ALMA MATER STUDIORUM UNIVERSITÀ DEGLI STUDI DI BOLOGNA

536 Pages·2008·16.75 MB·English

ALMA MATER STUDIORUM
UNIVERSITÀ DEGLI STUDI DI BOLOGNA
DIPARTIMENTO DI STORIE E METODI PER LA CONSERVAZIONE DEI
BENICULTURALI DI RAVENNA
DOTTORATO DI RICERCA IN BISANZIO ED EURASIA
GIÀ
SOCIETÀ, REGALITÀ E SACERDOZIO NELLA METODOLOGIA
FILOLOGICA, STORICA E ANTROPOLOGICA
(V - XVI sec.)
XVIII CICLO
The vision of the palace of the Byzantine emperors
as a heavenly Jerusalem
Tutor Tesi di
Prof. LESLIEBRUBAKER MARIA CRISTINACARILE
Settore scientifico di appartenenza: L-FIL-LET/07
Anno Accademico 2006/2007
Table of contents:
List of figures……………………………………………………………………..p. iv-vii
Introduction: Working on absences………………………………………………. p. 1
1. The imperial palace: from the temporary imperial residences to the unique
imperial palace of Constantinople…………………………………………p. 2
2. Multiplicity of imperial residences: archaeology and literary evidence.. p. 5
2.1 Further considerations on the scholarly debate………………… p. 21
2.2 Literary sources………………………………………………….p. 25
3. The present research……………………………………………………. p. 33
Chapter I: Literary sources: palaces and imperial palace. On the way
to the heavenly Jerusalem…………………………………………………………p. 35
1. Latin and Greek literature…………………………………………….. p. 36
1.1 Features of the descriptions of palaces and
of the described palaces…………………………………………….. p. 40
1.2 Ekphrasis……………………………………………………….. p. 44
1.3 Palaces in Nonnos of Panopolis: a case study ………………… p. 51
1.4 Further reflections on terminology ……………………………... p. 71
2. What was the heavenly Jerusalem and how was it represented? …….. p. 76
2.1 Heavenly Jerusalem: the Bible…………………………………. p. 76
2.2 Saintly visions…………………………………………………... p. 80
2.3 In Jewish mystic literature, apocrypha, and
pseudoepigrapha……………………………………………………. p. 88
3. Conclusions…………………………………………………………… p. 91
Chapter II: Palaces in the mosaic of the Rotunda at Thessaloniki? ……………… p. 93
1. Archaeology…………………………………………………………... p. 93
1.1 Restorations…………………………………………………….. p. 105
2. The mosaic …………………………………………………………….p. 106
2.1 The mosaic: a survey and technical notes………………………. p. 108
3. Literature on the Rotunda mosaics……………………………………. p. 111
4. The orantes…………………………………………………………… p. 141
4.1 Physiognomy and garments…………………………………….. p. 141
4.2 The inscriptions………………………………………………… p. 146
4.3 Posture and location…………………………………………….. p. 157
5. The buildings………………………………………………………….. p. 162
5.1 Description……………………………………………………… p. 163
5.2 Building structures and visual rendering……………………….. p. 164
5.3 Elements of the architecture……………………………………. p. 169
5.4 Christian symbols and architecture…………………………….. p. 174
5.5 Elements within the architecture……………………………….. p. 184
ii
6. A view on the dome…………………………………………………... p. 193
7. Conclusions…………………………………………………………… p. 197
Chapter III: The apse mosaic of St. Pudenziana: palace and city………………… p. 209
1. Description of the mosaic…………………………………………….. p. 210
2. Centuries of restorations……………………………………………… p. 212
3. Interpretations: the scholarly debate………………………………..… p. 217
3.1Parousiac interpretations………………………………………... p. 218
3.2Eschatological interpretations…………………………………... p. 223
3.3Christ’s kingship in the apostolic college…………………….… p. 242
3.4A celebration of the church……………………………………... p. 247
3.5The veiled women………………………………………………. p. 254
4. The portico……………………………………………………………. p. 256
5. The cityscape…………………………………………………………. p. 262
6. Reflections on the urban and architectural background……………… p. 266
7. Conclusions……………………………………………………………p. 272
Chapter IV: The palatium in the mosaics of St. Apollinare nuovo:
the palace and its representation………………………………………………….. p. 281
1. Description of the mosaic…………………………………………….. p. 281
2. Restorations…………………………………………………………… p. 284
3. Literature and scholarly debate……………………………………….. p. 287
4. Thepalatium…………………………………………………………..p. 317
4.1 Visual rendering………………………………………………… p. 317
4.2 Features and details of the building ……………………………. p. 322
4.2.1 Architectonic decoration………………………………….. p. 322
4.2.2 Wall decoration…………………………………………… p. 324
4.3Curtainsand lost figures………………………………………... p. 330
5. The civitas Ravenna…………………………………………………...p. 333
6. Conclusions: the palatium and the civitas Ravenna…………………...p. 338
Chapter V: The imperial palace of the Byzantine emperors at Constantinople: a heavenly
Jerusalem on earth………………………………………………………………...p. 345
1. The imperial palace of Constantinople……………………………….. p. 345
1.1 The imperial palace and the topography of Constantinople……. p. 351
2. Constantinople and the new Jerusalem……………………………….. p. 359
2.1 Constantinople as a second or new Jerusalem…………………. p. 359
3. The palace of Constantinople as a heavenly Jerusalem………………. p. 368
4. Conclusions…………………………………………………………… p. 384
Epilogue…………………………………………………………………………... p. 387
Abbreviations …………………………………………………………………….. p. 391
Bibliography…………………………………………………………………..….. p. 393
Figures…………………………………………………………………….. ……... p. 465
Acknowledgments
iii
List of figures
Maps:
Map 1 Map: empire in the fourth century (after MANGO 2002, 33).

Figures:

Fig. 1 Split: plan of the imperial palace, upper level (after MARASOVI J. AND T. 1994, 91 fig. 2).
Fig. 2 Romuliana (Gamzigrad): plan of the imperial palace (after UR!I 1993, 84 fig. 16).
Fig. 3 Milan: late-antique city (after SCAGLIARINI CORLAITA 2003, 154 fig.1).
Fig. 4 Trier: plan of the late-antique city (after FROVA 1990d, 202 fig.2).
Fig. 5 Antioch: plan of the late-antique city (after KONDOLEON 2000, xv).
Fig. 6 Mediana, Naissus (Niš): plan of the remains (after PETROVI 1993, 70).
Fig. 7a Thessaloniki: reconstruction of the late-antique city (after ADAM-VELENI 2003, 125).
Fig. 7b Thessaloniki: plan of the late-antique city (after MANGO 2002, 144).
Fig. 8 Thessaloniki: plan of the palace area (map in situ, photo: M.C. CARILE).
Fig. 9 Sirmium (Sremska Mitrovica): late-antique city (after POPOVI 1993, 23).
Fig. 10 Constantinople (Istanbul): area of the palace, plan of the remains (after MÜLLER-WIENER 1977, 252
fig.263).
Fig. 11 Labarte’s reconstruction of the palace of Constantinople (after LABARTE 1859, plan).
Fig. 12 Paspates’ reconstruction of the palace of Constantinople (after PASPATES 1893, plan).
Fig. 13 Ebersolt’s reconstruction of the palace of Constantinople (after EBERSOLT 1910, plan).
Fig. 14 Miranda’s reconstruction of the palace of Constantinople (after MIRANDA 1966, plan).
Fig. 15 Vogt’s reconstruction of the palace of Constantinople (after VOGT 1967, plan).
Fig. 16 Ravenna: the late-antique city (after SCAGLIARINI CORLAITA 2003, 155 fig.2).
Fig. 17 Ravenna: plan of the palace remains (after PORTA 1991, 277 fig.7).
Fig. 18 Split: axonometric view and reconstruction of the palace’s private area (after UR!I 1993, 87 fig. 14).
Fig. 19 Trier: Constantinian basilica (after WEITZMANN 1979, 113).
Fig. 20 Rome: aerial view and plan of the palace of Maxentius (after FRAZER 1966, 389 fig. 1-2).
Fig. 21 Split: access to the private apartments of the palace, open court (before 1916-17) (photo: Bryn Mawr
College number: n/a, new number: 665; from:
http://www.brynmawr.edu/Admins/DMVRC/lanterns/lrgimage/croatia/LX000665.html, last accessed
on 22.12.2006).
Fig. 22 Thessaloniki: Rotunda, southern façade (photo: M.C. CARILE, summer 2006).
Fig. 23 Thessaloniki: Rotunda, southern side, aerial view (after KOURKOUTIDOU-NIKOLAIDOU AND TOURTA
1997, fig. 53).
Fig. 24 Thessaloniki: Rotunda, interior (after WEITZMANN 1979, 120).
Fig. 25 Thessaloniki: area Rotunda- arch of Galerius, plan of the ancient urban setting (from:
http://www.ou.edu/class/ahi4263/byzhtml/p01-01.html, last accessed on 05.02.2007).
Fig. 26 Thessaloniki: Plateia Navarinou, remains of the palace, looking southwards (after GRAMMENOS 2003,
88 fig.13).
Fig. 27 Thessaloniki: Plateia Navarinou, remains of the palace, looking north-east (after ADAM-VELENI 2003,
165 fig.36).
Fig. 28 Thessaloniki: Plateia Navarinou, plan of the greatest remains with the indication of the mosaic floors
(map in situ, photo: M.C. CARILE).
Fig. 29 Thessaloniki: Rotunda, interior, mosaic at the edge of the dome (from:
http://rubens.anu.edu.au/raid5/greece/thessaloniki/rotunda/interior/, last accessed on 05.02.2007).
Fig. 30 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, north-eastern panel (after PAZARAS 1998,
fig.16).
Fig. 31 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, south-eastern panel (after PAZARAS 1998,
fig.10).
Fig. 32 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, northern panel (after PAZARAS 1998,
fig.15)
Fig. 33 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, southern panel (after PAZARAS 1998,
fig.11).
iv
Fig. 34 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, north-western panel (after PAZARAS 1998,
fig.14).
Fig. 35 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, south-western panel (after PAZARAS 1998,
fig. 12).
Fig. 36 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, western panel (after PAZARAS 1998, fig.
13).
Fig. 37 Ravenna: San Vitale, interior, sanctuary, imperial panel (after PASI 2006, fig. 14).
Fig. 38 Thessaloniki: Rotunda, interior, dome mosaic, Phoenix (after KOURKOUTIDOU-NIKOLAIDOU AND
TOURTA 1997, fig. 71).
Fig. 39 Thessaloniki: Rotunda, interior, southern bay’s barrel vault, mosaic (photo M.C. CARILE, summer
2006).
Fig. 40 Ravenna: St. Apollinare nuovo, interior, central nave, southern wall (photo M.C. CARILE, summer
2006).
Fig. 41 Ravenna: Arian Baptistery, interior, dome mosaic (after SMITH 1977, 37).
Fig. 42 Thessaloniki: Rotunda, interior, dome mosaic, lowest frieze, south-western panel (after PAZARAS 1998,
tav. IV).
Fig. 43 Thessaloniki: Rotunda, interior, dome mosaic, western panel, Eukarpios (after KOURKOUTIDOU-
NIKOLAIDOU AND TOURTA 1997, fig. 57).
Fig. 44 Monza: Tesoro della Cattedrale, diptych of Styliko (from:
http://upload.wikimedia.org/wikipedia/commons/8/8b/Stilico_diptych.jpg, last accessed on 05.02.2007).
Fig. 45 Novara: Museo del Duomo, diptych of a patrician (after WEITZMANN 1979, 57).
Fig. 46 Ravenna: San Vitale, interior, sanctuary, imperial panel of Justinian, detail (after CESARETTI 2005, 118-
119).
Fig. 47 Reggio Emilia: museum, fibula (after WEITZMANN 1979, 303).
Fig. 48 Thessaloniki: Rotunda, interior, dome mosaic, southern panel, Onesiphoros (from:
http://www.ics.forth.gr/isl/fayum/portraits/p56.html, last accessed on 05.02.2007).
Fig. 49 Thessaloniki: Rotunda, interior, dome mosaic, southern panel, Porphyrios (from:
http://www.macedonian-heritage.gr/HellenicMacedonia/en/img_C231a.html, last accessed on
05.02.2007).
Fig. 50 Thessaloniki: Rotunda, interior, dome mosaic, northern panel, Basiliskos (after KOURKOUTIDOU-
NIKOLAIDOU AND TOURTA 1997, fig.66).
Fig. 51 Thessaloniki: Rotunda, interior, dome mosaic, northern panel, Priskos (after KOURKOUTIDOU-
NIKOLAIDOU AND TOURTA 1997, fig.67).
Fig. 52 Thessaloniki: Rotunda, interior, dome mosaic, north-eastern panel, Philippos (from
http://www.ics.forth.gr/isl/fayum/portraits/p57.html, last accessed on 05.02.2007).
Fig. 53 Thessaloniki: Rotunda, interior, dome mosaic, north-eastern panel, Therinos (from
http://www.ics.forth.gr/isl/fayum/portraits/p60.html, last accessed on 05.02.2007).
Fig. 54 Thessaloniki: Rotunda, interior, dome mosaic, south-eastern panel, Leon (after KOURKOUTIDOU-
NIKOLAIDOU AND TOURTA 1997, fig.64).
Fig. 55 Thessaloniki: Rotunda, interior, dome mosaic, western panel, details of the building and unknown saint
(after KOURKOUTIDOU-NIKOLAIDOU AND TOURTA 1997, fig.61).
Fig. 56 Thessaloniki: Rotunda, interior, dome mosaic, northern panel, details of the building (after
KOURKOUTIDOU-NIKOLAIDOU AND TOURTA 1997, fig.62).
Fig. 57 Florence: Museo del Bargello, Ariadne Ivory (from:
http://upload.wikimedia.org/wikipedia/commons/a/a4/Ivory_Ariadne_Bargello.jpg, last accessed on
05.02.2007).
Fig. 58 Vienna: Kunsthistorisches Museum, Ariadne Ivory (after WEITZMANN 1979, 31).
Fig. 59 Istanbul: Archaeological Museum, inlaid column from Hagios Polyeuktos (6th century) (after HARRISON
1986a, fig. 139).
Fig. 60 Ravenna: San Vitale, sanctuary, Jerusalem (after CESARETTI 2005, 86-87).
Fig. 61 Ravenna: San Vitale, sanctuary, Bethlem (after CESARETTI 2005, 86-87).
Fig. 62 Ravenna: San Francesco, sarcophagus (SMITH 1977, 30).
Fig. 63 Ravenna: Orthodox Baptistery, dome mosaic, detail of the lower frieze (after CESARETTI 2005, 40-41).
Fig. 64 Ravenna: Orthodox Baptistery, dome mosaic (after CESARETTI 2005, 33).
Fig. 65 Ravenna: Orthodox Baptistery, dome mosaic, detail of the lower frieze (after CESARETTI 2005, 37).
Fig. 66 Monza: Tesoro della cattedrale, Holy Land ampolla (after HAHN 1990, fig. 14).
Fig. 67 Vienna: Kusthistorisches Museum, monogrammatic cross (from: http://www.khm.at/homeE3.html, last
accessed on 05.02.2007).
Fig. 68 Rome: Catacomba of St. Sebastiano, epigraph (ICUR, V, 13229) (after FIOCCHI NICOLAI, MAZZOLENI,
BISCONTI 1998, 168 fig. 168).
Fig. 69 Venice: National Archaeological Museum, reliquary of Samagher (from:
http://images.google.com/imgres?imgurl=http://www.artimeholiday.com/sito/images/gallery/VeneziaM
v
useo/CapsellP.jpg&imgrefurl=http://www.artimeholiday.com/sito/gallery.htm&h=95&w=111&sz=14&
hl=it&start=2&tbnid=2kozXHIE3W1FfM:&tbnh=74&tbnw=86&prev=/images%3Fq%3Dcapsella%2B
samagher%26svnum%3D10%26hl%3Dit%26client%3Dfirefox-
a%26rls%3Dorg.mozilla:it:official%26sa%3DN, last accessed on 05.02.2007).
Fig. 70 Paris, Bibliothèque Nationale, Cabinet des Médailles, diptych of Magnus (from
http://upload.wikimedia.org/wikipedia/commons/b/bf/CABM-Diptyque_Magnus.JPG, last accessed on
05.02.2007).
Fig. 71 Thessaloniki: Rotunda, dome mosaic, lowest frieze, detail (after KOURKOUTIDOU-NIKOLAIDOU AND
TOURTA 1997, fig.63).
Fig. 72 Piazza Armerina: late-antique villa, plan (after UR!I 1993, 87 fig. 15).
Fig. 72a Pompei: House of Marcus Lucretius Fronto, wall painting, detail (after MACKAY 1975, 128 fig. 48).
Fig. 73 Rome: Sta. Pudenziana, apse mosaic (after TIBERIA 2003, tav. 4).
Fig. 74 Rome: Sta. Pudenziana, nave (from
http://www.lasalle.edu/academ/fine_art/art_hist/HON483/483lecture1/sld011.htm, last accessed on
05.02.2007).
Fig. 75 Rome: Sta. Pudenziana, apse mosaic, Christ (after PIETRANGELI 1997).
Fig. 76 Rome: Sta. Pudenziana, apse mosaic, apostles on Christ’s right (photo G. RINALDI; from:
http://www.giovannirinaldi.it/page/rome/santapudenziana/image19.htm, last accessed on13.08. 2007).
Fig. 77 Rome: Sta. Pudenziana, apse mosaic, apostles on Christ’s left (after TIBERIA 2003, tav. 8).
Fig. 78 Rome: Sta. Pudenziana, apse mosaic, jewelled cross (after TIBERIA 2003, tav. 12).
Fig. 79 Rome: Sta. Pudenziana, apse mosaic, buildings (photo G. RINALDI; from:
http://www.giovannirinaldi.it/page/rome/santapudenziana/image25.htm, last accessed on 13.08. 2007).
Fig. 80 Rome: Sta. Pudenziana, apse mosaic, circular building (after TIBERIA 2003, tav 17).
Fig. 81 Rome: Sta. Pudenziana, apse mosaic, octagonal or hexagonal building with opaion (after TIBERIA 2003,
tav 15).
Fig. 82 Rome: Sta. Pudenziana, apse mosaic, Matthiae’s drawing indicating the original parts of the mosaic
(after MATTHIAE 1967, Tavole, S. Pudenziana).
Fig. 83 Rome: Sta. Pudenziana, apse mosaic, Ciacconius’ drawing (after 1588) (from:
http://www.mcah.columbia.edu/cgi-bin/dbcourses/search?simplesearch=pudenziana, last accessed on
13.08. 2007).
Fig. 84 Rome: Sta. Pudenziana, apse mosaic, Eclissi’s drawing (1630c.) (after OSBORNE AND CLARIDGE 1996,
fig. 142).
Fig. 85 Madaba: mosaic floor, detail of the Madaba map, city of Jerusalem (from:
http://www.centuryone.com/images/MadabaMap.jpg, last accessed on 27.07. 2007).
Fig. 86 Rome: Sta. Maria Maggiore, triumphal arch mosaic, Jerusalem (after PIETRANGELI 1997).
Fig. 87 Rome: Sta. Maria Maggiore, triumphal arch mosaic, Bethlem (after PIETRANGELI 1997).
Fig. 88 Rome: Arc of Constantine, largitio (after WEITZMANN 1979, 68).
Fig. 89 Rome: Museo Pio Cristiano, sarcophagus with urban scenes (after WILPERT 1929, tab. CXXI/2 and
CXXI/3).
Fig. 90 Constantinople (Istanbul): palaces of Antiochos and Lausus, plan of the remains (after BARDILL 1997,
68 fig.1).
Fig. 91 Rome: hypogeum of the Aurelii, wall painting (after GRABAR 1966, fig. 106).
Fig. 92 Ravenna: St. Apollinare nuovo, interior (photo: M.C. CARILE, summer 2006).
Fig. 93 Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium (photo: M.C. CARILE,
summer 2006).
Fig. 94 Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, central structure(photo:
M.C. CARILE, summer 2006).
Fig. 95 Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, lateral portico towards
the centre of the nave (photo: M.C. CARILE, summer 2006).
Fig. 96 Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, lateral portico towards
the civitas Ravenna (photo: M.C. CARILE, summer 2006).
Fig. 97 Ravenna, St. Apollinare nuovo, interior, central nave, southern wall, palatium: Ricci’s sketch with the
eighteenth-century restorations (after RICCI 1933, tav. 23 - courtesy of Biblioteca Classense, Ravenna).
Fig. 98 Ravenna: St. Apollinare nuovo, interior,central nave, southern wall, civitas Ravenna (photo: M.C.
CARILE, summer 2006).
Fig. 99 Ravenna: St. Apollinare nuovo, interior, central nave, northern wall, civitas Classis (photo: M.C.
CARILE, summer 2006).
Fig. 100Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, hand on the first column
on the right (photo: M.C. CARILE, summer 2006).
Fig. 101Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, hand on the third column
on the right (photo: M.C. CARILE, summer 2006).
vi
Fig. 102Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, hands on the building’s
columns (photo: M.C. CARILE, summer 2006).
Fig. 103Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, colonnade on the right
(photo: M.C. CARILE, summer 2006).
Fig. 104Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, central opening (photo:
M.C. CARILE, summer 2006).
Fig. 105Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, palatium, central pediment(photo:
M.C. CARILE, summer 2006).
Fig. 106Paris: Bibliothèque Nationale de France, Département des Monnaies, Médailles et Antiques, diptych of
Anastasius (from: http://commons.wikimedia.org/wiki/Image:Flavius_Anastasius_Probus_00a.JPG, last
accessed on 05.02.2007).
Fig. 107Ravenna: San Vitale, interior, sanctuary, imperial panel, detail of the second lady on Theodora’s right
(after CESARETTI 2005, II).
Fig. 108Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, civitas Ravenna, detail of the
lunette (photo: M.C. CARILE, summer 2006).
Fig. 109Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, civitas Ravenna, details of the
buildings behind the palatium (photo: M.C. CARILE, summer 2006).
Fig. 110Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, civitas Ravenna, details of the
buildings behind the palatium (photo: M.C. CARILE, summer 2006).
Fig. 111Ravenna: St. Apollinare nuovo, interior, central nave, southern wall, civitas Ravenna, details of the
buildings behind the palatium (photo: M.C. CARILE, summer 2006).
Fig. 112Constantinople in Late Antiquity (after MANGO 2002, 64).
Fig. 113Istanbul: Büyük Sarayi Muzesi, plan of the remains with the indication of the mosaic floor (after JOBST
1999, fig.2).
Fig. 114Istanbul: remains of the Boukoleon palace before 1918 (courtesy of Deutsches Archäologisches Institut
– Istanbul, Photographic Archive; MAMBOURY AND WIEGAND 1934, taf. 29) .
Fig. 115Istanbul: area under the parking of Küçük Ayasofya Caddesi, view of the substructures of the imperial
palace (after MAMBOURY AND WIEGAND 1934, taf. 87).
Fig. 116Constantinople, plan of the city in the Theodosian age (after MANGO 1990, pl. II).
Fig. 117Trier: Domschatz, ivory (from
http://rubens.anu.edu.au/raider4/europe.0602/germany/trier/churches/cathedral/domschatz/index2.html,
last accessed on 10.08.2006).
Fig. 118Rome: Sta. Maria Maggiore, the triumphal arch, mosaic, detail (after PIETRANGELI 1997, 25).
vii
Introduction
Working on absences
Recent research has shown that, from the ninth century onwards, the
imperial court mirrored the heavenly court of God.1 However, as we will
see in the course of this research, such a conception did not originate in the
middle Byzantine period. The vision of the court of the emperor as a
reflection of the heavenly court in fact has a long tradition and was
developed in Late Antiquity, having an important impact on Byzantine
imagery.2 In studying the development of this idea, I concentrated on the
role of the imperial palace as the favourite setting for the imperial court: if
the imperial court reflected the heavenly court of God, then the imperial
residence, where much of the court ceremonial took place, should reflect the
heavenly abode of God in Byzantine imagery and reality. Yet the topic has
not attracted much interest from scholars. Mango has addressed the subject,

1 MAGUIRE 2002.
2 Grabar developed this point in an early work that became of capital importance for the
understanding of the late-antique and early-Byzantine art (GRABAR 1971). Grabar’s work
was heavily criticized by Mathews in a very interesting monograph whose thesis, as we will
see, is not entirely convincing (MATHEWS 1999).
1
without however developing it in detail.3 Only Antonio Carile has outlined
the conception of the imperial palace as a heavenly Jerusalem and
emphasized the way in which it manifested itself as an expression of
imperial ideology in Byzantium.4 This research is very indebted to Carile’s
work; my work is however limited to Late Antiquity, and is centred on the
analysis of the visual evidence for the palace as it is conveyed by both
written and artistic sources. It will consider the value of texts and images in
the creation of a web of meanings reflecting the role of the imperial palace,
and its conception as a physical and ideal place in late-antique imagery.

1. The imperial palace: from the temporary imperial residences to the
unique imperial palace of Constantinople
The imperial palace was the residence of the emperor. In the third
century Cassius Dio explained that the imperial residence was called
palatium in reference to the name of the first imperial residence, that of
Romulus on the Palatine hill, where Caesar and the following Roman
emperors had their palace.5 From that first dwelling every place where the
emperor resided was called palatium.6 This belief persisted in Byzantium.

3 MANGO 1999, 50.
4 See especially: CARILE A. 2003a; CARILE A. 2003b; CARILE A. 2003c. For the holy
palace of Constantinople, see also: CARILE A. 2002a; CARILE A. 2002b, 80-85.
5 On the palace of the Palatine, see: IACOPI 1995; CECAMORE 2002, 155-211. For its role in
Late Antiquity and the Middle Ages, see: AUGENTI 1996; AUGENTI 2004, 15-18.
6 CASSIUS DIO, Hist. Rom., 53.16.5-6, ed. E. Cary, VI, London 1917, 234-235. On the
antecedents and the mythic origins of the residence on the palatine hill, see the panegyric of
Mamertinus in honour of Maximian and Diocletian (AD 289) (MAMERTINUS, Panegyricus,
I.2, ed. D. Lassandro and G. Micunco, Torino 2000, 72-73 and n.4).
2
Prokopios clearly repeated the argument in the sixth century when he
explained that the name of the residence in Rome, where Augustus later
built his dwelling, derives from Pallas, the Greek who lived before the fall
of Troy in a lavish dwelling on the same location; for this reason, he
continued, the Romans called the imperial palace palatium, as did the
Greeks.7 This reference to a different legend on the origins of the Palatine
hill’s palace shows that Prokopios did not borrow from Casssius Dio, but
also that the conception of palatium – the imperial residence that was any
place where the emperor resided – does not seem to change across the
empire and the centuries.8
The division of the empire in the age of the tetrarchs resulted in the
creation of an imperial seat for the two Augusti and the two Caesars, who
had Nikomedia, Milan (Mediolanum), Antioch, Sirmium, and Trier
(Augusta Treverorum) as official capitals. As a consequence of the
continuous threat of invasions, from the third century onwards several major
cities of the empire acquired a palace to house the emperor and, therefore,
the status of imperial residences. This trend continued up to the age of
Constantine and throughout the fourth century. In addition, the emperors
had several private houses either in Rome or elsewhere, which hosted the

7 PROKOPIOS, Bell. Vand., III.21.3-4, ed. H.B. Dewing, II, London 1916, pp. 176-179.
8 For the use of the world palatium in Roman poetry and the legends on the origins of the
Palatine residence, see: VIARRE 1961.
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