A twelfth-century so-called liturgical drama (preserved in a unique copy of the thirteenth century, preserved in British Library, London), the Danielis ludus (Play of Daniel), based mainly on chapters 5 and 6 from the Book of Daniel has been much discussed in scholarship. It has been seen by scholars, not least Margot Fassler, as a (music) drama intended to establish a role model for young clerics in connection with ecclesiastical attempts at reforming the celebrations for New Year's in Beauvais, the so-called Feast of Fools. In this article, with consideration also of a recent discussion of the New Year's liturgy, I suggest to understand the Danielis ludus as a liturgical ritual transforming the (corporate) identity of the young clerics who were, undoubtedly, involved in its performance. Keywords: liturgy, drama, the sacred, medieval clerics. On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
{"title":"Danielis ludus: Transforming Clerics in the Twelfth Century","authors":"N. Petersen","doi":"10.5617/acta.7807","DOIUrl":"https://doi.org/10.5617/acta.7807","url":null,"abstract":"A twelfth-century so-called liturgical drama (preserved in a unique copy of the thirteenth century, preserved in British Library, London), the Danielis ludus (Play of Daniel), based mainly on chapters 5 and 6 from the Book of Daniel has been much discussed in scholarship. It has been seen by scholars, not least Margot Fassler, as a (music) drama intended to establish a role model for young clerics in connection with ecclesiastical attempts at reforming the celebrations for New Year's in Beauvais, the so-called Feast of Fools. In this article, with consideration also of a recent discussion of the New Year's liturgy, I suggest to understand the Danielis ludus as a liturgical ritual transforming the (corporate) identity of the young clerics who were, undoubtedly, involved in its performance. \u0000Keywords: liturgy, drama, the sacred, medieval clerics. \u0000On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"220 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115461722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper re-examines a series of lost shield portraits discovered by Paul Gaudin in Aphrodisias in 1904-1905. It focuses on three aspects of these objects: the technical details of the carving and choice of model (style), the structural specifications (manufacture), and the subject matter (iconography and theme). It endeavors to place these objects in the context of other shield portraits found more recently at Aphrodisias and to evaluate them in light of recent scholarship on late antique sculpture. It stresses the similarities between these shield portraits and others from the site and reflects on possible contexts for the Aphrodisian shield portraits, considering for the first time the possibility that all of these Aphrodisian shield portraits might have come from the same context.
{"title":"The Lost shield portraits of Aphrodisias. Reflections on Style and Patronage.","authors":"Julia Lenaghan","doi":"10.5617/ACTA.6871","DOIUrl":"https://doi.org/10.5617/ACTA.6871","url":null,"abstract":"The paper re-examines a series of lost shield portraits discovered by Paul Gaudin in Aphrodisias in 1904-1905. It focuses on three aspects of these objects: the technical details of the carving and choice of model (style), the structural specifications (manufacture), and the subject matter (iconography and theme). It endeavors to place these objects in the context of other shield portraits found more recently at Aphrodisias and to evaluate them in light of recent scholarship on late antique sculpture. It stresses the similarities between these shield portraits and others from the site and reflects on possible contexts for the Aphrodisian shield portraits, considering for the first time the possibility that all of these Aphrodisian shield portraits might have come from the same context.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122116805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1963 the Archaeological Museum of Istanbul purchased a female portrait of unknown provenance. It is clearly recut from an older head. In its final version, the head is late antique, but the recutting and the scarcity of comparable non-Imperial female portraits from this period have made a more secure dating difficult. Here the first half of the sixth-century ad is proposed. This article poses two main questions: 1) Is a non-Imperial female portrait in the round possible as late as the sixth century? 2) Could a woman in a period Shen covered dead were the norm, have herself portrayed with uncovered hair?
{"title":"“The Horrible Lady” in Istanbul: is a public non-Imperial female Portrait possible in the sixth Century AD?","authors":"Siri Sande","doi":"10.5617/ACTA.6870","DOIUrl":"https://doi.org/10.5617/ACTA.6870","url":null,"abstract":"In 1963 the Archaeological Museum of Istanbul purchased a female portrait of unknown provenance. It is clearly recut from an older head. In its final version, the head is late antique, but the recutting and the scarcity of comparable non-Imperial female portraits from this period have made a more secure dating difficult. Here the first half of the sixth-century ad is proposed. This article poses two main questions: 1) Is a non-Imperial female portrait in the round possible as late as the sixth century? 2) Could a woman in a period Shen covered dead were the norm, have herself portrayed with uncovered hair?","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127570287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article deals with four porphyry statues wearing late antique tunica-chlamys attire in Vienna, Berlin, Ravenna and in the Louvre. By the provenance of two of them and by deals of workmanship they are all clearly linked to the porphyry workshop that the tetrarchs had installed in Egypt. Yet they differ from the main products of this workshop not only by their new costume but also in their overall shape. Whereas the tetrarchs employed local sculptors, who specialized in working hard stone for their new porphyry workshop and the result was a fascinating mixture of imperially commissioned and strong local elements, these chlamydate follow other models of more classical taste. They attest to new imperial instructions given to the workshop. This makes it important to know when this new form of imperial representation was introduced. Suggested dates differ widely this article proposes to date the statues in Ravenna and the Louvre by means of their close typological and stylistic similarities to the statue of Oikoumenios form Aphrodisias, which itself is dated by its portrait, which is the closest known parallel to early Theodosian emperor’s portraits at Aphrodisias and Constantinople. The common link between the locally-produced honorific statues from Aphrodisias, the imperial porphyry workshop in Egypt, and the statue finds in Italy would then be Constantinople, whose sculpture workshops were heavily influenced by those of Aphrodisias. There are reasons to see the statues at Vienna and Berlin as earlier and representing a development o the new iconography. All this seems to correspond with the ideas of U. Gehn and R.R. R. Smith, who posit, that the use of late antique chlamydate and togati for honorific statues developed mainly in the later 4th century and in the east. It may have evolved during and after the reign of Valens, parallel to the intensified lawgiving concerning status marking. There should e parallels to this in the emperor’s ‘Chlamys/Dienstkostüm’. - In the end, there are some remarks on the ‘hand-on-sword’ gesture of the statues.
这篇文章涉及了维也纳、柏林、拉文纳和卢浮宫的四尊穿着晚期古董长袍的斑岩雕像。从其中两件的出处和大量的工艺来看,它们显然都与四分王在埃及建立的斑岩作坊有关。然而,他们不同于这个车间的主要产品,不仅是他们的新服装,而且在他们的整体形状。然而四帝王雇佣了当地的雕刻家,他们专门为他们的新斑岩工作室加工坚硬的石头,结果是一个迷人的混合了帝国委托和强烈的地方元素,这些衣原石遵循其他更古典的品味。它们证明了皇帝给车间下达的新指令。这使得了解这种新的帝国代表形式是何时引入的变得很重要。这篇文章提出了拉文纳和卢浮宫的雕像的年代,通过它们与阿佛洛狄西亚的俄库米尼奥斯雕像的类型学和风格上的相似之处来确定它们的年代,而阿佛洛狄西亚和君士坦丁堡的早期狄奥多西皇帝的肖像是已知最接近的。从阿芙洛狄西亚斯、埃及的皇家斑岩作坊到意大利发现的雕像之间的共同联系是君士坦丁堡,那里的雕塑作坊深受阿芙洛狄西亚斯的影响。有理由认为维也纳和柏林的雕像更早,代表了新肖像学的发展。所有这些似乎都与U. Gehn和R.R. R. Smith的观点相一致,他们认为,使用晚期古代衣原石和togati制作尊敬的雕像主要是在4世纪后期和东方发展起来的。它可能是在瓦伦斯统治期间和之后发展起来的,与强化的关于地位标记的法律并行。在皇帝的“Chlamys/ dienstkost m”中应该有类似的地方。-最后,对雕像的“手握剑”手势有一些评论。
{"title":"Zur Datierung und Deutung der Chlamysfiguren aus rotem Porphyr","authors":"M. Bergmann","doi":"10.5617/ACTA.6867","DOIUrl":"https://doi.org/10.5617/ACTA.6867","url":null,"abstract":"The article deals with four porphyry statues wearing late antique tunica-chlamys attire in Vienna, Berlin, Ravenna and in the Louvre. By the provenance of two of them and by deals of workmanship they are all clearly linked to the porphyry workshop that the tetrarchs had installed in Egypt. Yet they differ from the main products of this workshop not only by their new costume but also in their overall shape. Whereas the tetrarchs employed local sculptors, who specialized in working hard stone for their new porphyry workshop and the result was a fascinating mixture of imperially commissioned and strong local elements, these chlamydate follow other models of more classical taste. They attest to new imperial instructions given to the workshop. This makes it important to know when this new form of imperial representation was introduced. Suggested dates differ widely this article proposes to date the statues in Ravenna and the Louvre by means of their close typological and stylistic similarities to the statue of Oikoumenios form Aphrodisias, which itself is dated by its portrait, which is the closest known parallel to early Theodosian emperor’s portraits at Aphrodisias and Constantinople. The common link between the locally-produced honorific statues from Aphrodisias, the imperial porphyry workshop in Egypt, and the statue finds in Italy would then be Constantinople, whose sculpture workshops were heavily influenced by those of Aphrodisias. There are reasons to see the statues at Vienna and Berlin as earlier and representing a development o the new iconography. All this seems to correspond with the ideas of U. Gehn and R.R. R. Smith, who posit, that the use of late antique chlamydate and togati for honorific statues developed mainly in the later 4th century and in the east. It may have evolved during and after the reign of Valens, parallel to the intensified lawgiving concerning status marking. There should e parallels to this in the emperor’s ‘Chlamys/Dienstkostüm’. - In the end, there are some remarks on the ‘hand-on-sword’ gesture of the statues.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125847346","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and contentions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. The style was conditioned by function and context. The article, therefore, proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programmes, and artworks. In search of the late antique patron, the conclusion reached is that the patron had most impact in the religious domain.
{"title":"In Search of the Patron: Late Antique Styles in Context","authors":"B. Kiilerich","doi":"10.5617/ACTA.6865","DOIUrl":"https://doi.org/10.5617/ACTA.6865","url":null,"abstract":"The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and contentions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. The style was conditioned by function and context. The article, therefore, proposes a functional paradigm for evaluating visual expressions, defining three main domains of representation: public monuments, religious programmes, and artworks. In search of the late antique patron, the conclusion reached is that the patron had most impact in the religious domain.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124436821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Data la complessità e l’ampiezza dell’argomento, s’intende proporre solo alcune riflessioni su quegli ‘episodi’ e quegli esempi, molti ben conosciuti e più volte analizzati, altri invece meno noti, i quali potranno meglio illustrare i momenti più significativi dello sviluppo della scultura architettonica costantinopolitana lungo un percorso che conduce alle straordinarie novità che si manifestano nei primi decenni del VI secolo. É un campo d’indagine assai vasto, che ha alimentato e continua ad alimentare una letteratura critica altrettanto ampia, ricca di saggi e contributi, con approcci e chiavi di lettura variamente declinati, ma che alla somma dei fatti, si rivelano proficuamente complementari.
{"title":"La scultura in funzione architettonica a Costantinopoli tra V e VI secolo: aspetti tecnici, tipologici e stilistici","authors":"C. Barsanti, A. Paribeni","doi":"10.5617/ACTA.6866","DOIUrl":"https://doi.org/10.5617/ACTA.6866","url":null,"abstract":"Data la complessità e l’ampiezza dell’argomento, s’intende proporre solo alcune riflessioni su quegli ‘episodi’ e quegli esempi, molti ben conosciuti e più volte analizzati, altri invece meno noti, i quali potranno meglio illustrare i momenti più significativi dello sviluppo della scultura architettonica costantinopolitana lungo un percorso che conduce alle straordinarie novità che si manifestano nei primi decenni del VI secolo. É un campo d’indagine assai vasto, che ha alimentato e continua ad alimentare una letteratura critica altrettanto ampia, ricca di saggi e contributi, con approcci e chiavi di lettura variamente declinati, ma che alla somma dei fatti, si rivelano proficuamente complementari.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114619612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The debate about the identification of the house of Augustus on the Palatine hill or the controversy surrounding the occupant of Tomb 2 at Vergina or the recently excavated funerary complex at Amphipolis offers more than sufficient evidence for a public fascination with important historical personalities. Yet, at the same time, disciplinary trends in archaeology have sought to emancipate the material record from historicizing narratives and to occlude or decanter the knowing subject. The archaeology of the individual has become, at best, a quaint, antiquarian pursuit and, at worst, a celebration of neo-conservative ideology. This article will consider a series of case-studies from the ancient Greek and Roman worlds with the aim of illuminating the viability - and desirability - of practicing an archaeology of famous individuals.
{"title":"The archaeology of “celebrities” in the Greek and Roman worlds.","authors":"Jonathan M. M. Hall","doi":"10.5617/ACTA.6875","DOIUrl":"https://doi.org/10.5617/ACTA.6875","url":null,"abstract":"The debate about the identification of the house of Augustus on the Palatine hill or the controversy surrounding the occupant of Tomb 2 at Vergina or the recently excavated funerary complex at Amphipolis offers more than sufficient evidence for a public fascination with important historical personalities. Yet, at the same time, disciplinary trends in archaeology have sought to emancipate the material record from historicizing narratives and to occlude or decanter the knowing subject. The archaeology of the individual has become, at best, a quaint, antiquarian pursuit and, at worst, a celebration of neo-conservative ideology. This article will consider a series of case-studies from the ancient Greek and Roman worlds with the aim of illuminating the viability - and desirability - of practicing an archaeology of famous individuals.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"204 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124712356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Upon the background of the study of Byzantine sculpture of the Justinian age (6th century), the present survey focuses on a group of sculptures, partly unpublished, which came to light in recent archaeological campaigns carried out on the basilica complex dedicated to Apostle Philip in Hierapolis Such materials reveal stylistic features similar to those of some fragments coming from the neighboring areas and from the city of Sardis. An exceptional element of comparison is represented here by the large crosses carved on the columns of the Basilica of San Giovanni in Ephesus. This homogeneous group of marble artifacts and their iconographic and executive characteristics are an indicator of the stylistic originality of a workshop mainly active in Hierapolis, but also testify to the mobility of masons and materials in some of the main Christian places of worship of the 6th century.
{"title":"Una singolare bottega di lapicidi bizantini attiva a Hierapolis Efeso e Sardi","authors":"S. Pedone","doi":"10.5617/ACTA.6872","DOIUrl":"https://doi.org/10.5617/ACTA.6872","url":null,"abstract":"Upon the background of the study of Byzantine sculpture of the Justinian age (6th century), the present survey focuses on a group of sculptures, partly unpublished, which came to light in recent archaeological campaigns carried out on the basilica complex dedicated to Apostle Philip in Hierapolis Such materials reveal stylistic features similar to those of some fragments coming from the neighboring areas and from the city of Sardis. An exceptional element of comparison is represented here by the large crosses carved on the columns of the Basilica of San Giovanni in Ephesus. This homogeneous group of marble artifacts and their iconographic and executive characteristics are an indicator of the stylistic originality of a workshop mainly active in Hierapolis, but also testify to the mobility of masons and materials in some of the main Christian places of worship of the 6th century.","PeriodicalId":426742,"journal":{"name":"Acta ad archaeologiam et artium historiam pertinentia","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127072489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}