Studies in Byzantine Epigraphy 1

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The Studies in Byzantine Epigraphy series testifies to an ever-greater focus on inscriptions within Byzantine Studies. The present, inaugural volume includes selected papers from the two panels dedicated to Byzantine Epigraphy held at the XXIII International Congress of Byzantine Studies in Belgrade, August 2016, and the XV International Congress of Greek and Latin Epigraphy in Vienna, August/September 2017. The papers, as indeed the events for which they were initially produced, celebrate both the progress and the promise of epigraphic research within medieval and early modern scholarship as a whole. Table of Contents List of Illustrations Arkadiy Avdokhin Fig. 1. Current state of obelisk base, angel view; photo author Fig. 2. Inscribed remains of wide side of obelisk base; photo author Fig. 3. Latin inscription on wider side; photo author Fig. 4. Greek inscription on wide side; photo author Fig. 5. Greek inscription on narrow side; photo author Fig. 6. Location of Capitolium and obelisk with cross in Late Antique Constantinople; from Berger, Untersuchungen, p. 347 Christoph Begass Abb. 1. AP IX 686: Universitätsbibliothek Heidelberg, Cod. Pal. Gr. 23, fol. 473, © Universitätsbibliothek Heidelberg Salvatore Cosentino Fig. 1a. Insediamenti e viabilità della Sardegna tardoantica, © Claudia Lamanna Salvatore Cosentino Fig. 1b. Iscrizioni greche di età bizantina trovate in Sardegna, © Claudia Lamanna Salvatore Cosentino Fig. 2. Iscrizione trionfale di Turris Libisonis. Da: Fiori, Costantino hypatos, tav. I Fig. 3a. Iscrizione di Grekas. Da: Martorelli, ‘L’epigrafe di Grecà’, p. 131, fig. 3 Fig. 3b. Sarcofago di Grekas. Da: Martorelli, ‘L’epigrafe di Grecà’, p. 130, fig. 1 Fig. 4. Frammento di iscrizione, San Nicola di Donori. Da: Guillou, Recueil des inscriptions, nr. 217, p. 237, pl. 201 Fig. 5. Frammento di iscrizione, San Nicola di Donori. Da: Guillou, Recueil des inscriptions, nr. 220, p. 238, pl. 202 Fig. 6. Frammento di iscrizione, San Nicola di Donori. Da: Guillou, Recueil des inscriptions, nr. 221, pl. 203 Fig. 7. Frammento di iscrizione, San Nicola di Donori. Da: Guillou, Recueil des inscriptions, nr. 222, pl. 204 Fig. 8. Iscrizione celebrativa del restauro delle mura marittime da parte del magistros Bardas. Da: Van Milligen, Byzantine Constantinople, p. 185 Fig. 9. Iscrizione celebrativa del restauro di una torre a Nicea sotto Michele III. Da: Şahin, Katalog, nr. 463 Fig. 10. Frammento di iscrizione di Theopemptos, Roma, S. Giorgio al Velabro. Da: Guillou, Recueil des inscriptions, nr. 118, pl. 116 Fig. 11a e 11 b. Iscrizione di Torchitorio, Salusio e Orzokor, vicinanze di Villasor, chiesa (forse) di S. Sofia (ora al Museo Archeologico di Cagliari). Da: Guillou, Recueil des inscriptions, nr. 223, pl. 205 Fig. 12. Iscrizione di Torchitorio e Getit[e], Assemini, chiesa di S. Giovanni Battista. Da: Boscolo, La Sardegna bizantina, tav. X Fig. 13. Parte iniziale della iscrizione di Torchitorio, Salusio e Nispella. Da: Guillou, Recueil des inscriptions, nr. 231, pl. 214 Fig. 14. Sigilli degli arconti Torchitorio e Salusio. Da: Manno, ‘Sopra alcuni piombi’ (riprodotto in Cosentino, ‘Re-analysing’) Fig. 15. Sigillo di Zerkis, arconte di Arborea, conservato presso l’Antiquarium Arborense. Da: Spanu, Zucca, I sigilli bizantini, nr. 77, p. 145 Fig. 16. Pilastrino con croce e iscrizione, Dolianova, chiesa di S. Biagio. Da: Coroneo, ‘Epigrafia greca’, nr. 21, p. 359 Estelle Ingrand-Varenne Fig. 1. Saint Austremoine on the Saint Calminius Reliquary, twelfth-century chasse-form reliquary, treasury of Mozac Abbey. Image: Photothèque of the CESCM-Leonet-Bastien Fig. 2. The Christ Pantocrator of the deesis mosaic (1261), in the upper south gallery of Hagia Sophia, Istanbul. Image: Estelle Ingrand-Varenne Fig. 3. Stained glass from Canterbury Cathedral at the Met Cloisters (1178–1180) depicting Noah. Image: Estelle Ingrand-Varenne Fig. 4. Lamb of God painted in the crypt of Notre-Dame-la-Grande at Poitiers at the end of the eleventh century. Image: Jean-Pierre Brouard/CIFM-CESCM Fig. 5. Mosaic in the southwest vestibule of Hagia Sophia in Istanbul representing Mary and Christ, Justinian and Constantine (10th c.). Image: Andreas Rhoby Fig. 6. Detail of the Limburg staurotheca (10th c.). Image: Andreas Rhoby, Epigramme auf Fresken, fig. 26 Fig. 7a and 7b. Saint Vincent painted on a column in the Nativity church of Bethlehem with his name in Greek and in Latin (third quarter of the twelfth century). Image: Estelle Ingrand-Varenne Fig. 8. John the Baptist painted on a pillar in the Hospitaller church of Abu Gosh in the Latin Kingdom of Jerusalem (c. 1170). Image: Estelle Ingrand-Varenne Fig. 9. The Virgin Mary on the Saint Calminius Reliquary, twelfth-century chasse-form reliquary, treasury of Mozac Abbey. Image: Photothèque of the CESCM-Leonet-Bastien Sophia Kalopissi-Verti Fig. 1. Basilica of St Gabriel in Psalidi, Kos. Arabic inscriptions carved on columns (716−718/19). (Photo: S. Kalopissi-Verti) Fig. 2. Dominican basilica of St Mary’s (St Paraskevi), Chalkis, Euboea, northeastern chapel. Funerary inscription of Petrus Lippamano, councilor of Negroponte (1398). (Photo: I. M. Perrakis, © Ministry of Culture & Sports, Ephorate of Antiquities of Eubo Fig. 3. Castle of Chlemoutsi, museum, funerary relief slab of Agnes/Anna Komnene Doukaina, wife of the prince of Achaia William II Villehardouin (1286). (© Ministry of Culture & Sports, Ephorate of Antiquities of Ilia – Chlemoutzi Castle, Archaeological R Fig. 4. Mystras, museum, epistylion, monograms in Greek and coat of arms of Isabelle de Lousignan. (© Ministry of Culture & Sports, Ephorate of Antiquities of Laconia) Fig. 5. Mt Athos, Hilandar Monastery, katholikon. Emperor Andronikos II, King Milutin and St Stephen the Protomartyr, c. 1320–1321. (After Smilja Marjanović-Dušanić and Dragan Vojvodić, ‘The Model of Empire − The Idea and Image of Authority in Serbia (120 Fig. 6. Church of St Athanasios tou Mouzaki in Kastoria. Dedicatory inscription of the Albanian brothers and patrons Stoias and Theodore Mouzaki (1383/84). (Photo: S. Kalopissi-Verti) Fig. 7. Church of Saint George in Prasteia near Siderounda, Chios. Dedicatory inscription of the Genoese nobleman Battista Giustiniani da Campi and his wife Bigota (1415). (Photo: Charis Koilakou) Fig. 8. Tower of the exterior defensive wall of the citadel in Chora, Samothrace. Metrical inscription of Palamede Gattilusio (1431/32). (© Ministry of Culture & Sports, Ephorate of Antiquities of Evros) Fig. 9. Tower of the interior defensive wall of the citadel in Chora, Samothrace. Bilingual (Latin-Greek) inscription of Palamede Gattilusio (1431). (© Ministry of Culture & Sports, Ephorate of Antiquities of Evros) Fig. 10. City walls of Rhodes, close to St John’s gate. Bilingual (Italian−Greek) inscription of the master builder Manuel Kountes (1457). (© Ministry of Culture & Sports, Ephorate of Antiquities of the Dodecanese) Denis Kashtanov – Maksim Korobov – Vadim Ponaryadov – Andrey Vinogradov Map of the monuments mentioned in the article (based on Google Maps) Fig. 1. Zelenchuk inscription, three copies of the original drawing (redrawn by D. Kashtanov) Fig. 2. Khumara inscription, drawing (after Roderich von Erckert, Der Kaukasus und seine Völker) Fig. 3. MS St Petersburg, BAN gr. Q 12, f. 109v (after Alexander Lubotsky, Alanic Marginal Notes in a Greek Liturgical Manuscript) Fig. 4. MS St Petersburg, RNB, Ф. 946, оп. 1, д. 1093 (courtesy of Russian National Library, St Petersburg) Fig. 5. Mangup Gothic graffito I.1, the lower part (photo by A. Vinogradov) Fig. 6. Bakhchisaray Gothic graffito (courtesy of S. Kharitonov) Emmanuel Moutafov Fig. 1. Architectural plan of the church of the Ascension, Nessebăr, Bulgaria, scheme: Daniel Netchev Fig. 2. View from the west of the interior of the church of the Ascension, with frescoes from 1609, Nessebăr, Bulgaria, photo: Ivan Vanev Fig. 3. Holy Mandylion, Sts Constantine and Helen, Christ Emmanuel: south wall of the church of the Ascension, with frescoes from 1609, Nessebăr, Bulgaria, photo: Ivan Vanev Fig. 4. General view of the decoration of the northern wall of the church of the Ascension, with frescoes from 1609, Nessebăr, Bulgaria, photo: Ivan Vanev Fig. 5. St Mercurius and St Menas the Egyptian, fragment of the fresco decoration of the church of St George the Younger, first decade of seventeenth century, Nessebăr, Bulgaria, exhibited in the Crypt of St Alexander Nevski Church, Sofia, photo: Ivan Van Fig. 6. Sts Ignatius, Silvester, and Constantine the Great, south wall of the church of St Stephen (New Metropolitan Cathedral), decorated in 1598/99, Nessebăr, Bulgaria, photo: Emmanuel Moutafov Fig. 7. The Vision of St Peter of Alexandria, north wall of the church of the Ascension, with frescoes from 1609, Nessebăr, Bulgaria, photo: Emmanuel Moutafov Fig. 8. Donor’s inscription on the west wall of the church of the Ascension, with frescoes from 1609, Nessebăr, Bulgaria, photo: Emmanuel Moutafov Fig. 9. Detail of the donor’s inscription with the cryptograph of Nikolaos on the west wall of the church of the Ascension, with frescoes from 1609, Nessebăr, Bulgaria, photo: Emmanuel Moutafov Fig. 10. Signature of the hieromonk Anthimos from 1843 in the Mesembrian Chronicle, now in the National Library of Bulgaria, НБКМ-БИА, col. 25, a. e. 1, (IIА 7690), f. 79/ p. 81, Sofia, Bulgaria, photo: Emmanuel Moutafov Giorgos Pallis Fig. 1. Panagia Skripou at Orchomenos, dedicatory inscription, 873/4 (cliché: author) Fig. 2. Corinth, Archaeological Museum, detail of the underside of a templon architrave with an inscribed roundel, ninth c. (cliché: author) Fig. 3. Agios Niketas at Kepoula, Mani, inscribed altar, eleventh c. (cliché: Sh. E. Gerstel) Fig. 4. Agios Demetrios, Boeotia, chapel of Agios Georgios, imperial letter IG VII 2870a, 155 ad (cliché: Y. Kalliontzis) Mustafa H. Sayar(unter Mitarbeit von Andreas Rhoby) Abb. 1. Karte Kleinasiens und des Vorderen Orients. Aus: Historischer Atlas der antiken Welt (Der Neue Pauly, Supplemente 3) (Stuttgart – Weimar: Verlag J. B. Metzler, 2012) Abb. 2. Mosaikfußboden, © Şehrigül Yeşil-Erdek Abb. 3. Inschrift, © Şehrigül Yeşil-Erdek Anna M. Sitz Fig. 1. Exterior of the Eğri Taş church complex (Ihlara valley, Cappadocia). Photo: Robert Ousterhout Fig. 2. The arcosolium of Theognostos in the Eğri Taş crypt (Ihlara valley, Cappadocia). Photo: Anna M. Sitz Fig. 3. Elaborately painted cross in the burial annex, Eğri Taş Kilisesi (Ihlara valley, Cappadocia). Photo: Anna M. Sitz Fig. 4. Crypt, Eğri Taş complex (Ihlara valley, Cappadocia). Theognostos’s tomb is marked with an arrow. Note the carved recess where a wooden floor previously separated the church above from the crypt. Photo: Anna M. Sitz Fig. 5. The ΟΡΩΝ text, painted in light salmon pink, with some later re-tracing in a blackish pigment. Rear wall of Theognostos’s arcosolium, upper portion. Eğri Taş complex (Ihlara valley, Cappadocia). Photo: Anna M. Sitz Fig. 6. The ΕΝΘΑ ΚΑΤΑΚΗΤΕ epitaph, painted in a blackish-grey pigment. Rear wall of Theognostos’s arcosolium, lower right. Note the name of Leon painted in salmon (re-traced in black) at bottom. Eğri Taş complex (Ihlara valley, Cappadocia). Photo: Anna M. Fig. 7. The ΜΗΔΙΣ ΤΥΦΟΥΣ[Θ]Ω gnomic text, painted in a blackish-grey pigment. Rear wall of Theognostos’s arcosolium, lower left. Eğri Taş complex (Ihlara valley, Cappadocia). Photo: Anna M. Sitz Fig. 8. Christ in Glory, apse of the Pancarlık Kilise (near Ürgüp, Cappadocia). The paired pentameter ‘great fear’ text is painted on the base of Christ’s throne. Sketch: Anna M. Sitz Christos Stavrakos – Dimitrios Liakos Fig. 1. The Monastery of the Dormition of the Virgin Molybdoskapstos (Konitsa, Epirus), private photo archive of Christos Stavrakos Fig. 2. The katholikon of the Monastery of the Dormition of the Virgin Molybdoskapstos (Konitsa, Epirus), private photo archive of Christos Stavrakos Fig. 3. The donor inscription of the katholikon of the Monastery of the Dormition of the Virgin Molybdoskapstos (1521), private photo archive of Christos Stavrakos Fig. 4. The donor portraits at the katholikon of the Monastery of the Dormition of the Virgin Molybdoskapstos (1521), private photo archive of Christos Stavrakos Fig. 5. Vatopedi Monastery; katholikon; exo-narthex; the legendary patrons; wall-painting, nineteenth c., private photo archive of Dimitrios Liakos Fig. 6. Xeropotamou Monastery; belfry; marble sculpture; portrait of the legendary patron hosios Paul, private photo archive of Dimitrios Liakos Fig. 7. Xeropotamou Monastery; belfry; marble sculpture; portrait of the legendary patron Poulcheria, private photo archive of Dimitrios Liakos Fig. 8. Zographou Monastery; the marble funeral monument of the twenty-six monks, private photo archive of Dimitrios Liakos Abbreviations Acknowledgements Editors’ Note Andreas Rhoby – Ida Toth Byzantine Epigraphy: Whence and Whither? Space Oddity? A Praepositus Inscribing Power and Appropriating Cityscapes in Theodosian Constantinople* Arkadiy Avdokhin Der Kaiser als Schutzwall Epigraphische und topographische Untersuchungen zum Basileios-Epigramm aus Thessaloniki (AP IX 686) und zum spätantiken Kaiserbildnis* Christoph Begass Epigrafia e società nella Sardegna bizantina (VII–XI secolo) Alcune osservazioni Salvatore Cosentino Incorporating a Name in an Image and an Image in a Name Comparison between Byzantine and Latin Traditions Estelle Ingrand-Varenne Language, Identity, and Otherness in Medieval Greece The Epigraphic Evidence Sophia Kalopissi-Verti Greek letters as scriptura franca: Writing in Local Languages on the Northern Periphery of the Byzantine World* Denis Kashtanov – Maksim Korobov – Vadim Ponaryadov – Andrey Vinogradov Word and Image in the Church of the Ascension in Nessebăr The Role of Inscriptions for the Reconstruction of the Iconographic Programme of 1609 Emmanuel Moutafov Texts and Their Audiences: some Thoughts on the addressees of Inscriptions in Middle Byzantine Churches in Greece* Giorgos Pallis Die Mosaikinschrift in Dara/Anastasiupolis aus dem Jahr 514 n. Chr.* Mustafa H. Sayar(unter Mitarbeit von Andreas Rhoby) An Epigram for the Everyman? Strategies of Commemoration at a Cappadocian Tomb Anna M. Sitz Post-Byzantine Inscriptions, Traditions and Legends: Authentic or Fabricated? Christos Stavrakos – Dimitrios Liakos