion, venerated venerated in in the Fourth Crusade. Hieropolis, was transferred in 966 966 and and finally finally placed placed in in the the church churchof ofAll All Hieropolis, transferred in Imperial Great Great Palace. Palace. The The Edessa Edessa Keramion Keramion arrived arrived in in968 968 Saints in the Imperial was located located in in the the imperial imperial church-reliquary church-reliquary of of the the Virgin Virgin of of the the and was "4,

4

Greek original original of of this this Story Story(BHG (BHG 801n) 80In) was waspublished publishedby byHalIdn: Halkin: HALKIN HALKIN 1953, 1953, 4 The The Greek

pp. 253-260. 253-260. pp.

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ALEXEI LIDOV ALEREI LIDOV

Pharos5,, where already the Mandylion Mandylion of Edessa Edessa had had been been housed housedsince since Pharοs5 944. The analysis of written and pictorial testimonies proves that the 944. The analysis of written pictorial testimonies proves the the Edessa Edessa Keramion Keramion was was higher higher than than that thatofofHieropolis. Hieropolis. The The status of the priority of the the Story Story of of the themiraculous miraculous niche nicheofofEdessa Edessawas wasofficially officially priority recognized, and was reflected reflected accordingly accordingly in the pictorial pictorial cycle, cycle, for for recognized, and was in the the well-known well-known frame frame of ofthe theGenoa GenoaMandylion Mandylion(fig. (fig.5) 5)66.. example on the the Keramion Keramion located locatedopposite opposite The evidence evidence allows allows us us to believe believe that the Mandylion in Byzantine churches image of of the the Holy Holy Tile Tile of of the Mandylion in Byzantine churches is is the image Edessa, preserved since 968 968 in the Pharos chapel chapel at at Constantinople. Constantinople. The The Edessa, identification of Keramion image important, but itit does does not notexexidentification of the the Keramion image is is important, prominent place place of of the the relic relic above above the the western western domed domed arch archnor nor plain the prominent special message message behind behind this evocative evocative and pointed pointed pairing pairing of of two two the special human hands". hands". miraculous images "not made by human Let us begin with a brief brief description description of of previous previous interpretations. interpretations. The The Let most powerful exegesis was articulated by Andrei Grabar and subsemost powerful exegesis was by Andrei Grabar and subsequently elaborated elaborated by other other scholars scholars77.. According According to concept, the the quently to this concept, Mandylion and Keramion had had aa dogmatic dogmatic meaning, meaning, providing providing one one of ofthe the Mandylion most significant significant proofs Incarnation of of Christ. Christ. Referred Referred to to the the most proofs of of the Incarnation Edessa Mandylion, been brought brought to to the the Edessa Mandylion,this this important important argument argument had had been in the the age age of ofIconoclasm. Iconoclasm. The The oldest oldestimages images"not "not fore by the iconophiles in hands" revealed revealed in a most drastic drastic form form the the reality reality of of the the made by human hands" Lord's presence on the Earth and the belief in an intimate relationship Lord's presence on the and the belief in an intimate relationship between the divine prototype prototype and its its pictorial pictorial representation. representation. Grabar Grabar between the divine other aspects aspects of of the the Mandylion Mandylion symbolism symbolism in in Byzantine Byzantine emphasized two other churches. Represented Represented near altars, the first first icon icon of of Christ Christ has has become become aa churches. symbol8. Furthermore, the the miraculous miraculous acheiropoietai, kind of Eucharistie Eucharistic symbol$. acheiropoietai, which according according to tradition, had been been saving saving the the city city of ofEdessa, Edessa, also also which to tradition, have been been perceived perceived as apotropaic apotropaic images, images, protecting protecting the the church churchand and have congregation9. congregation9.

5

A contemporary contemporary Byzantine Byzantine historian historianLeo Leothe theDeacon Deaconindicates indicatesit clearly it clearly (LEOTHE THE 5A (LEO

Deacon, History, IV. 10). DEACON, 11,10). 6

century silver silver frame frame commissioned commissioned for forone oneof ofthe theancient ancientcopies copiesofof 6 On On this this fourteenth fourteenth century the Mandylion Mandylion relic is no no episode episode concerning concerning the the Hieropolis Hieropolis miracle miracle but butonly onlythe thereprepthe relic there there is resentationof ofthe thereduplication reduplicationininthe theEdessa Edessa niche: DUFOUR Bozzo Bozzo 1974, 1974, taw. taw.XIX-XX. XIX-XX. resentation niche: DUFOUR 7 Grabar 1931, 24-32, 7 GRABAR 1931, pp. pp. 24 32. 8 "Le même sens du Dieu le le Fils que victime victime eucharistique eucharistique aa 8 "Le même sens du symbole symbole de de Dieu Fils incamé incarné en en tant tant que dure être être attribué attribué aux aux images du Mandylion, Mandylion, toutes les fois fois qu'on qu'on le auprès du dure images du toutes les le représentait représentait auprès du sanctuaire":": GRABAR Grabar 1931, sanctuaire 1931, p. p. 29. 29. 9 Lidie Hademann Misguich emphasized emphasized recently recently the the connection connection of ofthe theMandylion Mandylionand and 9 Lidie Hademann Misguich Keramion with theme of of the the Passage Passage in in Byzantine Byzantine churches churches and and examined examined them them in inaa Keramion with the the theme -

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Kitzinger, dedicating one of his his last last articles articles to to the theMandylion, Mandylion, Ernst Kítzinger, developed that approach and, taking an example of the Monreale mosaic developed approach and, taking an example of the Monreale mosaic decoration, connected the Mandylion Mandylion with the the iconographical iconographical de developνelopdecoration, connected ment the Byzantine Byzantine Pantocrator Pantocrator program program during during the the course course of of the the ment of the 10 twelfth century 10 .. The The Mandylion Mandylion and Keramion, deposited deposited in the the and the Keramion, twelfth imperial church-reliquary, signaled special link between the Ruler Ruler of of imperial church-reliquary, signaled aa special Heaven, depicted cupola, and and the the earthly earthlyemperor. emperor.Imperial ImperialposposHeaven, depicted in in the cupola, session of the major major relics relics assured assured the the empire's empire'ssafety. safety. According According to to this this theory, the images images of of the the Holy Holy Face Face were were expected expected to to provide provide protection protection emperor and and the the people. people. for the emperor to the theMandylion Mandylionsymbolism symbolism has hasbeen beendeveldevelThe liturgical approach to 11 and 12.. The articles by by Tania Tania Velmans Velmans11 and Sharon SharonGerste1 Gerstel12 oped recently in articles authors focused focused attention attention on the the Eucharistic Eucharistie connotations connotations of of the the authors Mandylion, regularly within its its liturgiliturgiMandylion, regularly displayed displayed above above the the altar apse or within as aa visual visual embodiment embodimentof ofthe thesacrifice sacrificeofofChrist. Christ.As AsGerGercal programs, as stel suggests, during the twelfth century this interpretation gradually stel suggests, during the twelfth century this interpretation gradually developed meaning of of the the Incarnation. Incarnation.The Theillusionist illusionist developed from from the primary meaning the cloth cloth further furtherassociated associatedthe therelic relicof ofthe theMandylion Mandylionwith with rendering of the the liturgy. liturgy. textiles used in the Some time attempted to to accentuate accentuate this thisliturgical liturgical meaning meaningof of Some time ago I attempted Mandylion and Keramion Keramion presence, presence, describing describing the the intriguing intriguing phephethe Mandylion of the the polymorphism polymorphism of of Christ Christ in inByzantine Byzantineiconography, iconography,bebenomenon of ginning mid-eleventh century century13 my opinion this this multiplicamultiplica13.. In my ginning with the mid-eleventh different images images of of Christ Christ is is to to be be linked linked with with new new ideas ideas of of the the tion of the different Byzantine theologians following the Schism of 1054, who concentrated Byzantine theologians following the of 1054, who concentrated attention on on the the Trinitarian Trinitarian aspects aspects of ofthe theEucharistic Eucharistiesacrifice. sacrifice. their attention The symbolical miracle of of the the Images Images "not "notmade made symbolical parallelism between the miracle hands" and and the the mystical mystical Transubstantiation Transubstantiationofofthe theHoly HolyGifts Gifts by human hands" Eucharist was was revealed revealed in in this this context. context. in the Eucharist Among the most stimulating stimulating recent recent contributions contributions concerning concerning this this Among the most 14.. Develbe mentioned mentioned some some publications publications of of Herbert Herbert Kessler Kessler14 topic are to be of "spiritual "spiritual seeing" seeing" in in Christian Christian iconography, iconography, Kessler Kessler oping his concept of suggests: "whenever the Mandylion and its miraculous replica were picsuggests: "whenever the Mandylion miraculous replica were picspecial group of the the "passage" "passage" images images "à "à caractère à la la fois et protecteur": protecteur ": caractère à fois théophanique et special group of Hadermann-Misguich 1999, 30-33. HADERMANN-MISGUICH 1999, pp. pp. 30-33. 10

Kitzinger 1995. 1995. 10 KITZINGER 11 11

12

Velmans 1995, 181-183. VELMANS 1995, pp. pp. 181-183.

Gerstel 1996. in her her book: book: GERSTEL Gerstel 1999, 1999, pp. pp. 68-77. 68-77. 12 GERSTEL 1996. See See also also aa chapter chapter in 13 13 LIDIΙ Lidov 1998(c). 1998(c). 14

pp. 47, 47, 60-63, 60-63, 64-87. 64-87. 14 Kessler KESSLER 1998; 1998; 2000, 2000, ρp.

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ALEXEI LIDOV ALEREI LIDOV

together, they they conjured conjured up up with with special special force force the thedivine divineimage image tured together, 15 behind them" . A miniature from an early twelfth-century Vatican behind them " 15 . A miniature from an early twelfth-century Vatican of John John Climacus' Climacus' Heavenly Ladder (Vatican, Cod. Cod. Ross. 251, 251, manuscript of 12v) is is carefully carefully examined demonstrate this this idea idea (fig. (fig. 4). The fol. 12v) examined to to demonstrate Mandylion and Keramion, inscribed inscribed as new new "spiritual "spiritual tablets" tablets" (plakes (plaices Mandylion and Keramion, call to mind the the perfect perfect original original — — the the face face of of Christ Christ himhimpneumatikai), call self lies behind them them and and indeed indeed behind behind all all icons icons16 Holy self — — that that lies 16.. The Holy Face imprinted on on the the different different materials materials of ofcloth clothand andof ofclay clayillustrates illustrates Face iconophile argument that that icons icons reflect reflect the theDivine Divine Archetype Archetype as as "a "a the iconophile versions. seal in wax" in all material material versions. my opinion opinion all all of of these these interpretations interpretations may may be be accepted. accepted. In In the the In my structure of of Byzantine Byzantine iconography iconographyvarious various multi-layered, poly-semantic structure meanings could exist simultaneously and were emphasized more or or less less clearly, depending on the specific symbolic context. At the same time, clearly, depending on specific symbolic context. At the same time, however, none theories, including including my my own own hypothesis hypothesis of ofpolypolyhowever, none of these theories, morphism, can explain explain the the particular particular historical historical reference reference contained contained inin morphism, When and and why why was was itit accepted accepted the Mandylion and Keramion paradigm. When Byzantine churches? occur soon soon after after in Byzantine churches? Furthermore, Furthermore, why why did did this not occur victory over Iconoclasm, Iconoclasm, if it was was merely merely aa reflection reflection of ofthe theiconoiconothe victory various images images of of Christ Christ expressing expressing the the philes' position? Why, among the various same ideas of the Incarnation Incarnation and and the the Sacrifice, Sacrifice, was was the the pairing pairing of ofthe the same ideas Mandylion and visual axis axis of of the the Orthodox Orthodox Mandylion and Keramion Keramion selected selected as as the visual cross-in-square church? church? now attempt attempt to to provide provide aahistorical historicalexplanation, explanation,focusing focusingatatI shall now the actual actual presence presence of of the the Mandylion Mandylion and and Keramion Keramion in in the the tention on the Pharos chapel chapel in in Constantinople. Constantinople. The The Mandylion Mandylion was was sacred space of the Pharos there on on 16 16 August, August, 944 at the climax of the solemn translation deposited there this relic relic from from Edessa Edessa totoConstantinople; Constantinople; the theKeramion Keramion appeared appeared of this there 24 years later in in 968. 968. The The Mandylion, Mandylion, as we we learn learn from from the the NarraNarraoriginally located "on the right side side toward toward the theeast" east" (Narratio, tio, was originally located "on (Narratio, 15

15 ibid., ibid., p. 83.

16 16 In his entry entry on on the the Vatican Vatican miniature miniaturepublished publishedininaarecent recentcatalog catalogofofthe theRoman RomanexexIn his

hibition (// di Cristo, Cristo, 2000, p. 93) Kessler the Holy Holy Face Face in in this this miniminihibition (Il Volto dí Kessler suggested suggested that that the 2000, p. ature has has been been depicted depicted the the third thirdtime timebetween betweenthe theMandylion Mandylion and andKeramion Keramionasasalmost almostininature visible design of the background. In In his his opinion, opinion, aa Byzantine Byzantine artist artist ininvisible design under under the the blue blue paint paint of the background. tended to to represent represent the thedivine divine archetype archetypeof oftwo twoicons. icons. The The Kessler's Kessler's discovery discovery has has not not been been tended accepted by by everybody. everybody. Having to examine examine the the Vatican Vatican manuscript manuscriptcarefully, carefully,I I accepted Having had had a a chance chance to may confirm presence of of the the third third image image of of Christ Christ in in the the miniature: miniature: ininall allcharacteristic characteristic may confirm the the presence details itit coincides coincides with with the the face face on on the theKeramion Keramionimage. image. Another Anotherquestion questionarises, arises,whether whether details it was was aa deliberate deliberate iconographic iconographie concept concept or or just just aa miniaturist's miniaturist'ssketch, sketch,later latercovered coveredby bythe the it semi-transparent sky sky blue blue paint paint of of the the background. background. semi-transparent

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64), the so-called so-called diakonikon, which probably served served as as aa special special which most probably 64), storage space space for for principal principal relics relics inside inside this this church-reliquary. church-reliquary. At At the the storage its Constantinopolitan Constantinopolitan history history the theMandylion Mandylionwas wasaccessiaccessibeginning of its ble for veneration and for for the the malting making of of replicas, replicas, as as the thetenth-century tenth-century ble Vita of St St Paul Paul of of Latros Latros makes makes clear clear17 . According to the History of 17. According to George Kedrinos, 1036 the Mandylion was carried carried in in religious religious procesprocesGeorge Kedrínos, in 1036 sion, along along with other major major relics, relics, from from the Pharos Pharos chapel chapel to to the the sion, with other in supplication supplication for forrain. rain.The Theevent eventwas was depicted depictedin inthe thetwelfth twelfth Blachernai in century Madrid Madrid manuscript manuscriptof ofJohn JohnSkylitzes Skylitzes(fol. (fol.2101) 210v)18 18. the eleventh eleventh century century the status status of of the the Mandylion Mandylion in in the the Pharos Pharos In the chapel changed changed radically. radically. The The recently recently published published testimony testimony of of the the chapel Anonymous Tarragonensis (second half of the eleventh century) records: Tarragonensis (second half of the eleventh century) records: The Mandylion Mandylion [Lintium] care, so so that that ititwas wasalways always The [Lintium] isis kept kept with with greater greater care, enclosed in a golden golden case case [vase] [vase] and and preserved preserved most mostcarefully. carefully. And And although although enclosed all the relics relics of the the palace palace are are shown shown to to all all the the faithful faithful at at certain certain times, times, that that all cloth with the the image image of of the face face of of our our Redeemer Redeemer is is shown shown to to no no one, one, and and isis cloth 19.. opened to no one, not not even even to the the emperor emperorof of Constantinople Constantinople himself himself19 Where was inaccessible relic preserved, preserved, once it was was enclosed enclosed in in its its Where was this inaccessible golden case? Among many presence of the the Mandylion Mandylion and and Among many texts texts confirming confirming the the presence Keramion in the Pharos Pharos chapel chapel of of the the Great GreatPalace, Palace, only onlyone oneclarifies clarifies Keramion in the their exact exact location, location, i.e. i.e. La conquête de Clari, Clari, their conquete de Constantinople of Robert de who took part personally personally in the the sack sack of of Constantinople Constantinople in in 1204 1204 and and left left who information concerning concerning the the treasures treasures of of the the us much precise and unique information Byzantine capital, not yet plundered by the Crusaders. Describing the Byzantine capital, yet plundered by the Crusaders. Describing the major relics of the Pharos Church, Church, entitled entitled in in the the original original Old Old French French the the Sainte Capele, Cápele, he writes: Sainte

17

This 17 This

Vita, of the the saint saint in in 955, 955, informs informs us us that that St St Paul Paul Vita, compiled compiled soon soon after after the the death death of of Latros Latros requested requested the the emperor emperor Constantine ConstantineVI VIIΙ Porphyrogenetos Porphyrogenetos to make for for him him aa copy copy of to make of the the Mandylion Mandylion by by placing placing aa cloth cloth over over this this relic. relic. Afterwards Afterwards only only the the saint saint could could see seeaa of new image image of of Christ Christ transfigured transfigured on on his his cloth: cloth: Vita Vita S. Pauli Junio ris (II, (II, 4-7), new S. Pauli Junioris 4-7), in in WlEGAND WIEGAND 1913, p. 127. 1913, p. 127. 18 Grabar-ManOUSSACAS and 18 GRAuλR MANOUSSACAS 1979, 1979, p. p. 108, 108, fig. fig.246. 246.IIam am discussing discussing the the text, text, illustration illustration and inscriptions of of this this miniature miniature in in my my paper: paper: LIDOV LlDOV 2003. 2003. inscriptions -

19 19

Ciggar 1995, 120-121. CIGGAR 1995, pp. pp. 120-121.

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ALEXEI LIDOV ALEREI LIDOV There were were two two rich rich vessels vessels of of gold gold (vaissiaus d'or) hanging hanging in midst of of in the midst the chapel chapel by by two two heavy heavy silver silver chains. In one one of of these these vessels vessels there there was was aa tile tile the 20.. {tuile) and in the other other aa cloth cloth (touaile) (chapter LXXXIII, 1-5) 1-5)20 (tuile) (chapter LXXXIII,

knowledge of the structure structure of of the the Byzantine Byzantine cross-in-square cross-in-square church church Our knowledge suggests that the Mandylion Mandylion and and Keramion Keramion were were suspended suspended from fromtwo two suggests that the arches supporting the dome, dome, probably probably the the eastern eastern and andwestern westernarches, arches, arches Thus the the Byzantine Byzantine iconographic iconographie paradigm, paradigm, wellwellone opposite the other. Thus known since since the twelfth twelfth century, will will have had aa real real prototype prototype in inthis this known major imperial imperial church-relíquary church-reliquary21 . Image-makers throughout the East21 . Image-makers the Eastern Christian Christian world subsequently replicated this arrangement arrangement of of the the sasacred space space of one one particular particular church church in interms termsofofpainted paintediconography. iconography. cred Why did they do so? An answer exclusive status enjoyed by the Pharos Pharos An answer may be found in the exclusive chapel. As elsewhere, the church church of of the theVirgin Virgin of ofthe the chapel. As II have discussed elsewhere, imperial church-reliquary, church-reliquary, was was perceived perceived as an an archetype archetype of of Pharos, the imperial the sacred space22 . Allow me here to sum up some of my conclusions. 22 . Allow me here to of my conclusions. The Church Church of Mother of of God God of of the the Pharos Pharos (Theotokos {Theotokos tou ton The of the Mother Pharou) was situated at the the centre centre of of the the Great Great Palace Palace near nearto tothe thethrone throne Pharou) apartments23 room (Chrysotriklinos) and the imperial apartments 23.. Constructed in the eighth century, was rebuilt rebuilt and and consecrated consecrated in 864. 864. It It was was aasmall small eighth century, it it was cross-in-square church, with one cupola, four four columns, columns, three three apses apses and and aa cross-ín-square would serve serve as an an authoritative authoritative early early model model for for this thistype typeof of narthex, and would church in Byzantium. Byzantium. It was was the first first Constantinopolitan Constantinopolitan church church known known to have have received, received, after the the victory victory over over Iconoclasm, Iconoclasm, aa system system of oficonic iconic images, and from this this point point of ofview view as as well well the the Pharos Pharos chapel chapelserved served as as images, important model. model. The The icons icons were were inserted inserted into into the the most mostprecious precious an important decorative context, marbles and and golden golden mosaics, mosaics, shaped shaped decorative context, encrusted with marbles arrangementsof ofreal real gold gold and and silver, silver, and and embellished embellished by by by architectural arrangements of this this luxurious liturgical vessels. The shining, mystical glittering beauty of palatine church communicated communicated above above all the the sense sense of of the thedivine divinepresprespalatine ence.

20

Clari [[1956, 82], 20 De DE CLARI 1956, p. p. 82].

21 21 For the the first first time time this this phenomenon phenomenon was was discussed discussed in in the thepaper: paper: For

28-29. 28-29. 22 22

Lidov 2000(b), pp. LτDOV 2000(b), pp.

Lidov 2000(a), pp. 37-40. 37-40. Lmov 2000(a), pp.

23 23 For aa classical classical survey survey of sources on on the the Pharos Pharos chapel, chapel, see see JAN11 Janin 1953, 1953, I,I, t.3, pp. For of the the sources t.3, pp.

241-245; At international Congress Congress of of Byzantine Byzantine studies studies(Paris (Paris2001) 2001)Paul PaulMagMag241-245; At the the last last international dalino new historical historical reconstruction reconstructionofofthis thismost mostimportant importantRelic Relicchapel. chapel. dalino presented presented aa new

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It was intended to to create create the the appropriate appropriateframework frameworkfor forthe themost mostimimrelics of of Christendom, Christendom, collected, collected, deposited deposited and and displayed displayed there there portant relics by the Byzantine Byzantine emperors emperors as aa visual visual manifestation manifestation of of their their link link with with by the Heavenly Ruler and of his miracle-working miracle-working protective protective power power over over the the major relics relics of of the the Passion, Passion, among among them themthe theCrown Crown Empire. There were major of Thorns, the Holy Holy Lance, Lance, the Holy Holy Nails, Nails, the Purple Purple Robe, Robe, the the Shroud Shroud and large parts parts of of the the Holy Holy Cross, Cross, as as well well as as many manyother otherrelics relics24 To24.. Together they revealed revealed a unique unique image image of of the theredemptive redemptive sacrifice, sacrifice, in in gether they which relics of of the the Mandylion Mandylion and and Keramion Keramion were were included included as as an an which the relics integral part of of the the general general picture picture25 the above-mentioned above-mentioned paper paper II integral 25.. In the argue the Pharos Pharos chapel chapel in in the theByzantine Byzantine capital capital enjoyed enjoyed aa role role argue that the comparable of the the Holy Holy Sepulchre Sepulchre in in Jerusalem. Jerusalem. It It was was aaHoly Holy comparable to to that of Land in miniature, concentrated concentrated in in one onesacred sacredspace spaceof ofthe thegreatest greatestsigsignificance. The holy emptiness of the shrine shrine in in Jerusalem Jerusalemwas wasfilled filled out outin in Constantinople with real remains. Noteworthy, that before its destrucConstantinople with remains. Noteworthy, that before its destruction by the Crusaders, Crusaders, pilgrims pilgrims regularly regularly began began their theirdevotional devotionalprogresprogressions in Constantinople from from this this palatine palatinechapel. chapel. The Pharos chapel chapel provided provided the the model model for for every every capello, The capella palatina palatina of world. The The most most famous famous example example was was the the Gothic Gothic replica replica of of the Christian world. the Sainte-Chapelle Sainte-Chapelle in in París Paris26 Louis not only purchased the major major 26.. Saint Louis relics Pharos chapel, chapel, but but also also re-created re-created its its sacred sacred space space in in his his relics of of the Pharos 27 capital . Even Even the name name Sancta Capella, Capella, which King Louis all capital27. which King Louis used used in all references to his Paris chapel after its dedication in 1248, was derived references Paris chapel after its dedication in 1248, was derived Constantinopolitan prototype. prototype. from the Constantinopolitan We are now able to understand understand the the principal principalmeaning meaningof ofthe theMandyMandyWe lion and Keramion Keramion paradigm paradigm in in Eastern Eastern Christian Christian churches. churches. Through Through lion iconographical presentation of of one one important important structural structuralelement elementofof the iconographical Pharos church, church, the theimage-makers image-makers established established aalink linkbetween betweenevery every the Pharos the Pharos Pharos chapel chapel understood understoodas asthe theByzantine ByzantineHoly HolySepulSepulchurch and the chre. Two Two images hands" not not merely merely rerechre. images of of Christ Christ "not "not made by human hands" called the venerable relics, but also reproduced the most important sacalled venerable relics, reproduced the most important sacred space space in in Byzantium, Byzantium, revealing revealing the the principal principal connotations connotations of ofthe the cred Heavenly Jerusalem. Holy Land and of the Heavenly

24 24 Bacci BACCτ 2003. 2003. 25 25

There is is an an impressive impressive testimony testimony of of Nicholas Nicholas Messarites, Messarites, aa custodian custodianofofthe thechapel, chapel, There who in in the the sermon sermon of of1200 1200 rhetorically rhetorically described described the the main main relics relics of ofthe thePharos: Pharos: HEISR1HEISENwho BERG 1907, BERG 1907, pp. pp. 29-32. 29 32. -

26 26 One of most recent recent and and detailed detailed studies, studies, see see WEISS 1998. One of the the most WEISS 1998. 27 27 See the the important important catalog: catalog: Le Le trésor, 2001. 2001. See

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ALEXEI LIDOV ALEREI LIDOV

to explain explain aa connection connection between between the the Mandylion Mandylion and and I have attempted to Keramion paradigm arrangement of of the the Pharos Pharos chapel chapel Keramion paradigm and the unusual arrangement Constantinople. However, explained the origin of of this this in Constantinople. However,I I have have not not explained the origin in the the Pharos Pharos chapel chapel itself. itself. What What was was the the intent intentofof strange arrangement in the Constantinopolitan Constantinopolitan image-makers, the "sacred "sacred space space the image-makers,or or better better the makers", when they presented the Mandylion and Keramion hanging makers", when the Mandylion and Keramion hanging opposite each the central central domed domed space space of ofthe theimperial imperialpalatine palatine opposite each other in the church? According to placing of the the Mandylion Mandylion and and the the According to my my hypothesis, hypothesis, the the placing was intended intended to to evoke evoke the the great great miracle miracle Keramion, one facing the other, was of the replication replication of the image image of Christ Christ on aa ceramic ceramic tile tile which which had had of concealed the Mandylion in a niche above the city gates of Edessa. The concealed Mandylion niche above the city gates of Edessa. The niche was created as as aa shrine shrine for forthe themiraculous miraculousimage imageby byking kingAbgar Abgar niche himself, who end destroyed destroyed an an apotropaic apotropaic statue statueof ofaaGreek Greekgod god himself, who to that end Narrado records: in the same place. The Narratio [Abgar] set likeness of our Lord Jesus Christ Christ not not made made by byhand, hand,fasfas[Abgar] set up up this likeness board and andembellishing embellishingititwith withthe thegold goldwhich whichisisnow nowtotobe beseen, seen, tening it to aa board inscribing these words on the gold: gold: "Christ the God, he who hopes in thee thee is is everyone who intended intended to to come come never disappointed". disappointed". And And he he laid laid down that everyone through that gates, gates, should should [...] [...] pay pay fitting fitting reverence reverence and and due due worship worship and and through to the the very very wondrous wondrous miracle-working miracle-working image image of of Christ, Christ, and and only only then then honour to enter the the city city of of Edessa Edessa {Narrado, to enter (Narratio, 25). This niche and the the Mandylion Mandylion hidden hidden there, there, as as we we remember, remember, were weremimiThis raculously discovered crucial moment moment of of the the raculously discovered in in the the sixth sixth century century at the crucial siege. According to the the Narratio, Narrado, Persian siege. The bishop was convinced convinced by clearness of of the the vision vision which which appeared appeared to to The by the clearness him [...] and and found found this this sacred sacred image image intact, intact, and and the the lamp lamp which which had hadnot not him been extinguished extinguished over over so many tile which which had had been been many years. years. On On the piece of tile placed in front of the lamp lamp to to protect protect it, it, he he found found that thatthere therehad hadbeen beenenenplaced in front likeness of of the the image image {Narrado, graved another another likeness (Narratio, 32). A crucial the discovery discovery was was the the miraculously miraculously unextinguished unextinguished A crucial element in the lamp, placed in front of the Mandylion before the closing of the the lamp, placed in front of the Mandylion before closing up of found still still burning burning between between the the two two images images several several centuries centuries niche, and found episode is is stressed stressed in in the theMandylion Mandylionpictopictolater. The significance of this episode cycles, i.e. frame where where we we may may see see aa huge huge lamp lampabove above rial cycles, í.e. on the Genoa frame Holy Face in in some some of of the thescenes scenes(fig. (fig. 5) 5)28 is recognizable: recognizable; the Holy 28.. The topos is 28

Dufour Bozzo taw. XIX-XX. XIX-XX. 28 DUFOUR BOZZO 1974, 1974, tau.

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ever-burning lamp sign of of the theperformance performance of ofan aneverlasting everlasting the ever-burning lamp is aa sign divine service. I argue that itit isis this this arrangement arrangementof ofthe thetwo twoobjects objectsfacing facing to toeach each other, which the the Byzantine Byzantine "sacred "sacred space space makers" makers" intended intendedto toreproduce reproduce in the Church Church of of the the Pharos. Pharos. Appearing Appearing in in the the central central domed domedsection, section,as as mid-air, the two two relics relics created created aa mystical mystical space space of of though suspended in mid-air, reduplication of ofthe theimage, image, aavisually visually the ever-performing miracle of the reduplication revelation and a kind kind of of theophany. theophany. The The sacred sacred space space of of the the manifested revelation city gates, as as created created by by the the two twoicons, icons, acquired acquired niche above the Edessa city monumental scale scale in in the the space space of of the the imperial imperial church-reliquary. church-reliquary. monumental No less significant is the liturgical context. The miracle of of the the manimaniNo less significant is festation of an image image "not "not made made by by human humanhands" hands"was wascorrelated correlatedwith with festation of the the transmutation transmutation of ofthe theholy holygifts gifts during duringthe theEuchaEuchathe sacrament of rist, that that is, is, the the miraculous miraculous sacramental sacramental transformation transformation of of bread bread and and rist, wine into the body body and and blood blood of of Christ. Christ. One One might might add add that that the thecomcomwine munion of the the faithful faithful in inthe theByzantine Byzantinecross-ín-square cross-in-square church church took took munion the Pantocrator Pantocratorin inthe thecupola, cupola, with withthe the place in the domed space beneath the Mandylion and Keramion on the borders of this space. Taken together Mandylion and Keramion the borders of this space. Taken together these images images represented the Miracle Miracle of the the Eucharist Eucharist and andthe thedeificadeificahuman body body through through the the communion communion rite. rite. These These three three imimtion of the human reading of of the the entire entire iconoiconoages of Christ provided a key to the liturgical reading graphie program. The The miraculous miraculous became became the the liturgical, liturgical, and and through throughthe the graphic natural part partof ofevery everyday daylife. life. liturgy a natural Some iconographic iconographie details, my opinion, opinion, reflected reflected this this approach. approach. Some details, in my On images of ofthe theKeramion Keramionwe wefind find inscription NIKA On some images thethe inscription IC IC XCXC NIKA ("victory")29 . This is not merely a reminder of Constantine the Great's 29. This not merely a reminder of Constantine the Great's vision and victorious theophany, allusion to to the theByzantine Byzantine vision and victorious theophany, but but an allusion 30.. Eucharistie bread, on on which which these these words words were were traditionally traditionally imprinted imprinted30 Eucharistic context the the form form of of the theKeramion Keramionmight mightalso alsorecall recallthe thesquaresquareIn this context shaped Eucharistic Eucharistie Lamb, from the the round round bread bread ofofoffering offering shaped Lamb, cut cut from (prosphora). The real presence of Christ Christ both both in in the themiraculously miraculously transtransin the the miraculous miraculous acheiropoietos icon was formed Eucharistie Eucharistic bread and in evidently emphasized through such such visual visual contamination. contamination. evidently 29

29 The of the the Nereditsa Nereditsa church churchnear nearNovgorod Novgorod(1199) (1199)provide provideaavery verygood good The wall-paintings wall-paintings of example (fig. (fig. 3). 3). example 30

fourth century, century, became became aawell-established well-established formula formula 30 This This inscription, inscription, known known since since the the fourth in the the Middle Middle Byzantine Byzantine period. period. "The "The prosphora prosphora is from ordinary ordinary bread bread only only in is distinguished distinguished from by the the rectangular rectangular impression impression on onititwhich whichcontains containsthe theletters lettersICICXC XCNINIKA KA(`Jesus ('JesusChrist Christ by conquers, or is victorious'), victorious'), hereinafter hereinafter referred referred to to as as the theEucharistic Eucharistieformula formulaofofJohn John conquers, or is Chrisostom": VARIS 1970, 1970, pp. 65sgg. Chrisostom ": GALA GALπvARτs pp. 65sgg.

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The Byzantine ideal of the the post-iconoclastic post-iconoclastic age age was was realized realized in inthis this The Byzantine program to perfection: the Icon and the Eucharist were integrated in program perfection: the Eucharist were integrated in aa single image of the sacred space. In my opinion, arrangement of of the the single image of the sacred space. opinion, the arrangement objects the Pharos Pharos Church Church of ofConstantinople Constantinople evoked evoked this this objects in in question in the symbolism and therefore therefore became became the the model model for foran anenenmost important symbolism during tradition of of Byzantine Byzantine church church imagery imagery from from the the twelfth twelfth century century onward. This This principal paradigm paradigm of of Byzantine Byzantine sacred sacred space space connected connected onward. niche, the historical historical Pharos Pharos chapel, chapel, and and the theactual actual the legendary Edessa niche, Orthodox cross-in-square church. The The Mandylion Mandylion and and Keramion Keramion created created structure of of sacred sacredspace spaceperceived perceiveditself itselfas asan aniconic iconicimage imagetotobe be a basic structure replicated. The Edessa niche niche might might seem seem too too specific specific to to be be of of such such The topos of the Edessa importance in Byzantine Byzantine tradition. tradition. However, However, we we can can adduce adducenew newevieviimportance the Byzantine Byzantine image-makers image-makers constantly constantly kept kept this this archetype archetypein in dence that the mind. One finds a topos of of the niche niche is is repeated repeated in inall all the theearliest earliestdepicdepictions of of the the Mandylion Mandylion and and Keramion Keramion in inByzantine Byzantine iconographic iconographie propro31 the eleventh-century eleventh-century churches churches in in Cappadocia Cappadocia 31,, the Mandylion grams. In the in the the following following positions: positions: above above the the prothesis niche, niche, the is represented in place for the preparation preparation of ofthe theholy holygifts gifts(the (thechapel chapelGereme Gereme21 2132 and place 32 and 33 Sakli kílise33), kilise ), or inside inside the the southern southern apse-niche, apse-niche, just just above above the the altar altar Saldi (Karanlik kílise kilise34 ), or above above the the main main entrance entrance into into the the church church table (Karanlik 34), (Karabash kilise, kilise, precisely precisely dated dated to to1060/61) 1060/61)35 , or above the arched pas35 , arched pas36 sageway in the sanctuary barrier in the Sakli kilise (fig. 6) . All of these sageway in sanctuary barrier in the Sakli kilise (fig. 6) 36. All that the the eleventh-century eleventh-centuryByzantine Byzantine earliest examples prove convincingly that image-makers not only remembered the miracle miracle that that occurred occurredover overthe the image-makers not only Edessa gate, gate, but also also established established deliberate deliberate allusions allusions to to ititwith withspecific specific Edessa connotations. liturgical connotations. The Cappadocian examples eloquent. However, However, there most The Cappadocian examples are are eloquent. there is aa most far as as II know, know, has has never neverbeen been discussed discussedinin significant example, which, as far 31 31 Thierry 1981; Jolivet Levy pp. 85-87, 85-87, 126-127, 126-127, 134, 134, 268. 268. THIERRY 1981; JOLIVET LtννΡ1991, 1991, pp. 32 32 Thierry 1981, 1981, pp. pp. 16-17; 16-17; JOLIvET Jolivet Lévy pp. 126-127, 126-127, fig. fig. 79/2 79/2.. THIERRY Lt ννΡ1991, 1991, pp.

33 33 Thierry 1981, p. 18; 18; JOLrvεΤ Jolivet Ltνυ Lévy 1991, 1991, p. THIERRY 1981, p. p. 85. 85. 34 34 Thierry 1981, 1981, p. p. 16; 16; JOLIVET Jolivet Lévy 134. THIERRY Ltv νΡ1991, 1991, p. p. 134. 33 A 35 A fresco the western western wall wall of of the the nave nave reveals reveals aa part partofofthe thecloth clothwhich which fresco fragment fragment on on the

identifies itit as as the the Mandylion Mandylion image: image: ibid., p. p. 268. 268. The of the the Holy Holy Face Face in in the the identifies The placement placement of niche above above the doors of of the the church church remains remains traditional traditional ininthe thetwelfth twelfthcentury century(Vardzia, (Vardzia, niche the doors Lagoudera and and others). others). Lagoudera 36 36 In this this church church the the Mandylion Mandylion was was depicted depicted the the second second time time above above the the southern southernarch arch In leading to the niche-apse niche-apse with with some some direct direct allusions allusions to to the theEdessa Edessagate, gate,see see THIERRY Thierry 1981, 1981, leading to the

p. 17; 17; JoLIVET JOLIVET L~νυ lévy 1991, 1991, pp. pp. 85-87. 85-87. This This program program was was recently recently discussed discussed by byKessler: Kessler: p. Kessler2000, 47. KESSLER 2000, p. p. 47.

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to the the Mandylion Mandylion problem. problem. It It concerns concerns the theimages imagesover over the themain main relation to entrance, leading from the narthex into the naos of the cathedral of entrance, leading from the narthex into the naos of the cathedral of Saint Sophia Sophia in in Ohrid, Ohrid, Macedonia Macedonia(fig. (fig. 7,7, tay. tav. II). II). The Theimages imagesstylistically stylistically belong to the first first layer layer of of the thewall wallpaintings. paintings. Most Most probably probably around around belong to the 1055 these commissioned by by Archbishop Archbishop Leo Leo of Ohrid, Ohrid, who who 1055 these murals were commissioned and one one of of the the most most powerpowerwas earlier chartophylax of the Great Church and ful persons in in Constantinopolitan Constantinopolitan hierarchy hierarchy37 his iconographic iconographie proproful 37.. In his Archbishop Leo the new new pictorial pictorial devices devices concongram Archbishop Leo realised realised many of the nected principally principally with Great Schism Schism of of 1054, 1054, which which he he himself himself nected with the the Great 38 initiated . Thus, in Saint Sophia of Ohrid, there is the earliest precisely initiated38 . Thus, of Ohrid, there is the earliest precisely Mandylion theme theme in in the the Byzantine Byzantine church churchimagery. imagery. dated example of the Mandylion No less the same same person person who, who, as as itit No less significant significant that that it was introduced by the seems, determined determined iconographic iconographie development development ininmid-eleventh-century mid-eleventh-century seems, Byzantium. The topos of the Edessa Edessa niche niche is is expressed expressed there there by by an anactual actualarchiarchiThe tectural niche, niche, into which a bust bust of of the the Pantocrator Pantocrator isisinserted. inserted. The The tectural into which Mandylion is above the niche as as aarectangular rectangularwhite white Mandylion is represented represented just just above the niche cloth with fringes fringes and and ornamental ornamentalbands bandsimitating imitatingkufic kuficscript script(fig. (fig.8). 8).AA depiction not only of the neck but also the shoulders of Christ provides depiction only neck but also the shoulders of Christ provides detail, which which deserves deserves aa special special consideration. consideration. IIcould could an extremely rare detail, more example example in in recently recentlydiscovered discoveredfrescoes frescoesof ofthe theArchArchfind only one more angel Michael Michael church Bulgarian city of mia, Rila, surely surely dated dated to to the the angel church in in the Bulgarian eleventh and twelfth centuríes centuries39 The Mandylion Mandylion image is depicted in in eleventh and twelfth 39.. The image is the second second register register of of the the altar altar apse, apse, above above the the row row of ofthe the the centre of the Holy Bishops tier (fig. (fig. 9). 9). The The icon icon of of Christ Christ "not "not made made by by Holy Bishops in in the first tier human hands" hands" is is unusually unusually represented represented between between two twohalf-length half-length figures figures apostles, turned to to Christ Christ and and framed framed as as some some icons. icons. In In my my opinopinof the apostles, archaic character characterof ofthe theiconographic iconographieprogram programsuggests suggeststhe theearearion the archaic date — — the the eleventh eleventh century. century.As As far faras as the theMandylion Mandylionitself itselfisis lier possible date concerned, one may see the decorative decorative red bands bands and and the the fringes fringes at atthe the concerned, edges of the Holy Cloth, Cloth, as well well as the bust bust image image of of the the blessing blessing Christ Christ edges with the crossed crossed nimbus. nimbus. The The most most intriguing intriguing detail, detail, however, however, is is the the with representation of and without without beard, beard, in in the theso so representation of Christ Christ with with short short hair and called Emmanuel type. There was an attempt to fuse two different imcalled Emmanuel type. There was attempt to fuse two different images of Christ, Christ, which reflects reflects not merely merely aa Eucharistic Eucharistie meaning meaningof ofthe the ages 37

1902, p. 6. 37 Gelzer GELIER 1902, p. 6. 38 LlDOV 1998(a). On the crucial crucial role role played played by by Leo Leo of of Ohrid Ohrid in in the the theological theological polemics polemics 38 LIDIΙ 1998(a). On the with the the Latins, Latins, see see Smith 107. with SMITH 1978, 1978, p. p. 107. 39 Ρ 39 PRASCHKOV 2001, pp. pp. 4-5, 4-5, nr. 1. The Mandylion image but not not reproreproRλscκκoν 2001, nr. 1. The Mandylion image was was mentioned mentioned but duced in in this this article. article. duced

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ALEXEI LIDOV LIDOV ALEXEI

image above but the the earliest earliestphase phaseininthe theiconographic iconographiedeveldevelimage above the altar, but opment, when the Mandylion image had not yet taken shape and and had had not not been finally adopted in in the the Byzantine Byzantine imagery imageryof ofChrist. Christ. The same reason reason may may explain explain the the juxtaposition juxtaposition of of two two images images of of The same Christ Sophia in in Ohrid, Ohrid, as as well well as as the the placement placement Christ over over the door of Saint Sophia architectural niche niche with with the the more more traof the miraculous cloth above the architectural Pantocrator image. image. It It could could also also be be connected connectedwith withthe thestill stillimimditional Pantocrator perfectly established iconography iconography of the subject subject and and the the probable probablewish wishto to stress the unity of of the the two two images images of of Christ. Christ. The The positions positions and and postures postures of the the two two flanking flanking angels, angels, simultaneously simultaneously venerating venerating both icons icons of of of Christ, their equal equal status. status. The The Mandylion, Mandylion, like like an an unfurled unfurledbanbanChrist, indicate their the apotropaic apotropaic and andliturgical liturgicalconnotations connotationsof ofthe theHeavHeavner, accentuates the frontal half-length half-length images images of of angels, angels, depicted depictedon on enly Ruler's image. The frontal the vault in front of the cathedral entrance, establish the theophanic the vault in front of the cathedral entrance, establish the theophanic context and convey convey the idea idea of of the the church churchas asthe theHeavenly Heavenlycity. city.AA system system images, concentrated concentrated in particular space space before before the the main maindoor door of images, in a particular evokes an the Edessa Edessa evokes an icon icon of the ideal church-city with clear allusion to the city gates. could serve serve as as such such aahighly highlyesteemed esteemedprototype, prototype,bebecity gates. Edessa could the only only earthly earthly city, city, which which formally formally received received the the protection protection cause it was the blessing of Christ Christ himself himself expressed expressed in famous letter letter to to King King and blessing in his famous 40 Abgar . From this point of view the status of Edessa could be compared Abgar40. point of view status of Edessa could be compared with that that of of Jerusalem. The Edessa topos may be identified identified even even in manuscript manuscriptillumination. illumination. A characteristic example example is the Russian Russian miniature miniature The Veneration of ofthe the A Lobkov (Chludov 187, 187, fol. 1. State HisHisMandylion from the Lobk ον Synaxarion (Chludov fol. 1. Moscow. Novgorod, Novgorod, 1282. 1282. 7,6 7,6 xx 17 17 cm) cm)41 of tory Museum, Moscow. 41.. In the centre of miniature the the Mandylion Mandylion is represented on an ornamented ornamented cloth cloth with with the miniature a semi-circular semi-circular upper portion, portion, inscribed inscribed within within an anarch-shaped arch-shapedframe frame (fig. 10). This type of representation of the Holy Face is traditional in (fig. 10). This type of representation Holy Face is traditional in Early Medieval Russian art, and is known by the name of "The Wet Early Medieval Russian art, and is known by name of "The Wet Beard", story of of the the appearance appearanceof ofthe theMandylion Mandylionafter after Beard", an allusion to the story the washing of Christ's face. face. All All extant the twelfth twelfth to to extant Russian icons from the fourteenth centuries belong belong to this this type, type, showing showing aa long long narrow narrow beard beard fourteenth divided in two vertical parts. 411

Letter of of Christ, Christ, see see SIGI. SlGAL 1970, 1970, pp. 62-65, 73-76. 73-76. 40 On On this this relic relic of of the the Letter pp. 62-65, 41 41 This This liturgical liturgical book, book, called called Prolog (a Synaxarion with short lives of saints saints arranged arranged Prolog (a Synaxarion with short lives of according the feast feast days days of of the the church churchyear), year), was wasintended intendedfor forthe theHoly HolyMandylion Mandylion according to to the church in Novgorod. Novgorod. The The rare iconography of of the the headpiece headpiece miniature miniaturemay maybe beexplained explainedby by church in rare iconography the dedication dedication of of the the church church totothe theHoly HolyMandylion, Mandylion, where where the theProlog Prologwas wascertainly certainlyread. read. the See POPOVA 1975, 51-52, fig. 24; 24; Stoliarova 132-135, nr. 117 VZDORNII 1972; See Vzdornov 1972; ΡOΡOvΑ 1975, pp. pp. 51-52, STOLIAROVA 2000, 2000, pp. pp. 132-135, nr. 117 (with aa new complete bibliography bibliography on on this this manuscript). manuscript). (with new date date and and aa complete

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One may may observe observe a number number of oficonographical iconographical peculiarities peculiarities in in this this One miniature. The The appearance appearance of of peacocks peacocks on on either either side side of of the the arch archisisconconnected with the the traditional traditional decoration decorationofofByzantine Byzantineheadpieces; headpieces;traditradinected tionally symbolizing the ideas ideas of of tionally symbolizing the the Resurrection, Resurrection, they emphasize here the eternity salvation as as significant significant aspects aspects of ofthe themiraculous miraculousMandyMandyeternity and salvation lion. The presence of of six-winged six-winged angels (Is. 6,2) 6,2) stresses the the the theophanic lion. οphanic aspects of the image: image: the visionary visionary appearance of of the the Second Second Person Person of of aspects the Holy Holy Trinity. The red colour reminds us of the fiery nature of the Trinity. The red colour reminds us fiery of the accompanying celestial there are are accompanying celestial beings. beings. Behind Behind cherubs cherubs and and seraphs there images of the archangels in an attitude of adoration; they indicate the images of archangels attitude of adoration; they indicate the Heavenly beings hovering around the the Ruler Ruler of ofthe theuniunihierarchy of the Heavenly verse. The their covered covered hands hands recall recall figures figures from from the theCornComverse. The gestures of their of the the Apostles, Apostles, which after the the mid-eleventh mid-eleventh century century became became aa munion of programmatic theme theme of ofthe theByzantine Byzantine sanctuary, sanctuary,and andemphasize emphasize central programmatic Eucharistie meaning meaning of of the the Mandylion. Mandylion. In this context the miniature miniature the Eucharistic reveals the Mandylion status as a major liturgical image frequently loreveals the Mandylion a major liturgical image frequently located in the sanctuary sanctuary area, area, in in close close proximity proximity to to the the images images of of adoring adoring angels. author of of the the miniature miniatureof of1282 1282 strove strove to toreproreproangels. It seems that the author duce an idea of the altar altar space space and andthe theliturgical liturgicalcelebration. celebration. The most interesting detail detail of of this this miniature, miniature,however, however, isistwo twoarches: arches: The one large, framing framing the Holy Holy Face, Face, and one one small small beneath beneath it. it. These These ununone large, usual architectural elements elements were were intended intended to to make make an aniconographical iconographical usual entrance or or gates. gates. The The large large arch arch united unitedthe theideal idealimages images allusion to the entrance of the altar apse, apse, and and at at the thesame sametime, time,of ofthe theniche. niche.Most Mostprobably, probably,the the Russian miniature maker, depicting the Mandylion above the arched Russian miniature maker, depicting the Mandylion above the arched door, kept kept in mind mind the the location location of of the the original original proto-relic proto-relic in in the the niche niche door, above the gates of of Edessa, Edessa, where, where, according according to to tradition, tradition, ititwas wasprepreabove the gates the apotropaic apotropaic image image and and palladium palladium of ofthe thecity. city.At At the thebeginbeginsented as the ning of the the liturgical liturgical manuscript manuscript it it might might convey convey the the same same meaning meaning ning the depiction depiction of of the the architectural architecturalgates gates to tothe thesacral sacralspace spaceof ofthe the through the book. I would would argue that that the the spatial spatial connotations connotationsof ofthe theMandylion Mandylionimage image were of great importance for the artistic structure of medieval icons with importance for the artistic structure of medieval icons with the Holy Holy Face. Face. One One might might describe describe the the general generalevolution evolution of ofMandylion Mandylion imagery in Byzantine and Russian art from from the the twelfth twelfth to tothe thesevensevenimagery in Byzantine and Russian centuries as as aa gradual gradual loss loss of of connection connection with with the the original original topos topos teenth centuries of the Edessa niche and and its its spatial spatial connotation, connotation, aadevelopment development from fromthe the treatment of of the the somewhat somewhat distant distantimage image depicted depictedin inits itssacred sacredspace spacetoto treatment painting of ofthe theconcrete concreteobject. object.The Thewell-known well-knowntwelfth-century twelfth-century the painting

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42 (the oldest extant Russian Moscow Tretyakov Tretyakov Gallery Gallery42 Russian Mandylion of the Moscow Mandylion) bears the hallmarks hallmarks of of the the early early imagery, imagery, with with icon with the Mandylion) its original original gold gold background background without cloth, the the its without any any indication indication of of the cloth, abstract interpretation interpretationand andthe thedistant distantview view(fig. (fig.11). 11).We Wemay may somewhat abstract surmise that the painter painter had had in in mind mind the theidea ideaof ofthe theicon iconin inspace. space.This This surmise is indirectly indirectly confirmed image on the the back back of ofthe theMoscow Moscow icon, icon, is confirmed by by the image where major Passion Passion relics relics of of the the Pharos Pharos chapel chapel were were represented represented where the major 12)43.. The both sides sides of of this this processional processional icon iconcould couldbe beperceived perceived (fig. 12)43 simultaneously in the dynamic dynamic liturgical liturgical context. context. The The Mandylion Mandylion image image simultaneously has been been included included in in the the sequence sequence of of the the Passion Passion relics relics (the (the on the front has Lance, the Pole Pole with with Holy Cross Cross with with the Nails, Nails, the Crown of Thorns, the Lance, the back. back. It It could could the Sponge) depicted in a single iconic composition on the reveal the memory about the the real real presence presence of ofthe theMandylion Mandylionrelic relicin inthe the reveal chapel44.. Through the the imagery imagery of of this this double-sided double-sided icon, icon, probprobPharos chapel44 ably a copy copy of of the the Byzantine Byzantine prototype prototype45 the most most important important sacred sacred ably 45,, the space of the imperial Relics Relics chapel was was introduced introduced in inthe theliturgical liturgicalenvienviNovgorodian church, icon was was created created as as aa ronment of a Novgorodian church, for which the icon sacred space space concept. concept. Noteworthy, Noteworthy, that thatininthe the significant element of the sacred church the the bilateral bilateral processional processional icon iconmost mostprobably probablycocosame unknown church existed with monumental images images of of the theMandylion Mandylion and andKeramion Keramion existed with the monumental under the the dome dome and andcould couldplay playaa role role of ofthe the movable movable commentary commentaryaccenaccenunder in aa concrete concrete sacred sacredspace spacesome somehistorical historicaland andsymbolical symbolicalasastuating in pects of this this dominating dominating paradigm. paradigm. The The reconstruction reconstmction of of aapossible possible pects spatial context context enables understand better better the thedistant distantand andslightly slightly spatial enables us to understand character of of this this early early representation representationof ofthe theHoly Holy Face. abstract character The icon-painters of the fourteenth and and fifteenth fifteenth centuries centuries paid paid much much The more attention attention to the the depiction depiction of of the the actual actual cloth cloth46 richly more 46,, sometimes richly decorated, and to the the visual visual presence presence of of the the Holy Holy Face, Face, painted painted in in concondecorated, trasting relief relief (fig. (fig. 13). 13). The contaminated materials, materials,of of trasting The dramaturgy dramaturgy of the contaminated

42 42

TretyakovskayaGalereya, Galereya, 1995, 50-54, nr. 8. Tretyakovskaya 1995, pp. pp. 50-54, nr. 8.

43 43 This characteristic was discussed discussed in in KALAVREZOU 1994, p. 57. The The point was recently recently This characteristic was ΚλLAVREΖOu 1994, p. 57. point was

developed by of the the images images on on the the developed by Gerhard Gerhard Wolf, Wolf, who who emphasized emphasized the the spatial spatial connotations connotations of both sides sidesofofthe theMoscow Moscowicon: icon;WOLF WOLF 2003, 2003, pp. pp. 283-287. 283-287. both 44 44 See note 25 and and our our discussion discussion of of the the Pharos Pharoschapel chapelabove. above. Some Somerecent recentdiscussions discussions See note 25 concerning the Passion relics the Pharos Pharos chapel chapel could could be be found found inintwo twonew newscholarly scholarly concerning the Passion relics of of the catalogs: Christian Relics, 2000; trésor, 2001. catalogs: 2000; Le trdsor, 45

Belting 1989, 1989, pp. 118-120. 45 BELTING pp. 118-120. 46 Tretyakovskaya Tretyakovskaya Galereya, Galereya, 1995, 1995, pp. 108-109, cat. 125-126, cat. 51. The The latter latter pp. 108-109, cat. 40; 40; pp. pp. 125-126, cat. 51.

one could could see see at at the theexhibition exhibition"Il "IlVolto VoltodidiCristo" Cristo"ininRome, Rome,2000: 2000; Ii Il Volto Volto di di Cristo, Cristo, 2000, one pp. 93-94, 93-94, cat. cat.I11.7. III.7. pp.

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of the the human humanface, face, still still left left some some room room for for spatial spatialassociaassociathe cloth and of the real real object object was already already dominant. dominant. tions, but the The culmination culmination of tendency can can be be seen seen in inthe theseventeenthseventeenthThe of this tendency icons of of the the Mandylion Mandylion painted paintedby bySimon SimonUshakov, Ushakov, the the century Russian icons most celebrated celebrated and powerful powerful icon-painter icon-painter of the third third quarter quarterof ofthe the most 47 century Ushakov painted Mandylion in in 1658 1658 and and afteraftercentury47.. Simon Ushakov painted his first Mandylion wards replicated this this most most popular popularimage imagemany manytimes times(fig. (fig.14). 14). The Thesucsuccess their new new pictorial pictorial conconcess of these images was clearly connected with their cepts: high relief against the stark stark black black background, background, light light and and shadow shadow cepts: modeling, fleshiness, fleshiness, life-imitating life-imitating psychology. psychology. Thus, the Ushakov Ushakov modeling, Thus, the Mandylion became artistic and and religious religious life life of of the the Mandylion became aa focal focal point for the artistic seventeenth-century Russia. Russia. The The old-believers old-believers rejected this this westernized westernized seventeenth-century imagery: the proto-priest proto-priest Avakum, Avakum, ironically ironically claimed claimed that that imagery: their leader, the Christ is represented represented on on such suchicons iconsas asaacorpulent corpulentGerman. German.Yet Yetthe theOffiofficial Russian ecclesiastical ecclesiastical authorities, authorities, condemning condemningthe theold-believers, old-believers, cial Russian approved these images. images. At At the same same time, time, however, however, they they refused refused to to recrecognise evident connection connection with contemporary contemporary Baroque Baroque art and and ognise their their evident acknowledged with western western religious religious imagery. imagery. Moreover, Moreover, the the acknowledged no relation with Ushakov be the the most mostauthentically authenticallyByzanByzanUshakov icons icons were were even even claimed claimed to be to the the oldest oldest Greek Greek patterns. patterns. Furthermore, Furthermore,these theseRussian Russian tine, adhering to icons were declaratively declaratively inscribed inscribed in in Greek Greek letters letters Ti TOAGION AGIONMANDYLION MANDYLION in order order to to make make obvious obvious the theclaim. claim.Iosif losifVladimirov, Vladimirov, the the most mostpromiprominent art art critic critic of of the the time, time, elaborated elaborated the the theory theory that thatthis thisnew newmanner mannerof of painting was the appropriate reflection of the original miracle of the painting was appropriate reflection of the original miracle of the Holy Face. Christ revealed revealed on on the the cloth cloththe the Face. According According to to this this conception, Christ shining likeness likeness of of his his real real flesh, flesh, beautiful beautiful in inform formand andfull fullofoflight. light. true shining The naturalistic depiction of of the object object was was considered considered and and declared declared an an The embodiment of miraculous presence, presence, and and the theByzantine Byzantine spatial spatial embodiment of the miraculous schematic, old-fashioned old-fashioned and andspiritually spirituallyprimiprimimodels were neglected as schematic, tive. At this story of of "The "The Mandylion Mandylion and Keramion Keramion as as aa spatial spatial At this point the story icon" reached its end. Eastern Christian art began a new page in its hisicon" Eastern Christian art began a new page in its history, when when it it was was reduced reduced to to the the level level of of aamarginal marginal and andpicturesque picturesque tory, pictorial tradition. tradition. footnote of the Western pictorial conclusion, we we may may notice notice that that the theMandylion Mandylion and and Keramion Keramion In conclusion, paradigm reveals reveals some some important important methodological methodological aspects. aspects. This This topic topic paradigm demonstrates a necessity necessity to discuss discuss aa phenomenon phenomenon of of the theiconography iconography demonstrates beyond the pictorial pictorial schemes. schemes. A A combination combination of of images images created createdan aniconic iconic image of the sacred space space which which itself itself became became aa subject subject of ofreproduction, reproduction, 47 47

Chugreeva 2004. CHUGREEVA 2004.

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ALEXEI LIDOV LIDOV ALEXEI

as we could see see in in the the sequence sequence"Edessa "Edessaniche niche— —Pharos Pharoschapel chapel— —ByzByzThis spatial imagery imagery could not not be be formalized formalized as as aa kind kind of of antine church". This particular text, text, at at the the same same time time ititincluded includedaarange rangeof of illustration of any particular symbolic connotations. traditional methodology methodology of of iconographic iconographie symbolic connotations. The The traditional on the the principle principle "text-illustration", "text-illustration", does does not notallow allow to toeluelustudies, based on imagery48.. However, Byzantine culture, culture, However, in in the realm of Byzantine cidate this spatial imagery48 played a crucial role and often often determined determined both boththe the these "spatial icons" played structure of of symbolic symbolic and and artistic artistic project projectas aswell wellas asaalot lotofofconcongeneral structure pictorial details details49 The development development of approach requires requires aa of this this approach crete pictorial 49.. The new terminology could be elaborated elaborated in in conjunction conjunction with with the thenew new new terminology that that could 50.. research field held of Hierotopy, or studies in in the the making making of of sacred sacred space space50

48

Elsewhere II have have already already attempted attempted to to discuss discussthis thismethodological methodologicallimitation: limitation: LIDIΙ Lidov 48 Elsewhere 1998(b), p. p. 353. 353. 1998(b), 49 see LIDον LIDOV 2004(a), 2004(a), pp. pp. 273-304. 273-304. 49 For For aa discussion discussion of of this this phenomenon, phenomenon, see 50 pp. 15-34. 15-34. 50 Lidov LION 2004(b), 2004(b), pp.

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Fig. 1: I : The Mandylion and Keramion above above eastern eastern and andwestern westernarches, arches, Fig. The domed domed space space with with Mandylion and Keramion second of the the 12th 12th century. century. Mirozh Mirozh monastery monastery(near (nearPskov). Pskov). second quarter quarter of

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ALEXEl LIDOV ALEREI LIDOV

Fig. 2: Mandylion, fresco, 1199. Nereditsa (near Novgorod), Transfiguration church.

Fig. 3: 1199. Nereditsa (near (near Novgorod), Novgorod), Transfiguration Transfiguration church. church. Fig. 3: Keramion, Keramion, fresco 1199.

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Fig. 4: Mandylion Climacus, Heavenly Heavenly Ladder, Ladder, early early Fig. 4: Mandylion and and Keramion Keramion as as 'spiritual 'spiritual tablets', tablets; John John Climacus, 12th century. Vatican, Vatican Vatican Library, Library, Cod. Cod. Ross. Ross. 251, 251, fol. 12v 12v. 12th century. Vatican,

Fig. 5: 5: Invention Invention of ofthe the Mandylion Mandylion and andKeramion Keramionby bythe theEdessa Edessa bishop, bishop, scene from the the frame frame Fig. scene from of the the Genoa Genoa Mandylion, Mandylion, Constantinople, Constantinople, 14th 14th century. century, Genoa, Genoa, S. S. Bartolomeo Bartolomeo degli degli of Armeni. Armen.

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Fig.8: Mandylion, Ohrid(Macedonia), St. Sophia.

38

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Fig. 9: Mandylion, 11th and 12th centuries. Rila (Bulgaria), Archangel Michael church, main apse.

Fig. 10: 10: The The Veneration Veneration of the Mandylion Mandylion from the Lobkov's Lobkov's Synaxarion, Synaxarion, Novgorod, Novgorod, 1282. 1282. Fig. of the from the Moscow, State Historical Museum, Museum, Ms. Ms. Chludov Chludov 187, 187, fol. Ir. Moscow, State Historical fol. 1r.

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ατjrηjρυα sap 2υαρρυτο> ταg sιpτjg 8861 υατΡυπ uoipunw syojjg υαzpτj*puαυn udqoqpuaun pun υuaipiipua luapputoj yν ''snuvsnj snunsn pq 8861 i«7 -jqotsaSuy sui uaqag —£!1rn31j sijvidvJ οτsτη otsiy\ 'sanvwaaiaa 8861 S3.ττνΜτ13Ι3$ sanvMaaiaa uazjaS — 'ς31τνΜτΙ3Ι3$ • ay .ιηZ •ττ1 οτsα8υτ✓ £Υ Μ == 8861 '888-8^8 '(6861) I£I au;zv8vyy aupvSvw ·dd `(686 Τ) τετ 8£8-8Ζ8 "dd uojSmjung aqg ui `'aouvuj m ossog aouaprng ¡wap 'Ninoag s == 6861 ιοJ a3uapiag ' Ν `κτηο ατtL u! αουν.ιd υ osso~{ .joJ υοι8υη,ιηg g •S Jτηο~g 686Ι ιNinoag um α7 saj.ιvτ ττed '0691-6191 urug j) '0003 sSUBJ 3 sapvip .000Τ idsioôumj ajoog 'suissap jvuaupS dumiusiiui 'sivAnvag g = 0003 siVAíivag α.ιτiηυαιιυΙ 3 'suιssap sap jν,ι~υ~8 :αsτν3υν4 ajοa• ςΙνπην3g 'sτvAnv3g ' τ = oui 01/1-611 Τ -6Τ Ι 0b dd '(8S6T) suy-xrwagsap sapxnv~Cog xnvtCogaásny aasnpyγ υτ ui '8uijja~suooτua1-slnog 'Smjpjsuoojuaj-sinog υτ~ajjηg sud-xnvag dd '(6 Ι ) LL upajjng ouaiQ snSojvjvj ap !τq íiq zuaSmuaqajjuvjf 'Nmoanvg '3 g == 8SΓ 8561Ι irnounvq Niaoaavg urni sn8ojv~v> ια~υzυaηαυnχ `ιvτnοant+g υατQ ap αρ uva Q αΡ d 13-8081 Hosxavg eυυατη '*unaAvuS .ιηαιιn.ι8 α.ι;υταd '13-8081 aufurad a7 ag `κ~ς.ικνg 'HDSxavg • y = Τ Ζ-808 Ι κ ~s,τκνg Τ Ζ-808 Τ BuuajA >6-5391 b6-SL9 l y 'snq sBiuoy `'spsaSip 'saowuqag οατ~αgντ{djy oopaqvqdjy αυτρ.ιο auipuo sτηuigqv2í spmiqqvg siτduS sijdug iç> 'snq sτιsαΧτp aupvj ~υµτη'sá~τv.ιgag aeuτog -uojduog ap νzηuiqgvχ vaiuiqqvg νυ8νyγ vuSvjy ν3ατlιοηqig voaqjoijqtg `τ»οτο,τκvg 'lODOXOxavg •oJ== b6-SL9l 176-5391 loooxoxavg υοτdυ3 αρ τ»οτο.ττπ+g τατ~ντsαj»,3 sajvuud ' ςητινοτπιg = ςητχοτπ+g '3091-8851 Buiog `'pnvisapog sapuuy 'saiNoavg = 3091-8851 sniNoavg L09 Τ -88Si L091-88ß1 rnuO)J s.ταη 066Τ 0661 υορυοΖ uopuog/ /3Ιτed jjjbj µτΡ Aiisjoa pul qixpi y ·a5ΟΝ s oja8uvjaτ{3τ yγ `λχςτοττνg τυρ '.laquiM `.ιαι¡vyy ssp ττ puv -lug 'asop sppSunpqaiiy 'xasioavg • d g == 0661 0661 λχςτοττνg Axs roavg Ν 23Υ '8361 uopuog '1.ιη 'juyaauvs 8L61 υορυοτ -sivuag uvijvjj υui.ιοuιΡηg uoiung pui puv 2}ηg p/w •isaf usaf apuijuj 'Assxoavg 'dg == 8L61 8361 λχςτοττνg ANS ioavg sτνυαχ υνηντΙ ατ?υ,~υΙ 'λχςτοκνg d αyιηΡ Υ3 `τκ»οτπ+g ουeττlΛ1 'ojuaoanhuij ` οτυαααηbυτ> pp jap auv iodeN / oui-ülAÍ '8361 'iHDOOavg • g £¿61 τκ»οττνg iH33oavg == £L6l £L6 Τ τÎIod^N :p ipuag zυαττ3 `'Plfj-f] τ2iY η τjΒαΡ '3961 pSap αaµο..ιΡ.ιΡτιυ pcuuvu Ζ961 αazusxig -ong vsvj !~~ ip ιυΒαsτΡ mSasip τi 'vjonos vns τη vj αa opSuvpqagy g == Ζ96Τ ¿961 τκ iHDDoavg 'vjon?s ins' oja8uvjaτtQτyγ 'iHD.OOavg `τκ»οττνg 'd ong τιsτι> »οκνg 'νυυοjυο.ιτυοα rn$ 'vuuojuodjuoo '39-0961 Ζ9-096 Τ τf-'cg d = 39-0961 iHOOoavg a ouisuaiuviu vuj.οτυαοαη ojuaoanhuij pp αyιη ajuvpρ τw irvnvug 'iHODoavg • g α ουιsυατυνυι ν4 bυ} pp ττντl 'τκ»οκνg = Ζ9-096 Τ τττ »οκνg 'ουτ ~υα.ιοτ,~~ossoχ 0561 uraog ossog /1 ;/ ''iHoaoavg g= = 056 iHoaoavg ΙΗΟΙ'~~• d OS6 ΤT τκ»οκνg OS6i e τυοg ■oupuajoij Jfl' b τ? eτυτµ οd 'ορ υαττa 'looog 'τοοοd •Ο '88-5961 azugjig O IP ip rano crani ssod 'opS £8-S96 Τ αz -uvpqogy ip οι88α1_ιν,7 oiSSauvj 11 ;/ 'raoxsrg g αo τκ»οτπ+g iHODoavg •d g == £8-5961 88-5961 DJOJSI)J raoxsrg -- τκ»οκνg inoooavg uvjaτtQΙyγ η, `τττοαςτg 'g '8661 uopuog / ι~ατqταg AO[3>[jog 'αsuods 'asuods 8661 υορυοΖ -ag aouvsswuag aqg 'luaiuSpnf jsirj sppSuvpqoip\¡ 'sxNavg g 8661 saisravg τι7 soja8uvjaτTQryγ aaunss}νυαχ ατ11 •τυαυι8ρηf 1s `s3MτIVg 'g 866Τ ς3Ινττνg 2{ = lsnd mii uaneg ΜαΝ '8661 aasn ''jsvg aqi 8υυlzιναυη 3mqiuvauf¡ 'iviliva 'Nvaavg• Ζ g = 866Ι 8661Ννχττν$ Nvaavg 866Τ usABH ρo.ιτιg υα;l αι¡vjd pun sjarpg 8τzdταΖ / υτi*ταg '3361 uipag ''uagaqvjg :jj ·lojI ¿og •)-qooxvg ΖΖ6Τ Sîzdiag 42ι :II sap aouvsswuag uap ua'Zuoug uaqosmaipp aiQ 'aoNvg g "g = 3361 aONvg ιαρ υa2υο.ιg υατl3sτυατjν1τ ατQ sap pun αουνssτνυα~Ι '3JIQVg •d •3 = ΖΖ6Τ 3οΝΝg uouη.ιng aip u! nιuαυτyγ v.ιdos '£>3-0173 '(0003) 361 aupvSvp uoi^uipng ra `'VAuauijy vados im vu ZbI αυτ2ν8νyγ Sbl-Obl 'dd `(ΟΟΟΖ) -vp\¡ g .ιο} uoj lsu isuip sppSuvjaqapy uoisua^ τs.ι jspg 'voraaxvg •gΙ == hOZ 0003 voraaivg jο υοτs.ιαη vyy •S οjα8υνjατtατyγ Jo ν9τκατνg Νs Y aqj Ι1 `νΟτκατνg oire oja8uvjaτpzy γ 'α.ιοτjηαs 'ττJτατνg ' lτατν$ η = '8361 UIM 'aaopnos opSuopqaip 'iNia ivg n = 836T iNiaxvg ΣL6 Τ υ £L6i οττeττyν (αsυαυν.ιατ ν7 αj '8331 craoy ''(asuauvuajvg aj £ ΖL Τ eτυο$ 011 -vdvg vsaiip vjuvsoaovg v¡pp ajvdpuud aAvp auonvpg) ¡HXXDJÜW ou αιιτι vjpp αp αυοτzτηαχ) -vdvd τηjαΡ apdrnuud N jj 7IIXXJJQW ' ν -uvjpu asuauvuanr] apdvg vsaïqj vjpp ojvjs 'iHDsaaxvg • Η y == ΣΖL 11-33 'dd `(Ζ£6 '(3861) }/A uaSunjuuuvg uaqosuojsiqjsunq Τ) 99 υατηη u!ì υα8υηρυτυνS tTI I LL dd uap τlοη$,ιττνf qanquqvf W ui 's~nog 'smog quiQ sap Sunjqoimug 356Ti ssvaτvg ssvaxvg 8υηjιΡ¡cηuκ;υ3 aiQ auj 'ssvaxvg ,ιαρ `ssvaτvg "g •Z == ΖΣ6 )fflU sap nq tf-/a ρη rn 031-58 'dd `(S66 '(5661) ui 'g¿pf uoa `SLi~ Ι .ιοιι ΟΖΤ -S8 •dd Τ) SSIΤ qonqjqvf-ppvig uaSunuouqag SunppiAxjug >11υvg 566 T χηy$ >iHyg sjagτηa.uvηy sap 8υηρ¡~τικ ua8unuö.u¡ag uaups .'au!as pun spqvjauuvpy i υg un? '"z '+m $ •gΙ == S66I '6661 666 Ι oniBspg 'lutuvjy auoung ip vjsavpy y == 6661 oτυesieg ojpsniin ρ;savyy vg ν7 "noNOvg οτταsτυτj 'τυ?1.ινyγ 'ττοιJονg 'd ττοτlονg auouns' ip 6661 nONOVg

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viavaoonam vτ3vττοοττarn

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'oiniispsuaq cuajsnuoiu un un τρ ip nmswn vopsijuv αυοτ2nρο.ιd anopnpo.td ad η2υα11τυιυιο) v'zudiinuiuoj •auoaτjod '3UOji¡o(j τρ ip 'ουτ ll αραυαq oaalsnuozu JJOD9S / UI ui `'vunjjid prp dZuaiiiunuoj τι.ιn111d vj :ojU3J3nhuij lυα3αηbυτ) jap α2υα11ττυτυο> 'iHOVZîtag "H = 1861 iHOVzaag `τκΟνzκ3g 'χ !!03?s 1 = Τ861 τκΟVτκ3g η1:ο τaed `xnnz4 τρ.ιη3 sap ααυιυυοτ 'Z,S8I ssp^d 'xnvmpuvj bujvuuoijjiq 'NOiaag -3 = LS8l ¿çgl NOiaag l3τσ `NOiκ 'LS81 Noilτ3g ■çg-Ot? dd `L961 '¿961 υορυοΖ uopuoq `3ΝΙΜ3Ζ 'aNiMaq 'yv w aα ακνgτττκ ciavaaiFi .η "H 'κ3st 'aasvaj υ SS-07 ·dd gj e •Q ip Bjno e 'uaMoqjìijW fjopny oj uy jo dip υ1 m ssxmszj ui Q !Ρ 'ααικο)¡11τηq j¡opn21 ο1 pajuasaxj paluasaad υτι }ο Ajoistpf (ιοlsτΣl 1' (υssg ut '3uiiudp}S}U3Q υ1 m α~οα> aoojj vjuvg ui ajíj oSkiuj αη1 aijj `Iττ3iκ3 'maiaag 3 = ¿961 Iττ3iκ3g maxaag 'auιtuajnsnaa9 nluns uτ ,µτ d jo 3Ο αäeτυ{ L96 Ι '8661Ι '866 3 Bai o g `3ΖiηΗ~ς 'aziOHDS ' S VAno3 V !P bjud b '(8661 'Baiog) bjjsoui B|[op oSo[B)Bn eυτο2i eτη3 e` `eυτΟ21) o~oje;eα uiisim eΙΙαρ ς α ηπττο η 866Τ 0 ~ dsvj ut vj `ααοηη~s 'auopnog τuτu.ιag tutiuag = = 8661 8661 'aaoηms 'suojjnog τυτυααg luuuag `'asaifSuog αsατt.2,ιοg nsn> υ1 ojoouvg ο»oang jap ¡αρ vjpsvu ηlτ3sηυ η¡ ηο~~ηα9 nj aad αjηυοττηη s):jjap }υοτ2ajjοa ajjau ο 'S86i 'S86I euzO)J Bixiog `' Doijvjf) vj Add djnuoi'zvpjο1η1τ1 ojnijjspjjap ¡uonajjoo oj 3 -javjjvg adiuvig javijdvg `QNταοg 'QNiaog ττi3τvη UNaavA ma'tsoi'j raaasoaj ''S ihvssvjm S -j τυα'ιυl jαrn¡dτιj np αduι αΙ4~nχ vp ς α missiw •ς nls •1-jtuaAuj 'iNizzag ΙΝΙΝiΙ3$ iNiNaag •o 0 == $861 £861 QNiaog UNaavA τκ3dSΟ$d laaasoaj -- τκVSSVjηj iwssvjv --INIZZ3d iNizzaj ΙΝΙΝ~τ3$ iNiNHag `INIZZ3d QNIQO2{ τLΝ3τtlη OUB •(98Σ `αΜη,Παρ 'ajJV.IPP ιµ PíSSB I3) OL61 0¿6l ουeττlΛ1 I!W ssei~) ''otjajojutj οll ααοlυτl '(9 jap vjajdiuoa vuadoj ' m eoa a a a d 3 ravisraag 3 = o¿6l inaaaA ag -RitlmI3g ravNraag n1a¡duιο3 ηααdπ7 α ' ΙΗ3J3η 3Q 'd R~VN~I3g τΗ»3η HG = OL6i Pp τred '11αη~ '8661 ssubj dsutjj '8661 nv υοτlητυαοjυοα uonvuuojuoo η7 rrj 7/1 •sanblls,cτu sanbpsiCiu sap sap na1Q naiq α7 ag `αΡκηNττ3g 'aavNaag v 3 = 866 T cravNraag nτι 'η = 8661 miviiiaa • s B τred >661 d 7661 s P 'ajuotuajmj ap satoA -sanbijsdiu sap nazq natg a7 ag 'aavNaag v "3 == 766Ι ^661 Q2ItlNN3g aavNaag '~ sαlοιι sag sa7 ·sanbiis i(iu sap `α~IVN~I3g ' y 11-ιου~l υτ,j αρ obiuc)[03 'snqijvjaudoud ag 'snpunoas snutoj euτddu2η αeτυοτο `sngtlnlaudoad utmaj uiiva' aQ `snpun nzuol '■ Ι[ 8¿ Li Τ[ αaBuidduSy aAts 'ajvuoiu tunuoionpag naoHoaag RLL3'J raxad d )J g = = jie¿T αιιτs `α¡n.ιοτu w ητ.ιο~anρag 'siSNaAVioij 'SISN3ΑVLJId IRIOHJ2Ι3g RIΟΗ32I3g L Τ Ιiraono^ag ηιtο u! ηυυοjαααηαlυοα η¡ '33I"8TT '(6661) ui ''vuuojajuvujuoa vj vn,c6 οlυαυυ ojuatui ΖΖ1 -8 Ι 1• "Jd dd `(666 Τ) 693 69Ζ »^03 -pvuau ¡a aujua optjuavs jap vutaj ja a ajuoooovg jg 'vavaaag yv = 6661 vavaaag -τ3ηυαα ¡α α.ιlυα ο s jap ηυιαl 'ς αlυοο~ }a Ιµ3τι ¡α ΥΙνsοη713 ` J3â ' ΙW = 6661 νΙνa3g 1ayjo m ''uy uopuoq / ο2eο oSBDiq3 joDJ3 vug αη1 aiji >661 766 Ι υορυΟτ auojag aSvutj aip jo ,Golszg íCtojsigj {ι y uasaad -aauasauj pun puv ssaua)¡τ7 ssauagtg `ΟΝτττ3g 'ONixaag ' κ h == 766 666 ii JNILτ3g ONixxag aaojag α.8ηυι1 αη1 ~unw 'ls υηχ 1ρ αα1¡η1ταΖ 0661 υατ{ uoqauni/v 'jsung ¿ap uajjvjtaz 0661 map .ιοιι ¿OA sapjtg sap ajijotijasaQ ijngi pun pun ρpjtg 'ONixaag ' κ H == 066Τ 0661 οΝτ ONixaag τυαρ sap¡τg sap τη~sαJ 2auig jτg `~Ντiτ3g u13 'ηnχ iτ3g aipJo s8uτlulnd ι~µτι ο υοτ '6861 'λ'Ν 'A'N 'apaqoog Majq 'uoτssnd ' uoissvg aip jo sSuiiuwg /(¡¿vg jo uotjoung puv lουη,q pun '6861 ` αΙΙαφο21 majv gj uuog •sα.8τι -saSy ajppipj ατ aijj ui Qηgnd otjqng sg pun puv α8ητυ¡ aSvutj aqg 'ONixaag = 6861 6861 JNIL ONixaag zuaqd ατjl 'j ΝIiτ3g ' h τ3g tl υτ κ= s11 a1pp1W Ιog 'auoτssnd '9861 BUBO[og 'auotssvg η¡jap vjjap τυl8ηυιυιτ tuiSvutmi 9861 eu~o aipinm ajjap auuoj -ootjqqnd oons ai¿v:g `'ONixaag H == 9861 9861 οΝτiτ3g ONixaag αιτατ τυαο} aα auofzunj αυοτz υnj •o3ηggnd ns p ¡τ a α1αη7 οΝILτ3g ' κ l υη 9~~ υαρυηηαηη¡ als.ια >661 piajvjg υαη~sτρυτηααραlυ uaqastpuvj¿apatu .ιαρ ¿ap i¿apunq¿qvf ajs¿a 766 Τuaqaunjy υαφυη yλj ' τaaajnyy svg 'sapjnzua ■sapjpuia'j atg `3s[R1χ 'asnag ' 3 3 αΥΝτiτ3$ a ONixaag •$ h == 766 6661Ι 3Srnτχ asnaq -- JΝτττ3g ONixaag snQ 8unpu ~ιg ατQ ~. sap Sunputjug ' ¡ajn slααι¡υιη υιτ J2ppqpjij SuJJOM `'jajuijaddoQ ηaddou .ια)¡.ιολ 8861 ¿ag¿ox ¿ap sp¿yjuig tut ¿apjtqjajvj ατjηα,7 aqrug •ααjτ~ρ2 -¿ajijn'z Σ86 τ suxioa\ Ν .ιαρ 'Majq -¿g sjv yjadg uvg 'aaoaaanarq a 3JNIiτ3g ONixaag 'I{ h == ξΗ6Τ 886T 33J2i3âΗ~τg aaoaaaHaig --OΝτi73g ONixaag ag 57V 3'(y uva uil υn¡ 'ZI302Ι3âΗOΙg 'Q Πueuτo)J 1!Υ0!0) 063-903 •dd dd ''1Ι '(01 '(oí `e 'EoiuBuiog BIU0103) '07Ζ-90Ζ u `8un11n1ssnd ατ i lnla lluu κ3τκiα3κ-Ν3 S66I UION IQg Bina b ■Summssny aqoij¿a)jvjantu¿ tQ7µα is4f •'IM Ιλi ?IP S661 ''HOraxaaH-Naxsnr ρ 1Τ a¿ijt pun υαzρατχ uaqa¿ig ααυjöχ ¿aujgg ut uj 'tuvpj 'ninjg '175 = £661 'a1sο¡ηuαssτ.ιnjχ 'xoaaag aYZI! `Lοττ3 3 = ς .¿aisojguassuvjg 566 xoaaag i οττag euτog '(Ζ66Ι ουµυαΙο y) ou§aAuoa ου8αηυοα Ιαρ ουτlυα¡ο1 τιv njo~ '903-381 >661τ nuiog '(Z66I ''ou|)U3[Ox) [spτζτe ijjb `'outjuajog vjoo 90Ζ-L81 'dd 'dd '766 -tpj uvg ojuaAuoj jt a ouvtutjsoSv auijxiojjau vjtjvnjmds a auy u| 'vjootpj uvg τρ ip -i1 uns ο υααυο> 11 α ουητυτ ο8η αυτρα~~ α jjau ,nnjnnlulds ηjοηη uns l ls ' aub υ auojjaddvj jap iqasa¿jjv η8αρ tjSap nl8ojouoa vtSo]ouo¿a vjjns moouy 'τsοττ3g 'isoaaag 'Ζ q == 7661 y6(,1 τisoaaag auοjjaddng jap τηαsααη ijjns ηαο~υτι sοττ3g nuapou' tnanqa¿v τ11α1τηaαη `ττvi*τn3κd 0 3 vaaog '[9¿6T ΟυταοΙ ouuox 'nvxiAaag g 'ρα] -pa] (ZL91) (ZL9i) ttuapotu V3κog 'g 19L61 a uoijnos 'uojjtd ,αρ ap αlτιι ajiA ag 'raoaaag Οττ.ιτ3d oaxiag innvaoio [9¿6I] 3¿9lj τκοττ3g raoaaag τaοηnos `υοllτd a7 'τκοττ3g τΝΝνηοτ ==[9 L61] Υ9 3

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viavaoonaia νταVκοοττ gτ3

966 967

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ου2απυοο 'rnzd «1) '961 ου>; LIW'(S861 '(5861 'eizads •b9i-£Si ·dd ~) OUSsauod >9T-£ST dd '9861 OUBIIJV τατ;αl sa uopA ι.ιο;ηη •aun jjn ajuouJ αιυο4 τρ owon"j 'οaτjα~ ¡αρ ijjB m>? 'tsotStjau-ootja ' τsοτ8ηα,ι-οατ ;α uo/m υοjηιι aα pijsjsa pp '¿unjp ip oui on^ ui u! 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'(I66I '( τ661 'BiuBqjQ) ηηηαρ nun vuvjs' adzunls ip ip ojuouj ο}υουl //j ut rn 'ausAog 'αιαιιο?j vjpp υ jvp iponp τjναηρ adtuvjs τρ vuoig 0£SI 'A 0οj.ιn> -u 1MD !P ¡y j ` Λ nuols '0£ς7 οlυτη~~οη.ιν> ip OjUOU} ο}υου l JJ oasaauv j 0 `m3τ H == 166τ nrni 03S3DUVJJ ip οjυοτιl OpOU} J}jτ ο.ιαιιο OJ3AO OJU/HQ OJAVJ ip 1661 13333 jj '13333 'imu ΙΤαρ oSojbjbd ο8ο~~ αωο2Ι 'lOOVDiq rnisom Bqap `τ33d3τ,d '1 τ ip 0 g.z '(06-686 τ 'Biuog) ' κωοg) bjjsoiu '6861 aiuoli bjud u '(06-6861 'mm 'uvjjayy spnnjj apnnj~ υη •τυηzυοτ τυυν i]3 η8 'uvjpjy `uvjayy apnvjj αρηvj> == 6861 -'ag aa janoy -uag vai α.ιοsταυτ 3AOspui uf] -mmuoA muv 686Ι 'uvjpjy °Λ νι1 υορυο-Ι 'apsvj ' ajlsn> 'S£6 8861τ uopuoq an8οjnlvJ y Jο sSuimvaqp s8υτικν.ισ}ο anSopinj Aospuij\\ jv ταυτη puiy ηρ vp ορ.ιηυοα7 opAvuoaqp q= = 8861 33V33 .ιοsρυ?Μ 1ν ΙΝΥ Ν 'N3V33 ' ΧΙΝ~~ 'χ ς £6i )D '8961 •8961 αττl ai jo υοτlααηjο) αυτη ' ajlsn,7 AOspuijW .ιοsρυτ inν υααηtj ι(1sαlνyγ uopuoq '3]isvj uddnp) aip sa Id ¡y .ιαg Adp p uo}p3¡]oj αη1 sift υ m put y υορυοΖ np ορ.ινυοα7 p Jo s8u?ικη.ι vp opAvuodg sSujMVAg aifx 'iiisnasq 3 sα33V333J = 8961 ixxs^asq -- 33V33 'ττα.3ττα3α '~ χκντχ = 8961 τ.τ.τ3ττα3α χκdτ~ U! 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'çç `ςς '(S66i) 8S Σ S ssuitun'zÁq OI?IU dd '(8661) sap artAag '07 τ -L Τ i'dd suvp ajdouiiuvisuoj ajdouτlunlsuo> ap ap uoitduosap υοτldτταsαρ aup αυη 'avooi3 sisuauoSvAAvg aj suvp sτsuauo8v.uv,j; ai 'ττdοoτ y == 8661 ττηοοτ~ ς66 τ HV0013 '1.ιηοaυτ8y ip τρ aa uumupyfoui/y υυνυΙαι¡αυτηq τ - j ~~rnzαυαη '81-8181 biz3U3/\ 'lAnoauiSy ad αυοαηοdην ji ouzs ip aAsdo ajjn apv auonvnuriuoa ip αττπταs saiaass Aad auoajodvp η, ip ojoaas ojosas ¡n outs vzjvlj nijnij αυοτzνηυτlυοα η, η, aiado vjjap vuoig nuol$ 'vavNOOOQ uj vAnifnas u! oiuaiupAosu ο υαυιτ8.ιοs?.ι ons o n s jvp v. ιnljnas njjap `νκfιΝοΟ3τ) 3 = 818181 vavNOODO t ΙνΝυΟ3τ~ ' l τ = 8 i-Σ i Βτ ρηοααηγ ns ns ηη}A τη pjiipituy ηl τηατ ly ui U! 'ouijuaAoïj 'ουµυα.ιοτ j ijjauidg ηjauτds ojossip ~7- dddd`(196I) >8-22 '(3961) IΛ IA vd 'W tsaiodjufi sadaQ-iaavQ = 396! oxxsoooj xva sadiia iaavi3 τsαlοdτ,υη 'oxj/joooy `Οiτ3ΟΟΟα 3va ο.τ.τ3ΟΟοα τνυ αηQ ταττντ~ τνα 3τταη Q-τυκt+τ ' o w = £961 Ο ?υτ Svu ιuιj ut '5861 'aaujvuuoju `αaulvuuο}u auoi2n αυοi2v aa imSvtmuj w 02-11 dd '8861 'ΟΖΙ Τ 'dd αΙJη.ι8οjτχ αηηαρ azja?.ιο1s aa aAitnquuv aιΡι?1nqu11v isaiodi τsαlοdτ 'v 'aunijOAvuoAVS ajpp ottsodoAd 'nsitsipts 'αυντjοτνυοηνs arfvASopx ol τsodο.ιd vη aijsiAojs isipuy iaavi3'9 o 'W 'W = = ς6 8861τ ο oxxsoooj icravi3 τsηνυy 'oxxsoooj ταησ τακν~~ 'Οα.τ3οΟΟαxva τνυ gadna τατισ ταττητ iτ3ΟΟοα 3va τdα Hddna τzαυαΛ '(I766I eτ;sοw Bjpp παρ `eττατΤοη) bjjsoui '66-31 dd >661 '(766 Τ 'BxiaqoA) '66-L τ 'dd `1766 Τ BizausA oSojbjbo 'VAAaijoy a ossog ji g w ui `'VAuaijoy f66l iaavi3 'η.υαljοη a η.υαηοη aa ossog osso?j // ο2ο1vτ~3 'τακt+τ '¿α y ταττντ~ ji 'iaavi3 j == 7661 ojovd >?τη3 κ ajjns τlluas 'o22vzuor7 `τυττdΥ 'α ' 'w [8361 y y ip bjud b 'jiav ajjns iimog 'o22vuio j ojond [£L61 azuajiq azua ττ3 'iaavi3 Ι !Ρ -luvtQ ut] (Ι (06SI) = [£L6I] [8361] 06SI laavo -wm9 υ] οτdυιαl pp jap vapj napj 'ozzvwoq 'ΟZZdwΟz '3 ο= vJnll τd vjpp otdvuaj ~ς τ ) VAnnid Ι~ ς i τυττντ~ 'vauols?zj sisdoup sis'dou'(S '8691 691 OBUioy 'dsiaojsiij ■sipmisuoo 'iNidwvi3 ff= = 8691 ou8vyy ouijuntsuoj ουτlυn Jsυο,7 v η stpijipav sυαΙJτραν suovs suais ag sτηητlsυοα ouSvfy τΝταωντ~ au `τΝταωtιτ £~9 I iNidiMVi3 κιυτsοyν '(suoaj '(suoaj uvtssng uvτssn?{ '981-981 dd '8002 bajjsopv 9τ -9 τ 'dd'SOOZ τοι¡ssn.ι aη τι(υ.ιοηlοι(ιτια¡ν svds 'VA33aonH3 ut lÂuAOAtoyjnAap svdg n aa AOaiq υτ uofjKpuvfy υοηιCρυνyγ aifj) azj1) auoyp αυοιjτ loyjssnA 'ηπ33ττοη Ν noari uvτssng lùntuas ιGιηlυαα ijiuaaiuaAas zjluaaluanas aip w '(aAntjns ' (aιηlj ηa uvtssng 1`en33sng αzµ υ V 'VA33SA3 ''1Ζ ui ut υοηι(punyy uoijÁpunfy azjj) aifg) ' = 8002 VA33aO!iH3 vsjaA lÁiuoAtoqnAap svdg τοι¡ssιu aη τι(zυοηlοιηυαν suds 'VA33aonH3 vjan ¡jyx atnljnιj toyssm 'dη33ττJΠΗ) 'N Ν = SOOZ tlη33ττΟΠΗ) ΙΙΛX a-mijnyf `

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eτυοg 'niuoy 'nu4o21 vp τrρ ηlslιι nzu οχ 'oix.iono.G 'oτττaoNo,Q "D • = 8961 onuoNO.d oRI3oNo,Q •8961 disia viuoy = 8961 '896 Τ «luoy υατ{3υηW `tiOZj •9661 'PQZÎSZI 966Τ u3qDunj/\[ -SZL τυητ ~g att snQ `τΙ3s3τας ·W-·f 2uv2i(g aiioipaiinpiinu W- f α3 >J3'Txn3 = 9661 9661 τΙ3S3Ιας aassids -- asuro κ3τ,τπ -y 'η = ττ37Lf~~ ηj.ιaljnja111uι svq υ2 '866 Τ buS "8661 fl3 e `oiQ !!? auoisτa rrj -olla η7 'ONVsnQ 1Ιγ W `οΝνςΠ ρτο33ΙΝ -opa "N'VA 'ININNVA •'W ÎP Bjnn b 'oiq ip auotsiA Q3033IN ==[866Τ] [8661]οΝνςττ~ ONVSro ■Sfr 'S7 dd αj ηιιατραυι αυρ τsαlοdτ j ηυι :muow Il dd '(£661) ZIL '9U9S II ^¡DAaipaui auy u; 'isajodi pa rniuog m oaj ` ηυα υ1 oaj ' l Τ `ατ-TaS II Η '(f66 I ) /L Ρ τipuajviu -j d 3a τaρ n~ηlsnq τrjja ρ τιn}snτu auοττn.ιοoaρ n7 `τzκ oaiai n = zττη~ -pipv oajap ss lap vaipsvq vjjap üAtsniu auopvjoaap rrj 'izano "O = £661 ·s& Σ66Τ τizsno µΡ υο;α3υττd''aauvsswuag a3utisslnua?j '666 6661Τuopouuj snjjl aip jo jo sa8muj aip ui αauasa.ιd aauasajj ouviusiiunp m snοτµ snoujsnm saSmuj 'A nvNHA f = ativnîio ηlηυιslυ4ηλj `λττνΝΠ = λΤτνΝΠ~ α7µ w w j µ ΥΥΟJflΟ υιηld ορυα,ιαυη υ ap xu¿ χυαt ατjl pun suais s.ιal s '97£-6ΤΡ '9t7£-6t££ 'dd dd `(9L6I) '(9¿6l) 9 opuauavnQ ut '‚' aauuomoj aumjg vj aqi puv η1 ap -ηηγ-Βυτlιιηη τΤ~1ηQ -Vy\/-3unU/[\ ipmcj 'N333H3Q 'V == 9L6i 9¿6 I N333HDQ `Ν3Ζ3Η3j1 NYA ΝVΛ X3SI033 L3sIοτI 'd'V'j d'FJ Ν3Ζ3Η3f1 NVA ΝνΛ XSSIOHQ i3ςτοτΙ~ ·dd '(9661) -SS "dd 101-88 '101 `(9661) ΖZ snuaoïiw sηυαοτυτι snocrj Sfl3 UI ad vpv2imv3uo ηρη2lτυη~ιο viuissung τη ap ui `υuιng,j 'Dumff j ΜιΡnyy iiuvj/y 4uad muτssund vj αρ ossaooud gssaoο.ιd vj τη ηυορττηγ ap αρ υρ.ιαιι jτ nuD[Aj Diuvs vuopvpy namouaA η7 rrj 'noxnvq im == 9661 NOXNV3ι1 idSi33 nunηγ nluns ` Νο.τΝΝ ιi Idsi33 jasm W jaςm 966Τ Νο1Νν esταπυµ 'S66t ς661 bsjoauv jτλtοχ .7 7 spuvuj un.,ι,j p sa.ιnsna.ι, j; ¡vxog jo uοtlrυjj ο ai/j '33rav3a-X03 `χ~τττV3j-χο f = £661 33iav3a-xo3 •saunsvaux uopoapoj χ3τκV3)J-χο 3 = S66 I οιrιl aiji ` sozu τso> oMi pui 'x 'χ Ο αtµ >861 uojaouuj 'souiisoj puv oagOW oui '786 Ι υο;α3υττα u -uoiuoj •1.ιtι -uy pipan ^upsag puv f = -.ιο~υοd ρun PsdiPq ιClsnυ'CQ '>i:ii3V3a-X03 ia}ραyy u'! ιCuilsaQ `χ~τκV32Ι-χο 'r χ~mV321-χο~ = 6861 786Ι 33iHV3'a-xo3 'αυοτzτρα B£[ e£ Τ 'ΙΙ ουηατ l ηη oijpuoj οητ3υο> jap jap ■£I8"Z18 dd `S86 '£861Τ Buâopa '// ouvaiiv/\ '£ Τ 8-Ζ Ι 8 'dd eττ~οlοα 'auoizipo iluaiunooQ '7 '7 tuinuvatin/\ uoipuiijoug 'ZZ '•uυ '(sads τluatun3oQ υηυηοτlηη υοτρτ.ι lτj3 υg ui UI 'ΖΖ zu ητρη n~) oauvuodiuai ' (ds 1vaα mnipnvQ) οαυη.ιοdτυαl ιolsnd auonnnisoj αuο}2n1}1sο> = -uoo ¡au nsauj Dsaiqjnjjns vjptsajn. ajvuojsvd -υοa opuoiu opuow jau = g861 5861 'ajvuoisvd 'ajn.ιolsnd auoi2n)ijsoj αυο}2η1?1so) osso?j •£9l-¿£l '£9 Τ -LS ΤΡ "dd 'dd '9661 `966 Ι 'ossoga ouuoiuoj ui `'suwuodiuaiuoa ossog ap uns ουιιοl υοd UT sυτη.ιοdτυαlυοσ sas sa s ap αρ ¡a 1α oiuiuauoij ουτlυα.ιοτj osso2j αρ luvj .ιns suoissnouad suozssnaιαd µ; `

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www.torrossa.com - For non-commercial use by authorised users only. License restrictions apply. OA ΣΟΟΖ ouliox ουττο,Ι, `•'■|| ΙΙοη `ττυατυ mοσ 'u ££ 'iiUdiunooQ •T003 ' -VJU9AUJ ■lumuifsni'j auopajjoo η7 irj 'vNi7>ivriOs ishnvq's = £002 VNiZHvnos ishnvq αυΟ12α//Φ -ηlυαΛυj •τυUτυτlsη tlΝΙΖ2ΙtlΠο$ IS3NtlQ 'tlNIZ2ItlΠ0$ IS3NtlQ 'S = £ ΟΟΖ 152-9^2 dd '1002 Ι SZ-9bZ •dd '00Z 'iuDiui]sniQ }j 3a otSSvAVJvj ui 'tlΝΙΖ~ΙtlΠος 'vNizavnos ishnvq 'τυητυτlsητρ ο}~Sηιιη.4η, u! tlΝΙΖκtlΠος ishnvq IS3ΝtlQ IS3ΝtlQ • S = 1002 VNizHvnos ς = 100Ζ Ρ dd 'ΟΟΟΖ '0002 ''»P ' Τ101-68 Ο Τ -68 'dd -uvqiuoj mnuid vjjau son] trj •οτ -oiSSvavjvj vjpp ο.ι1nα11τ oujvdi p dα ojSSvavuvj ο nιιn.ιn> an n7 nιuι,ιn, ui υτ 'vjppmo `nη aρη.ιa τr¡jaρ .rnql'uo/ n.ιη lιτ d nttαr4 o .■:αυοτ2η auopvjuasauddvu 'VNizavnos IS3NtlQ ishnvq •S s == ((~)ΟΟΟΖ )0002 vnizhvíiOS ishnvq η.ιη ll τd `tlΝΙΖ~ΙtlΠος tlΝΙΖ2ΙtlΠο$ IS3ΝtlQ l υαsα.ιddη.ι aα vunnfd •dd `'(0002) ■221-1711 ZZl -bi i 'dd 000Ζ) ZMV ΖΙ/b u υ s ιb U! 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-¿8 -dd '(9661) 89 oosapag in jv oiniuipj un g ip vujj vjpp imnaff pSap viiuapvo L£ •dd o~sapal ο1η?uryy uns ? η~αρ mυιαρη3 ρ ,ηττ? '(966 Ι) Σ9 J !''Η3 η11αΡ -oy vjpp ouiiiaijog 'oiviuipy υνΝ uvg η v οjα~υτηατρτΡΙηι opSuvpijorp\[ 'ταα.3κσ3d 'ixiaaaad •3 j == 966Ι 9661 LLL ixxaaaaj : 1ι τηjαρ οuι:τajjog ui UI 'οτη?υτΡyγ Τ~Ι d ' aτ8ojoazjl 'SS6I υαφυηJΛ1 u3ipuni/\j 'aifiojoaip 'SS6J uaifasjiqiq m2 ■vpunqdidg 'xvj g = SS6I SS6I xvj uazρs?jq?q .rnz Svuipg Χη.ιι?ag jaifaijiipnpsaSsuoiSipj mg υ nτΡaumjd?dg χ ` yd '3 = x νd ÏLZ-LSZ 'dd dd ''1002 'moqy.$υττυο> Smmoj 'bLZ-L9Z ΟΟ Ζ 'τnogy ui 'oupuvjsoj ip vjvg oag LV sn sυοττn suoiwiuasaudag sip υτ m smaauoj υτ `ου? υηιsο3 τρ njns aq) ατjι ut j 027 ιυαsα.ιdaχ szg sυ.ια3υο> ¡voiipog jn3uηod l u! Ι puv jnuos.ιad ¡nuosuag sj]/\ juawajj •'Cajdn. PqdruSouooj Jo sanssl sanssj `την 'mvj g = 1002 aavj pup ιΧοuοal jvopijog jη~ττ?jod Jο s, ΙΙη 1uaτuaj> d 'â = ΙΟΟΖ τndd eυτοg 'οιταοτρατα ?dnd pp τΡαρ m.ιοτΝ '6561 Buiog 'oiiaoïpam jap pp αu autj~~njjτrp vjjvp tdvd vuojg `'aoisvg g == 6S6 6561Τ aoxsvj κο.τsvd '*a '6561 η 'Τ κatsvd ου !! Ib9I ηρ ΜΟΥ '2221 Biuog `'f/9/ jv oujJ [pçq1jvp tjuoiu 'VWOI[ 'viuog W m οιη.ιοιιηj ojvmavj Z LLi eυτπχ £L9I 1η ouunq aip timtqouv uopnog 'υοιι 'uojiig g o = ZLLl τκ3ssvd raassvg ατj3 τττα zd ,pp ouumj αρ aip 'laassvj ':κ3 l ττρ rn pauoιjn3s !Λ ssdd 'g 'J = ZLLi ρ Υa τυα 'óiS-pSS •dd "dd `(Σ66Ι) '(8661) 91 ^ojsipj uy m '2?ΥrnW 'aauvsswuag tua iv U! 9 ~~ ι~LOg '6LS-bSS -quop ut s1anJ sjovg puv oSmuj 'ττνκsκνd 'aavHsavg ‚j g == £661 atVHsavg ~? W pui saSvuij muj •-vtovjvxjuoo ηlα ~η.ιιυοα o8muj lIMON aif Σ66Ι ττdττsκνd αzυα.ττ 'oopunq οaµυ n , j Υ03 uoo αυο8η.ιηd auoSvuvd '•£¿61 SL6 J szuang d ' π-τ~κοκκνd 'tl ■'// 10E 'IoA 'oja8unjaxpryγ 'opSuvpifojjy τρ ipη?υηιιοτ~ ipuvAoïS α•ιαdρ auadp ''iHDNoaavg 'v == SL6l S¿61 τκ3κοκκνd iHONoaavg 1IIΙ :ΙΙ `οιsτ.ι η, TS'IS •dd 'dd `ΟΟΟΖ '0002 'ojsuj ip οιjοιι ojjoa jl jj rn ui 'utnuojouvg 'ZS-iS vjauvg pp vpdouaqavjj a οτ oisoUvuuaj ip αuοτssaaο.ιd auoissaoojd η7 vg 'oxvravg 0002 oxvaavg ητ3υηΝ s&η,υαd τρ 'Ο,τντκνd '3g == ΟΟΟΖ ο,τνπτdd pp ηττdο,ιατηη £J L •dd "8I-¿ dd '9L61 '9¿6I 'rn~ 'msag aotpoj pp pp τtuSasip ui `nτsιυοτΡτajjο 'nisiuoi2a¡¡oaηιsα?Ι visag oum ouvtfsvqag 'laaavg 'η y == 9L61 9¿6I rnw laaavg αατρο) uSas?ρ Ιj υτ τ sngas 'τσ3κνd •68-SS 'dd dd `£66 '£661Τ α8ρταgτττe3 aSpuquiBg '68-SS sa~nutj 'sjxag 's;xa1 'sυοτιηττ;sul 'aaNïinx ÎP ean ^xno ee ''saSvmj 'suotinjijsuj •ado.ιng -adoung υιαροW uuapo¡y '~tCjuvg 'κ3κκη,L "O '3 T 'r !p 1λη3 ut japuap ocravg 9 puv pqunxag lηηχαS ui 'uviiij m uoijanpag sv aaijiuy 'ocravg gv = 8661 0 u! ,ιαρυ~ puD ι~ u! 'umjij υ? υοτ ηρas sn αοι 'Οσκνd ' ωΙΝd ττ ja υΙι W =£66l k d •gg ουοη,ρ pnuvjq Ιτη qsταµ 1ς 'auuat;a.nj3 •6061Τ Sjnqsjsjsg 'auuaifajqa ατΡτjd aiqdvufiouoaip pnuviy '606 sxuaq 'snaiwaag-oaaoaoavdvg v = = 606 6061Τ sπ3τητι+ττ3χ-oτnoaoσVdtld snawvaag-oanodoavavg αρ sιCuaQ rnunod ap 'sπ3ωνκ3χ-οτηοαΟαΥdΝd 'd .■viunog •(g Booqioqqtg .iop aqosimog) [661 saxiOjW 'aaqaSSvjf (ς 'bubizxish 'eueτzuag e3aτpoτJgτg ααρ uotpnig υατρη~ς ατρsτυτö21) 'qa υ SWill 1661 -Jny .ιαapsuu• uaqasnuoj ups pun sn;szezj3 snjsuqj sο sopSuvpqojfy 'AasaoNvg 'S 'Ο 'O =Τ1661 AasaONvg -Jηd τ αs pun uτηaτj ηryy `λ q,ι υ xsaοκ vd 'S 66 Ι AN&IONYd e~n13 ¿Ot-SS "dd `Ζ86Τ '3861 ο8 oSBDiqg 'LOl -SS9l•dd 0 'sijy jvnsip ' 'ptqi ui `sajιCτs 'sajtCjg Jo Jo (J SUojsiH J uotijapag v ηsτη aq] υοττααj~α?Ι η suy ln azjl 1m Swuvajy ' ·ρ q u! οτ sτg zjil Jo sv suoiuodoug uvutnHjo uviunp Jo'Iiornjj .ûoaqg ατj aq;τ•{ο Jo Ι~ιοιsτg Pompa:11 aqg 'λxs3οκ 'xasaONVj 3861 λχ AasaoNvg sn suoτΡuodo.ιd s3οκνα vd '3g == Ζ86Ι 1261 'lL6l -

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υορυοΖ 'ajtsvj ' aj;sn,7 '676 61/61Τuopuoi .ιοsρυτηq w υτιrιη.ισ υητjη?Ι MspuijW IV sSwmvuq IWIJVJJ 'hq iim T hqiim -—wvHdOj `3αττΜ 'f 9α wvHdOd wvxdod WYHdOda'3 V 'V == 6661 676 Ι 3αττηη 'Ιτd.τdN •d τ τηα 13s `(7661 ~α τακντ 'd e τzαυαη 'nviVN 966Ι Bizaua/v 9661 V 3α latvia d 'g a !P '(6661 `'EJ -.ταζτοη aα ![ocku3) τiοdτυg) ouSaAuoo ου8αηυοα ταρ 'osso?Ι aa ouuoiuoj οτυ.ιο1υοα == 9661 ουι.ιο; uod -j31]oa pp τine 'osso}j a ouuojuoj ` οssοχ α 9661 'ossoy `eυατς 3 BSsτd 'S6Z-L8Z 'dd sτd 'SeZ-LZZ dd '9661 BS îd `(Ζ661 '(Z66I 'busìS !d `αzυαττ3) 'szuajij) ου~αηυοα Ιαρ τ ' y n~n η η> ητυιουο33 η3τ οd •οο οτυα.ιο7 ouSoauoo jap 1)1« '3UY vmjjnj muiouoopf vomjoj ■oaiJiuSopj ji o'zudio^ ip jτυ8ηρy τρ l2j αΜ ~~ odzua ¡V jn vuvosoj nun3sol rrj η7 ut u! `'diruudjVAjuoD α?τυ.ιαιη.ι}υοο aj aj aα owpas oτnjjasjap pp odoovf οdο3n¡ 'SNOJ `sιvod "N oduwj ' Ν == 9661 SNIJ 9661 SNOJ '785-£9S -dd 'dd `(1861) £9 uu?;aling '68£"£9S '(1861) £9 mina „sja8ud¡aqay aqaj att? }ο .ια;sηργ„ attl 'íiazioj 'κ3zτοd 'ff == Ι861 ΜΙ 41! 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Ζ noi i vi uuojajuaiïap jap asjndug uappg jap aqj 'aaaias υοτ1ηυιιοjα.ιυα8~ 9 .ιαρ asjndzul :.ιapjzg ap ijvjqqjijw 4η.ι~ρ¡.ιτηq atQ 'ταατας '"W W = = ¿661 τ3 nτ3ς L66 Τ aaaias '3y[0iqDS3Sjsun5} ~11~ ττΤ ~s α~~sυηχ '(•(X/ τ Τ 'α jnz uaipnjs xauuog) 9661 xajsunjAJ 'auvAoqj Ι! /1 muiii vuqvg pun αsαυο.ιαη asauoja/[ 'oj;a'm; 'ouajoi τnz υατρη;S ταυυο msunlΛi 'αυηιιοτΟ fl) 9661 -ufi 'uofZfi taq pq aιda2zιο ajdazuoqppg uaijuqosiumvjSojj ατfετlτρ.ιτχ aqaqipjig uil 'um2t,j »~pjτg aqasuapsunq α'fasuαj;sυηι¡ pun υαL~υτfαsυιτυη.ι8ο.ιd ■uofivimojajuaSaQ jap ipz Jn2 pjajvfy aqasiuvizaua^ 'aaaias '1AÍ = 9661 aaaias υοτ1nuuο}aιυa?8a9 .ιαρ ;ταΖ ια.ιαjηργ 1n2 υητ2αυαη millas 966Τ τααΙας ''W = τog / ouBpyv ουeΙτlΛ1 'oiuaaanhuìj ` o~uaaanbut) α οl υαaο.ι;;ηηο vn "6861 eu 6010¾ a ojuaaojjjvnQ njj mp vip '6861 -jvquurj υ ui οjυaudnιιουυzι oiuauivAouuu αa αυοl2τρη.ι,j auofzipvji •ουοt8 ouoiSSQp oojvpi "Q == C8 6861 iNiaas anqzuo7 8 ρ,ρ Ο 1ηjγ 'iNiaas 'ΙΝΙα3ς 'Q Γ1 IΝIQ3ς -

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viavaoonaia ντ3νττοοτττiτα

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"89-51 '89-ς τ •dd '(1961) 66 uajvpsa/^-upinpuoN sdpu>r¡ sdp tiunijjsuoj unj jJvyosupiudSsjpq dd uajwsaηg-υ}αη.ιρ.ιο¡γ sapuv7 sap 3unτt3s.ιο, ~~ .ιηJJnηasuτ9uιa8s;iaq '(1961) 66 -jy ui 'putjX opuvuoirj s9p sap ¡qviupuaqy svq ''whnih noa ''H = 1961 1961 ω3ΝΙ3 whnih noa ' τ~υτη vp fl7 ορ.ιnυοa7 jιtrnιιρυαgb snQ ω3Ντ3 Νοπ ΝΟΛ JI υτ Η= uατ{QτJιs}.ιτta •6681Τ Sizdpq 'apuaSaq uaipipsuip '668 8τ zd1a7 `9ρυα8α7 m2 uaiïumpns-idnifi •.ι9pjτgsn;sυη3 uappqsnjsuqj 'ziOHDSaoa noa "3 6681 Zinnosaoa noa 112 υα8υη143ηs,ια;υη `zi(ΤΗΠSττΟ Q ΝοΛ Zi4x~s3oQ ΝοΑ ' 3 == 668τ SSB τ~τssri3) urlryW ■(yZ I3) 996Τ 9961 οouaujAi (17Ζ 'awV.IFP `αΜtl, Παρ Pî •opovsvyy tp ηιαjdυιο3 viajdwoo vuadoj 'ixaag 'Ζ 1 aα τκΟατοΑ iNOdlOA "d = 9961 uaag—- inojioa `οτοοηsωργ !ρ rnadq7 `ττττ3g IlidliA •d = 996Ι τ.τττ3g 6961 doo~mnalN ' υα8υη~¡.aιrι ο,! υα~υηηατ2αg υα.ιτtτ W ~¡umuajguιg u '6961 doo>|A\n3[[\j 'uaSunyutMuoj pun uaSunqapag udup ui ytivuiajquig pun ι¡tr4dιtj80.ι9jη yijqd.qSojdip ■douvsswudg xap uajJuqosMppg = 696 6961Τ nnvwnioa unssτnuay,ιαρ υ9;•{?a4os.ιapjτg 'NNVmaoA ` χΝt+ωχτΟΑ "3 'Ζ = ΝΝ tlω}ΙτοΑ uaqPunyv lsυη)~~9lρηιsυτ4ατlrυ•~ ' κ~dτiτΟΑ • κ~d3τοΑ "8561 'isuny aqorpsuqoqmg 'HDvaiOA'd "M = 8561 HDVaiOA 8ς6Τ U3i{0uny\[ d 'Μ = 8ς6Τ "58-0861 uxsp £g-086i wr P -joisuiy ''uapiag puv d~αικ;υd duaMjuy ¡v mjuvjg ,ιαηdο;sυlt3 uaqdojsuqj ι~q i(q paqsijqng puv ραl pajuug -.τα~swd υαρτa7 ρυω ;τι υτ;υτιjd ραz¡sηgnd pun d υΜ 3 s)¡.ιοηη αηι jο ι~τ4dω.ι8οηqτg υτluwjd τ41 'xaoA `,ι3οΑ •Ζ sq-tO/W H'P tydvuSoqqig yi ·-(ÓSSISSSI) uinm¡¿ 9aqj 1 == 0861 µ (~gς ~ -ςςς ~) ssaug 086Ι XHOA Ζ30Λ τ;ςοω ejpp gοir;ra W `N3QJtld ΟΝττΙ3•3 ' s ÎP bjiid b '(¿661 'U3ÎM) ajpooi "¿661 oirepw 'Naaovj-ONiaad oSojbjbo 1 '11ml) r L66i ς !Ρ 11 `(L66 ουrΙ? rΙΙαΡ ο 'sopSuvjaqoiyy asnqy pun uuaiipiçj 'vunojoj τnιο;;τη r)uo¡]}A == ¿661 vuouiA 'sοja8unjαηΡQ2yγ υzιαlτ4Χσ •wuuojo3 υυοjo3 nuο;;iη W pun L66 Ι `n'vuuojoj dd '(5661) 85 aiqoiqasaSjsuny saSτsυηχ.ιη "855-855 "dd unj jJuqosjpz j4 '8ςΣ 8 '(ς~~ ι) 8ς Μτ1osl ρZ ui 'Áp)i[ íOnjuaj ipuaaunoj υ3 uj siMunj = 5661 snιιun3 uo u! ι~jωη ι~ιη υο Smjuwg υτiυτnd 'saaniA 'ςττ3τττΛ "3 l υα3 Ζτluααυηοj Sττ3τττΛ •3 = ς66Ι saaaaiA •(8 uba sndao3) sucLioq) 6861 uiBuiog-aj-aanapi (g 'uayuipspuBq 'υα1Jτ.ττΙαsρυrq 3U|3n|j3A αΙqοηΙ.ταη urn τrwog α¡ α.zηαg 'aj 6861 u -oais xnv αρυmυτιΙ apuvuivij vj suvp suoddns 1α p saupnj ~áis a91 j χηω α.ιη;υταd τη suwp sl.ιoddns sα,ιρω3 'aifiOHOS 3g[ Ιja ς 9ç[ J aunjuwd '3Lflox nva ΝνΑ yΙ αa O~τltlyv oodviAJ-aiavdisonoaaA = 6861 nva - Ο~τΙΝÿ~Τ ooavjv-aiavaisonoaaA 3L3tlτI•τSJΠΟττ3¡\ '"H Σ{ = 3iΠΟw ς iv" 3i3tlNLSJΠOτI3A 686τ aiaoHOS OUB 'oluapouιlsod ' 1005 [!IM 'ouuapounsod jv ouvijsuooajvd 1001 ourΙryv Ι οτ,ιnτιsι,ιooajτιd jvp ηsοτ8}j9d vsoiSipj auoi'znuiSoutiuipi -vqvjj W in v,ιans vuovs ajupg 'NoaaaA 'X 1005 ΝΟUτI3η NoaaaA lip 9υοι2ωυτ8ηυι1υτ,7 •ωηη;j Υ7 'NommA • L == iooz ουιτsαυωττsj.ι η, >95-155 'dd `ΟΟΟΖ '0005 0UB IÎIM 'omtsauvtjsuo jp τυυω juuv ΟΟΟΖ QOOZ '179ΖΤ £Ζ 'dd ου rτην odoQ iii ui ''auvjjap omqmuoo jj •ajτnττυ}ds -ajvmmds oupaoj = lili 0005 NoaaaA odoQ αunjjαρ ο;ηgτι οτη»~7 'NoaaaA 'ΝΟακαΛ •"X l υο3 ΙΙ i= Νο ~flΙ3Α azua.n3 'oonoixvo r.xn; b 'vuvpsuo ' ωυητιsυ 2υα.ι φ~ττοJ1ν3 •yv "89-59 yv 1ρ ip bjud a'zuaa g9- £9 "dd •dd '6661 azuaiuj -ig vpv vpinQ vuojs 'αραJ 'apaj 'auy ui 'vuojs 'apaj 'auy 'NOoraaA = 6661 NoaaaA 'nυο;s 'αρα} ηρτη3 •ητιοls 'auj υ `Νοαττ3Λ '"X 666Τ Νοαττ3Α y njjn L= ■Qy-\ dd '0661 3-10A / ssuobjàs 'NOsaaawaH T a NoaaaA tιαΝ αςπΖ rτιfς α 'ΝΟsττ3QΝ3Σ{ ΝΟQττ3~~ '017Τ 'dd `066 l•τολ 4 'f ι `ο;υα~ο.ιτlτιηη azjj υτ υοτ;ωυτ8mυj j !Ρ X IP ra Bano b 'ojuaoouijvnp) aip ui uojjvmSvtuj sηοτ8η9~{ snoiSjjag ρυω puv a8ntuj aSvmj •a~uws -aouvs -swuag ui 'uoijvuiSviuj sjuamuoMAug sττιυα?j aqj pup ι/(jiuvijsuqj ' υοτ;ηυτ8mυj puv ρυη aouauadxg aauau9dxg Jo Jo s;υαlυυο.ιτιιυg ar11 puv Cl τυm;su,j3 υ lüojsig J/oο ιCρηι lipnig 0661 Νοαττ3Α NoaaaA ι~ιοτsτg υη aouvsswuag a~uwssτwua?j aqj 9141 'Kjiuvijsuqj `ι(τυηττsτ.υt) 'NoaaaA s aqi puv 'NorniaA 'X = 066Τ L = dd ''5861 ς6 ` αQτι; 6-L "dd -vuuoju auopv a ιυτ8τnιιuq mpñvuiuq UT ui ;,ο?lιa1Υτasτruτ?j [pjuaiupsvmg 9a oiuisauvijsuj ip oapvuiajqoud mιιιο}u aυoτ2n οunsaυτnτsu3„n ?p oxιυuιajgο.ιd ojsajuoo jau auvqowuodvs aiJvuSojix apap ojvaiJruSis // 'NoaaaA 'X = 5861 NOcraaA olsa;υοο j9u 9umjo.twuo ιιns αJω,ι αjjαρ ο;ηα jτυ8τs jj ' οjτχ ΝΟακ3Α m 3Λ ' L= ς861 Νοι "85 8Ζ -dd >861 X'OA a\3N / asnoBjÂg 'AaavQ f s NOaxaA X ÎP b 'sjuy aqj puv rιαΝ αςη3r.τι~ς α 'sub ρυω 'λττΝQ 'j ΝοQττ3Α • Ι J Τ •dd '1786 Ι Ι !!' )Ι ολ ι Ψ lusjjijsuuojA ui `a.ιnljn3 'aunjjnj υτη;sj.ιη3 uvijsuqj puv NOtraaA lusτoτ;sηυοργ pun iuspijsvuop\¡ uιsionυοργ 'NOcraaA "X = 6861 Νο 'NOmmA • u! 17861 m3Λ L ° Ourl?W `(ΟΣ9Ι ■9966Τ 661 ouBpiM ■(0£9l-0SPl) -OSbI) vpoiLi 'ajjn 'nuols 'vuojs •τsαυηjτυι ■isauvjiw υατjjατοτ? uaipaioiS aα τjjατοτ3 qpioip 'maaniNaA ηρουι `Ιττ3ττΠ,τΝ3Α "d = 9661 maaniNaA Τ Ιττ3τΙΠ.τΝ3Α '9m? •d = 966 'ατtlΜ3ττ3κ3ς '"9 g α3 ddoaaog ddO)τκog g IP "681-551 '5661 wrpτa~swd uiBpjs;suiv 'aavMaaaaHOS ip 178 Τ -£L i "dd 'dd 'S661 Bjno br 'Svjsjunqapj çç ZuflZ uinz uagajsuajjwg uaqajsuajjvpj1s. jsjopj jJuqosjsag'a ■ajqaiqasaSisuny rIn~ `Snτsung S9 ιog .ιunj ij j>ατ4αsιsαj τηΡoτηΡosa.8;sυnχ uaqosniijuv'Ziiq un'z uaipnjg υ ui 'saSviui uos no no juaiuao υατρsτυτ;un2ιtq n2 ua!prns' `sa8muτ saujnvp sα,ιlητ ' ρ oa¿61 -ταητυπ 'opSuy 'oja8ud •s ;uod p Jo uoijvjovsq purl fuoisip υοirn,ιο~αQ puv ιCιο1sig aip -J3AIUQ sa ajuog = t7¿61 αυ' ¿ '-iiha\ `ττaΜ •§ 'S 'w 'W = tL6 Τ Z3iaM 13Μ 'α~ ττ~πΙ~s α~ Ιsυηχ .xnz υατρ (Σ6 'aiqaiqassSjsun^ (£6 xnz uaip ;α uiiaqsappH υτταττsαρττg 'ASipuiyi smsvuvipy sn}snun ηjd stg .'a 'j Υ04 jagng - rns) S66I -rug) '[B~~13 siq ja8anιg piiamg uamg uo,\ pqvg ς66Ι •Ι n2 nvquunj n2 a 'f1 q == S661 nnqu.un,jA3Q aj -ussopsviy •uaSOjssnyy sap uotjvupsvg υοtrnυτ2snj 3¡q α1σ 'aaNaoaM `τΙ3Ν3`J3M 'g κ3Ν3J3Μ S661 naNaoaM dd '8661 91 -ς 'dd '66 Ι •9I-S '~¡οτjg apujawwnj υτ `8υη~¡αfτ.ι;υg .ιαρ ua8nd '~τ3g3Μ 'qogg apupuiunq U3Q ui 'Sunqonujug iap usSny 'aaa3A\ w f "o 8661Ι 2τ3â3Μ naaa/w · ' ' α Ι 'J == 866 SL6i uaqounjA uaq3unyv '`uapunjsua8a8 S¿6T uapuvisuaSaS -sqonv.iqdQ djppoyi -sηm η.ιqα~ pun -qurug -jumj '-jjng ut' spjpg sjαηα?{ mj .ι ij a11a υηnjdaauns `0S9I -OnSI uaijaqvjdaouvs '-nn)i uv Ρ°W '0891-0051 -smuaχ dqosiso'zuvAj pun αη3sτρυτη.ιαρατµ 'aipsjndQ `aτps~naQ 'aaaaM -sinudg pun sqjsipuvjjapaip = ς16Ι S¿61 κ3 aasHM `κ3g3Μ I = g3Μ αΖΡs}sö2u νµ ' Ι n 'ΙΙ uqj] υqη;υn.ιαυτuιauι njdu uimouiqqng τυηιουτggτιg ip 7 ηηgτg iumonb :um.t :wm ς091 F 8}l 'II 'S09I lunuamuiaiu vjduos vijqig 's•s uimonh -ο.ιιCs is ;α τυη.ιοαηρjηη3 `uιn.ιοαn.ιgατj smmu sτuιηυ smbpuy -oacís lumoavpimp 'lunAosvAqsq 3Q 'aasvM q == ς09 £091τ κ3ςdΜ aasvM sznb τlud aQ 'κ3 sem '}Ι ΜαΝ/ /sSpiJquiBQ α ~ρτ.τquτ 'adoAng 'adο.ιng tuapoiy υ,ιαροργ KjAvg '(wy m υ υτικη.ιQ .ιοj jaqAvpy ατj ι 1α y~nW aqj 0003Ζ q)µο1ς toA AI3N sSuimvaq aoJ '000 pun vjsag njsa2{ ouvpsvqag ounτlsngas 3Apvg α.ιρηd Sujioaijoj p jo s;.ιΙι puv sjAy aqg O= = 0003 arj,j '3DI,w>ivm `χηµινΜ'J ΟΟΟΖ^OlMaVM χ ~τπιττfιΜ ΜαΝ / ρυgττz 'AnauaAdaA¡ug '.ιηαυα.ιdα,ι;υ,q 'b661 qJOA >661 / oSpuqiuc^ Ι. zοΑAvojq sv smtiap aqg -oZusAog uvg jv opSuvpqDgy tivm •Hg •Μ M = = P661 sn snτυα zj•j •ο2υα.ιο7 uns 1η οjα8υηjαη3lργ 'hov `3~tlττtlΜ b661 HDvnvM 3W ττdΜ zυαττ3 'SSZ-ÍPZ dd '¿661 azuaqq ' ςςΖ-ΣbΖ •dd ` Ζ66Ι α Bjn3 13 '1) 'rna&uiio laaaans τg~τ3αης '3 mw Q •y `u~f1 'oAoJ 'laaaaaoio J sα 33va V 'arnq 'aing Τρ S !P e,zn '(8861 'MBifl 'oaojj) ouSsauoo pp τ;} qiB 'SAnjdjnog oiuaaoAiivnÇ) aiirj ου~αηυοο ταρ 'arn,id/n olua3o.ιjjnnzj α;η7 puv ρυη onpooAAa/[ ο }η»ο.υαη ui uT '¿¡vuoiuafy `¿jηµοτυαργ dAVAQ = Ζ66 3661Ι aovTivM αιιη,ι9 AO .ιο aodidAvgy a3atclιnjjd :ivisig η;ατα amog αυιοχ sppSuvpqogy s οjα8υηjατj3τργ 'aovnvM g •M '3~νττνΜ •'3 Μ= 3 ~νττyΜ »?ττi Ι '.Onjuaj η;υαα;τj8τg rnj ατjl iuoaJ υιαι} msm uιsτυ ο1 qjuasiJij τjjυααl,{y aip ' ι~ιηl υαj qiuaaipig "3361 BOBqq aqj oj ' ΖL6 Ι >? -ojvjg ui saτpnjs saipms •ι~8οjοαυ -.(Soioaqgj ¡uapuy aqgj 'aaxiVM d a == 3¿6I -ojnjd uvpsuip υητ;sτιτ;> W ;υατ~υy az 'κ3xτvµ κ3χτdΜ 'd 'Q ΖL6 Ι 3a>nvM ι ' ιηυι ■8£6I '8£6 Τ Sizdiaq τ zdτα-1 'jqAVUi -isung 'AaqaSSvAipiy pun -jsυηχ pun nvjsqAa^ jjnjs~¡,ιαηg :ιαgα88η.ιgηy pun uaqvSJny uagn8Jnd 'aauvsswuag 'a~unssτnual{ uaipsiuiiuaA υατTasτυτjυα.ι -ojg Asp υ} m sAspsung w == 8£6I -ojd ,ιαρ s,ιajjsutτχ sap mnvAsuaqag aunn.ιsυaga7 a3q .ιαQ OaovNaaaavM ' τ39yΝκ3χDνΜ '➢V 8£6 ΤlaovNaanovM τ3 `JäΝ2τ3χ~ ΝΜ •dd '¿¿61 ' τsη?{ joqsjoSuoiuop }οι¡sjo8uoτuop VAmjnq η.ιη;jη)¡ vwuuaAjs VWuu9II,?S' Ι soyv 'isng '383"££3 BAqsoyv ' Ζ8Ζ- ςςΖ 'dd ~ 61 τ?n -aqzopnqg rjAissnqsi -ατj2ορητ1χ •οιι; ssηι¡sτ aioqssmauAaAQ ατο)¡ssηιαυιια.ιQ ui u! 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Tav. Armilla con con Crocifissione. Norimberga Germanisches GermanischesNationalmuseum Natìonalmuseum[N1gen]. [NJgen]. Ταν. V: Crc sΞοne. Norímberrc " A-mílla

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