Hylographia

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Ars Adriatica 2/2012. (75-84) Milenko Lonar - Maria Mariola ari: HYLOGRA

IN RODUC ION1

Emperor Constantine Porphyrogenitus or, morelikely, one o his sources, describes ve o Dalmatiasmost important cities in theDe Administrando Imperio.All o his descriptions share the same pattern: a noteabout the meaning o a towns name is given rst, nexta geographical or architectural description, and nallyrecords and descriptions o important churches, while

requent mention is made o acts pertaining to a townsspiritual li e. In this manner the Emperor describestwo churches in Zadar: the Church o the Holy rinity(now known as the Church o St Donatus) and theCathedral Church o St Anastasia. Te Church o StAnastasia is outlined in a simple sketch: it is a basilica, very similar to the Church o the Virgin Chalkoprateiaat Constantinople;2 it has two-colour columns and isentirely painted in ancienthylographia, while its oormosaics are more beauti ul than all o these.3 In thispaper we are concerned with what the termhylographia means and what was painted in this technique. We shallbegin with a summary o translations and commentarieson this particular section o the text.

RANSLA IONS AND COMMEN ARIES

Johannes Meursius was the rst to publish thtext, at the beginning o the seventeenth century, he translated the sentence about Zadar Cathedral

ollows:Sanctae vero Anastasiae templum cursualeest, simile illi quod in Chalcopratiis, et columnas habet prasinas atque albas, sculptura vetusta , pauimentummirice tessellatum.4 From his commentary it can bconcluded that Meursius misread the wordhylographia as hligraphia, a word not ouund in the manuscripwhich he suggested should be read asstlographia.5 Tisis the reason why in his translation he uses the wsculptura, which does not appear in any other editioMoreover, his translation is too loose: he omitted participle eikonismenos (painted) and the adjectivholos (entire).

Another translation o theDe Administrando Imperiowas published in the eighteenth century by AnselBanduri, an erudite Byzantologist rom Dubrovand the relevant translated section reads:...totumque(sc. templum) ornatum est in guris pictura vetustaelaboratis.6 It is clear that Banduri translated the ter

HYLOGRAPHIA(De Administrando Imperio , 29/280)

Milenko Lonar - Maria Mariola ari

The church of St. Anastasia in Zadar is said to be entirely covered in ancient hylographia in Porphyrogenitus De administrando imperio.It is not entirely clear which technique is being used here, nor which portion of the church is being referred to. For this reason past viewson the subject are examined, as well as original information. Finally, precedence is given to the encaustic technique, with which the wallsof churches would be decorated, and perhaps even their ceilings; a broader meaning of the word is not eliminated, which would include painting techniques different from mosaic. The question of the meaning of the term archaios is discussed as well, which, by analogy withits other uses in the text, means old, and not old-fashioned.

Keywords:Constantine Porphyrogenitus, De Administrando Imperio , Zadar, St. Anastasia, hylographia , encaustic, archaios

Milenko Lonar - Maria Mariola ariDepartment o ClassicsUniversity o ZadarObala kralja Petra Kreimira IV. 2HR - 23 000 Zadar

Izvorni znanstveni radOriginal scientic paper

Primljen /Received : 15. 1. 2012.Prihvaen / Accepted : 20. 6. 2012.UDK: 75.021.33-035.3:81373.


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Ars Adriatica 2/2012. (75-84Milenko Lonar - Maria Mariola ari: HYLOGRAPHIA...

hylographia with one word - pictura, the art opainting, painting - as it is in Greek, which makes itevident that the most important aspect o the termis the technique o painting, rather than the product(that is paintings), which is nonetheless implied.Banduri translated the Greek participleeikonismenos(painted) into the phraseornatum in guris (decorated with gures), which is accurate as the verbeikoniz implies gural representation.7 However, theword pictura itsel does not provide any in ormationabout which technique is in question. Only in thecommentary does Banduri explain that Greek authorsdifferentiated between two main pictorial techniques,mosaic andhylographia, the latter made by using waxand colours on any material. For a more detaileddescription o the technique, Banduri re ers the readerto Du CangesGlossary .8

In the early twentieth century Nikola omai

translated Porphyrogenitus text into Croatian and histranslation o this sentence reads: with icons paintedin the old style.9 By omitting the word entire romhis translation o the phrase, omai, like Meursius,also saw hylographia as denoting a particular typeo painting and, in doing so, given that icons areregularly painted on wood, perhaps gave the originaltext a more narrow meaning than the one it actuallyhas. Ferdo ii, on the other hand, explicitly statedthat the church o St Anastasia (...) is entirely paintedwith ancient paintings on wood.10

R. J. H. Jenkins, one o the best modern expertson Constantines work, translated this passage in theollowing manner: Te church o St Anastasia is (...)all decorated with encaustic pictures in the antiquestyle.11 Only Jenkins mentions the encaustic techniquein relation to the meaning o the termhylographia. Inthe commentary he approximates omai and iiby explaining that Te word means icon-paintingson wood, as distinct rom mosaics and re erring toBanduri.12 However, Banduri made a distinction bypointing out that these were paintings in colour andwax onany base.

In the second hal o the twentieth century,translators decided on the broadest sense o theword - Boidar Ferjani translated it as: entirely andbrightly painted with old pictures,13 Mate Suis as:entirely decorated with paintings in the old style,14 while Jovan Martinovis translation is: with paintingsin the old style.15

Te English translation o our Croatian trans-lation [entirely pictured in ancient wood carving(xylography )], rom around ten years ago, is in act the

result o the translators misinterpretation o our origtext - the Croatian word drvopis and pisati shohave been translated as writing or drawing/paintirather than carving.16 In our translation, the rst parto the compound (drvo-) stands or our view omeaning o the Greekhylo- as also re erring to the baso the painting; nonetheless, in the commentary, we the question o whathylographia actually is open.17

With the exception o Meursius, translators hagenerally opted or either a more narrow meano the wordhylographia (encaustic painting, iconsor or a broader one (pictures, paintings) wthere ore re ers to all painting that is not mosaic.

However, Nikola Jaki has recently publishedpaper in which he suggests a very enticing theoabout the nature o hylographia.18 He correctlyassumes that the hylographia mentioned in theDe Administrando Imperio would have had to be

o considerable importance in order to have bementioned at all in connection with the mosaiin the Cathedral o St Anastasia.19 Tere ore, it isunlikely that thishylographia re erred to small- ormedium-sized icons. Instead, it is more likely thare erred to a large, important or striking eaturethe Cathedral. Jaki suggests thathylographia mightre er to a painted, wooden ceiling or to ramewbeams. According to him, this opinion is strengthenby the act that the author o theDe AdministrandoImperio seems to be taking in a view o the Cathed

rom the top to the bottom; hence thehylographia would be something positioned at a greater heigJaki, however, neglects the order o the descripin the text, which mentions the columns rst, ththe hylographia, and nally the oor. Since thcolumns stand on the Cathedrals ground level, thylographia, according to this interpretation, cannore er to wooden beams which would have b

ound above the columns. Furthermore, neither dJakis interpretation o the adjectiveholos (entire/whole) comply with this interpretation which, our opinion, denotes a horizontal register: the wao the Cathedral whichmight include the ceiling or

ramework beams. Since Porphyrogenitus specimentions the oor, it seems likely that he would halso mentioned the ceiling or the beams i there been such elements. However, what he did mentiwas that it wasentirely painted.

Jaki does allow the possible interpretation hylographia as mural paintings, but the discovero decorated wooden beams in the rotunda Holy rinity at Zadar, adjacent to the Cathedral


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Anastasia, encouraged him to interpret the word asre erring to painted or decorated wooden beams or awooden ceiling.20 Although Jaki offers an enticingargument, we believe that his equating ohylographia with wooden beams is not a very plausible solution.Te reason or this lies in the act that only one end oeach o the a orementioned beams was decorated,21 butalso because it is certain that the beams were placedin such a way that their ends were visible rom theoutside, as overhanging eaves. 22 Tese beams, however,do provide evidence about the practice o carving andpainting o roo beams in early medieval Zadar.

What, then, was thehylographia?

SOURCES

Kerochytos graphe

o the extent o our knowledge, Du Cangesscholarship is the most thorough in its citing oprimary sources.23 He compiled a veritable treatiseon the technique o hylographia. Nonetheless, it isinteresting that he does not discuss the meaning othe word under the entryhylographia, but, instead,pre ers to do so in the entry orkerochytos graphe(painting with molten wax). In reality, this techniqueis very old and is mentioned as early as Plato in the

imaeus.24 Du Cange, however, begins with Pliny whodescribes it as pictura, quae t resolutis igni ceris, cum penicillo (painting which is made with wax meltedwith re and a brush).25 According to this Romanencyclopaedist, the painting process begins withouta paintbrush, which is what Du Cange believesencaustic painting is in the strictest sense. Te wordencaustic itsel , as well as the technique, was borrowedby the Romans rom the Greeks. In the meanwhile,the Greeks themselves began to use a different term,kerochytos graphe (painting with molten wax); thiscan be seen in later writers in particular and theerudite Du Cange gives examples o late antique andearly medieval Greek theologians such as Eusebius(260-349 AD), John Chrysostom (c. 347-407 AD), andJohn Damascene (c. 676-749 AD).26

Other termsNonetheless, other terms were also used during the

same period, such as the termkerographia (paintingwith wax), used by Callisthenes rom Rhodos andquoted by Athenaeus who lived in the late secondand early third centuries.27 Teodosius, the bishop oAmorion in Asia Minor used the wordschromatourgia

(work with colours) andchromatike zographia(painting in colour) at the Seventh EcumeniCouncil in Constantinople in 787,28 although thesewords do not, in themselves, in orm us about details o those techniques. Descriptive phrases also be ound in primary sources. For example,

ourth-century poet Ausonius speaks o : burning thethresholds o the doors withwax // and thewoodwork o the atrium.29 Procopius, the sixth-century historiandescribes the main entrance to the Imperial GrePalace, the Chalke gate, with these words: Te entceiling is decorated, notcoated here withmelted and poured wax , but rather urnished with tiny stonedecorated in all sorts o colours.30 In the seventhcentury, St Anastasius o Sinai provided an accudenition: a painting is nothing other than wood acolours mixed and melted with wax.31 ConstantineChartophylax succinctly described the technique

the twelfh century when he wrote: neither did wchoose to worship the essence which is above esseand be ore eternity withwax and boards.32

HylographiaOne o these additional terms ishylographia which,

according to Du Cange, younger writers began toin order to differentiate the technique rom mosai33 Te oldest among them is the a orementioned eightcentury bishop Teodosius who mentioned holy anworshiped pictures and illustrations, ohylographia and mosaic.34 A similar, albeit more complicaterecord is given by Teophanes, a Byzantine chroniclrom the eighth and early ninth centuries, wsays that: Te same year (sc. 759, authors notNiketas, the alsely named patriarch, carved dothe patriarchic images o the small privy chambethe patriarchal residence done in mosaic and brougdown (the patriarchic images) rom the large prchamber known as the ropic made ohylographia,and smeared the aces o the remaining images, did the same in Abramiaion.35 Te author o themanuscriptVitae S. Teodori Syceotae uses the verbal

orm a hylographed image,36 while the eleventh-century chronicler Skylizses uses an adjective deri

rom the nounhylographia: hylographic picture.37

HyleTe rst part o the compound, the wordhyle,

can appear in isolation as well as in the contextpictures. An example rom John Damascene is vclear: when we see a picture o Christ crucied..not the material that we are bowing down to, but


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that which is pictured.38 In Johns opinion, there ore,hyle is simplymateria (the material), which re ers tothe whole picture and he does not differentiate thebase rom that which is applied to it.

Some o Du Canges examples agree with JohnDamascenes understanding o the term; or example,one may examine the ollowing citation o theByzantine patriarch and historian Nikephoros (c. 758-828): a bodily similarity to the Mother o God, withthe help o material.39 In another quote rom thiswriter the nounhyle is used in conjunction with theadjectivekerochytos(o melted wax) which narrowsdown the basic meaning o material to that o thewax mixture with which the pictures are made: hescraped the picture o our Saviour and o the saintsthat were (made) o small golden stones and o meltedwax material.40 John, the Patriarch o Jerusalem (mostlikely the one rom the tenth century)41 had the same

thought when he wrote about a painters hand: he usesthe most excellent materials in an excellent way.42 Teeighth-century Byzantine Patriarch Germanus speaksin a similar manner: not only withmaterials, butalso with a shape which is rendered withmaterials.43 Te a orementioned Bishop Teodosius seems tounderstand the meaning o the word in a narrowsense when he re ers to the substance used to paintgures, rather than the material they were painted on:a picture... o all kinds omaterials, gold and silverand all sorts o activities in colours.44 Placing thedivine and the secular in opposition, the documentPseudosynodus Graecorum contra Imaginesuses theadjectivehylikos (material) as ollows: to depict theundepictible essence and nature o the word o Godusingmaterial colours.45

It is not easy to discern the meaning o the wordhyle in each case; or example, when Teodorus, theeighth-century Patriarch o Jerusalem, mentionsnot encouraging worship with the help ohyle andcolour.46 From this it is evident that he distinguishesbetweenhyle and colour. Here,hyle could re er to awax substance into which colours are added, but itcould also perhaps re er to the (wooden) base ontowhich the paintings were painted even thoughhyle hadnot been used to mean wood since the Patristic era.47 It is possible thathyle and colours are not equal terms;instead,hyle seems to have a wider range o meaningwhich includes colour. I so, perhaps the quotation

rom Teodorus should be understood to meanworship primarily with the help o material, (or mostofen, rather) with the help o colour? An example

rom the manuscript Anonymus Combesianus in

Porphyrog.is even more mysterious: in the hall o imperial sleeping-chamber [were] prepared excellmosaic pictures o colour, materials and shapes.48 Is itmore likely that the material in question (hyle) re ersto the mosaictesserae in this case?

Te case o the tenth-century Byzantine EmperConstantine Porphyrogenitus is special; in tVita Basilii he used the adjectiveenylos ( or whichthe Liddell-Scott dictionary gives the meaning involved or implicated in matter): decorating ceiling withenyloispictures.49 What is the issue here?Te Emperor must have used the adjective not in thlate classical sense which Liddell and Scott mentiobut in the new sense o the word; there ore, Du Cwas right when he commented that: It seems thPorphyrogenitus himsel understood (...) not painwooden boards, but rather thetechnique o painting.50 Tis would simply mean that the ceiling was paint

with the hylographic technique.From the a orementioned examples it is nobvious what the exact meaning ohyle in thecompound hylographia is, nor why it replaced theterm kerographia or, rather,enkaustika. Tere are twopossible explanations: either the wordhyle, throughAristotles use o it to mean material, gained a mnarrow meaning o painting material, or it retaine

ormer meaning o wood given thanhylographia wasusually applied to wooden backgrounds. Du Canconcluded that the word retained both meanings.51

Hylographia and MosaicDu Cange also concluded that the wordhylographia was used when writers wanted to distinguish it mosaic. Judging rom Teodosius phrase (hoand revered paintings and images, both made hylographia and o mosaic) and that o Teophan(pictures that were made o mosaic and (...) whwere made ohylographia), it seems that in the earlmedieval Byzantium there weretwo main paintingtechniques used or the painting o holy images.above mentioned Patriarch Nikephoros makes distinction between the two in a similar manner whin the ninth century, he writes about the same eveas Teophanes but, instead ohylographia, he uses theterm kerochytos graphe: pictures (...) which were madup o golden stones and o melted wax material.52 Tisalso provides evidence that his termkerochytos grapheand Teophaneshylographiaare synonymous.

Other documents also regularly mention the twtypes o two-dimensional representations althouthey do not use the termhylographia nor the word


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wax. For example, the Acts o the Seventh EcumenicalCouncil (787) mentions all gural painting, eitheron boards or on mosaics on walls... In addition todistinguishing between these two techniques, the Actsalso directly re ers to thebase in painting. It is onceagain made obvious that walls are intended or mosaicwhile wooden boards are intended or painting in thestrict sense o the word, even though the paintingtechnique itsel was not specically mentioned.

Nonetheless, it is possible that the wordhylographia was used in the general meaning o paintingprimarily because this was the most widespreadtechnique: the Anonymus MS de cultu imaginum records that: Te nature ohylographia is one thing,the nature o Christ another...,53 and it can be assumedthat here the nature ohylographia must have re erredto artistic depictions o Christ in general.

BaseIt seems that encaustic art rom antiquity onwardindeed implies painting on a wooden base, as ismentioned in an inscription: HE PAIN ING OF

HE WALLS AND CEILING AND HE ENCAUS ICAR OF HE DOOR.54 It is logical to conclude that adifferent technique was used or doors since they weremade o different materials. Ausonius verses seem toconrm this: burning the threshold o the door withwax // and the wood o the atria,55 assuming that thethresholds were also made o wood. A somewhat latersource, John Chrysosthom, says in his homily: theyworship neither the panel nor the picture o meltedwax, but the meaning o the emperor.56 Te picture inquestion is a portrait o the emperor that was carriedin processions and so it is impossible that the basein this context was a wall. In the seventh century,Anastasius o Sinai dened an obviously prevalentmethod o artistic impression: a picture is nothingmore than wood and colours mixed and melded withwax.57 Even Germanus, the eighth-century Patriarcho Constantinople expressed himsel in a similarmanner in the context o the iconoclasm debate, but,without mentioning the technique by name: one doesnot kneel be ore a mixture o boards and colours,but be ore God, who is invisible.58 ConstantineChartophylax wrote in a similar manner as JohnChrysostom: neither did we choose to worship theessence which is above essence and be ore eternitywithwax and boards.59

When discussing the materials used orbackgrounds inhylographia, Du Cange, states thathylographia can be made on any sort o material.60

However, apart rom wood, he only mentions a examples o pictures on canvases, and a somewunclear phrase by Bishop Teodosius (a picture... all sorts o materials, gold and silver and all oactivities in colours), without providing a sinexample o wall paintings (either on walls themseor ceilings) which is what interests us most.61

We have noted that Procopius described thentrance to the Great Palace: the whole ceilboasts o its pictures, not having been ixed wax melted and applied to the sur ace, but swith tiny cubes o stone beauti ully coloured inhues. It would seem that such a phrase implies possibility o ceilings painted in the encaustic (wtechnique (but also the act that mosaics were vamore than encaustics), which is important to bein mind be ore discussing the manner in which Cathedral o St Anastasia might have been pain

Du Cange, however, understandsex enylon graphon,the words Porphyogenitus used to describe a whis grand ather ordered to be constructed, to me painted walls, even though he claimed that the accewas not on them, but on the method or, rather, thtechnique with which they were painted.62 here ore,the question o how ceilings were painted whylographia remains open: were the colours applieto them directly, or were the wooden panels paint

irst and then attached to the ceiling sur ace?Lucca, an eighth-century manuscript, there is recoo colours being mixed with wax and applied to wand wooden bases alike.63 With regard to the sameissue, theEtymologicum seems explicit when it stateBecause the painters who decorate walls are caencaustic artists.64 Eastleake, on the other handexplained this by noting that encaustic art was widused rom the early Christian period onward, aassumed that painters who used other wall-paintitechniques were also called encaustic artist65 Nevertheless, the veracity o theEtymologicum isquestionable since it was composed in a signi icalater period.

ARCHAIOS

Tere are two meanings attached to the translatioo the termarchaios: old- ashioned and old, aboth may be correct. Te rst meaning denotes style perceived as old- ashioned in comparison

or example, Constantinople, which again impthat works o art were being newly made; the sec


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meaning re ers to the age o a product without makinga distinction between its style and the material.

I we look or other examples o the use o theadjectivearchaios in De Administrando Imperio, thereare seven more instances o it. wo examples re er tothe age o towns,66 two re er to names (o a people,67

and o a country 68

), two examples pertain to mankind(one to riendship,69 the other to evil70), and oneexample pertains to customs.71 In all o the examplesthe adjective has the same meaning o old and notold- ashioned; it is likely that the same meaning wasintended in the case ohylographia at Zadar.

CONCLUSION

All in all, i we return to the topic o the Cathedralo St Anastasia and consider the original statement

that is was entirely painted with ancienthylographia,the rst thing we can conclude is that the descriptire ers to images painted in the encaustic techniqSince this technique is applied to wooden basit can also be concluded that the Cathedral oAnastasia was lled with such pictures. Un ortunaPorphyrogenitus did not use the noun picturebut the verb to make pictures instead, which aincludes the possibility that the walls themseland/or the ceiling/wooden beams were also paintTe theory that the wordhylographia was used inDe Administrando Imperio to convey a general meaningas was the case in the Anonymus MS de cultuimaginum and the Etymologicum is even less likely.I it had been so,hylographia would re er to all othepainting techniques except mosaic such as resco tempera. However, to date, no traces o colour hbeen ound on the walls o Zadar Cathedral.72


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1 Tis paper was written in conjunction with the MA seminarcourse on Constantine Porphyrogenitus, taught to students oGreek language and literature in the winter term o 2010/2011at the Department o Classics at the University o Zadar, at thesuggestion o Pro essor Pavua Vei rom the Department o

History o Art.2 Te comparison reveals that the writer o the text is someone

who knows Constantinople well, an excellent point noted bySUI, 1981, 6. We demonstrated on several occasions thatthis was a distinct writer who was responsible or all chapters

ocusing on Dalmatia except Chapter 30; see LONAR, M.,2002a, 98-105; LONAR, M., 2002b, 14 and 26.

3 Te original text, in the best edition, JENKINS, R. J. H., 1967,139 (29/278-284), reads: , , , .

4 MEURSIUS, J., 1611, 87.5 MEURSIUS, J., 1611 (Notae in Constantinum), 29: ]

Scribe, .Te reading had already been correctedby Banduri see: MIGNE, J. P., 1864, 113, col. 269, ootnote 44.

6 MIGNE, J. P., 1864, col. 270. (First translation published byBANDURI, A., 1711)

7 See LAMPE, G. W. H., 1961, s. v.: 1. fashion... 2.represent, portray ...8 MIGNE, J. P., 1864, col. 269, ootnote 44:cum cera et coloribus

in quavis materia.9 OMAI, N., 1994, 77. (First translation published by

OMAI, N., 1918)10 II, F., 1990, 444.11 JENKINS, R. J. H., 1967, 139.12 JENKINS, R. J. H., 1962, 111.13 FERJANI, B., 1959, 24.14 SUI, M., 1981, 6.15 MAR INOVI, J., 1990, 30, 16.16 LONAR, M., 1999, 235-243. Instead ohylographia, the same

paragraph contains another incorrect term -chylographia. Weonly discovered the errors eleven years afer the article waspublished, as it was originally written in Croatian and thensubsequently translated.

17 LONAR, M., 1999, 237.18 JAKI, N., 2008, 187-194. Jaki actually used the word

xylography instead o hylographia, repeating it rom our articleOn the Description, 237, which contained the translators error.19 JAKI, N., 2008, 190.20 JAKI, N., 2008, 190.21 VEI, P., 2002, 52 and 117-118.22 Suggested by Pro essor Pavua Vei in March 2012.23 DU CANGE, 1688, cols. 647-652.24 LIDDELL-SCO , H. G., 1940. s. v. .25 Lib. 35, cap. 11, cited in: DU CANGE, 1688, col. 647.

26 DU CANGE, 1688, col. 648.27 Lib. 5 Dipnosoph., acc.: DU CANGE, 1688, col. 649.28 Satisfactio, DU CANGE, 1688, col. 649;in Synodo VII Act. 4,

DU CANGE, ibid.29

Epigr. 26, DU CANGE, 1688, col. 648. All translations Greek throughout the paper are ours, unless otherwise statas is the use o italics.

30 De aediciisI, 10, HAURY, J., 2001, 40, line 15. DU CAN1688, cols 647 and 650: , , .

31 Sermo de Sabbato, DU CANGE, 1688, col. 649: , .

32 Homil. in SS. Martyres, DU CANGE, 1688, col. 650:

.33 DU CANGE, 1688, col. 649.34 In VII. Synodo Act. 4, DU CANGE, 1688, col. 649:

, , .

35 An. 17 Copron., DU CANGE, 1688, cols 649-650: , .

36 DU CANGE, 1688, col. 650.37 DU CANGE, 1688, col. 650: .38 De de orthodoxa 4.16, cited in: LAMPE, G. W. H., 196

s.v. hyle: .

39 Disputat. cum Leone Armenio de imaginib., cited in: DU CANGE1688, col. 650:

40 Hist., cited in: DU CANGE, 1688, col. 648: .

41 See OCONNOR, J. B., 1910. Accessed 13 March 2011 New Advent: http://www.newadvent.org/cathen/08459b.htm

42 Vita S. Joannis Damasceni, cited in: DU CANGE, 1688, co

650: .43 Homil. in I. Dominicam Jejuniorum, cited in: DU CANGE

1688, col. 650: , .

44 In Libello satisfactionis, in: DU CANGE, 1688, col. 651: ... , .

45 DU CANGE, 1688, col. 650: .

Notes


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46 In Synodico, cited in: DU CANGE, 1688, col. 650: .

47 See LAMPE, G. W. H, 1961, s. v., and John Damascene: . ... , . , , . . ; (I worship and bow down to the material bywhich my salvation occured, but I dont worship it as I do God,but as (a material) ull o divine energy and love; is not the woodo the crossmaterial ?;De sacris imaginibus orationes 2.14, cited in:LAMPE, ibid. ad 4). Te example clearly shows thathyle does notmean wood any more, but has undergone semantic broadening.

48 DU CANGE, 1688, col. 651: , , , .

49 Basiliusnum. 85 Edit. Combesii, DU CANGE, 1688, col. 651: .

50 DU CANGE, 1688, col. 651:Idem Porphyrogenitus ... non tamabellas ligneas pictas, quam in iis pingendi rationem videtur

intellexisse.51 DU CANGE, 1688, cols. 650-651.52 Hist., cited in: DU CANGE, 1688, col. 648; greek text in

ootnote 40.53 Anonymus MS de cultu imaginum, ex Cod. Reg. 1595, cited in:

DU CANGE, 1688, col. 651: , .

54 Noted by LAUREN IUS PIGNORIUS,Explicat. Mensae Isiacae pag. 32, cited in: DU CANGE, 1688, col. 649: .

55 Epigr. 26, cited in: DU CANGE, 1688, col. 648:Ceris inurens januarum limina,// Et atriorum pegmata..

56 Homil. Feriae quintae, cited in: DU CANGE, 1688,

col. 648: , , .57 Sermo de Sabbato, cited in: DU CANGE, 1688, col. 649:

, .

58 Ad Tomam Episc. Claudiopoleos, cited in: DU CANGE, 1688,col. 650: , .

59 Homil. in SS. Martyres, cited in: DU CANGE, 1688, col. 650;greek text in ootnote 32.

60 in quavis materia; DU CANGE, 1688, cols. 649-651.61 Satisfactio, cited in : DU CANGE, 1688, col. 651; greek tekst in

ootnote 44.62 See ootnote 50.63 EAS LAKE, C. L., 2001, 169 and ootnote : Ita memoramus...

operationes quae in parietibus, simplice in ligno, ceracommixtis coloribus, &c...

64 Etymologicum magnum ( rom the mid-twelfh century;according to Eastlake, rom the feenth), cited in: DUCANGE, 1688, col. 649: , , , .EAS LAKE, C. L., 2001, 150-151.

65 EAS LAKE, C. L., 2001, 150-151.66 JENKINS, R. J. H., 1967, 116-117 (27/50): (Te rst city, ancientmighty, was Capua); 27/58, ibid.: (Naples was anciently the praetorium).

67 JENKINS, R. J. H., 1967, 170-173 (38/28):

(and they to this day are called byancient denomination o the urks Sabartoi asphaloi).68 JENKINS, R. J. H., 1967, 284-285 (53/504): (Chaomuch is the name o the man o olden times

ounded the village).69 JENKINS, R. J. H., 1967, 242-243 (50/209):

(As I am your old rieis tting you should do me a avour).

70 JENKINS, R. J. H., 1967, 130-131 (29/159): (But, mind ul o his amalice).

71 JENKINS, R. J. H., 1967, 226-227 (48/15): shall be appointed by his own bishops, according to anccustom).

72 According to Pro essor Pavua Vei, one o the oreexperts o the history o the Cathedral o St Anastasia.


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MAR INOVI, J., 1990 - Jovan Martinovi, Prolmena za problem prvobitne crkve sv. ripuna u Koto Prilozi povijesti umjetnosti u Dalmaciji, 30, 5-29.MEURSIUS, J., 1611- Johannes Meursius,Constantiniimperatoris Porphyrogeniti, De Administrando imperio,ad Romanum F., Lugduni Batavorum.MIGNE, J. P., 1864 - Jacques Paul Migne,Patrologiaecursus completus, series Graeca, tom. 113.OCONNOR, J. B., 1910 - John B. OConnor, St. Damascene, in:Te Catholic Encyclopedia, New York.SUI, M., 1981 - Mate Sui, Zadar u De administraimperio Konstantina Porrogeneta,Radovi Zavoda JAZU u Zadru, 27-28, 5-29.II, F., 1990 - Ferdo ii,Povijest Hrvata u vrijemenarodnih vladara, Zagreb (pretisak izdanja iz 1925.).

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Saetak

HYLOGRAPHIA(De Adminstrando Imperio , 29/280)

Opisujui u De administrando imperio zadarskukatedralu Svete Stoije Konstantin Porrogenet kazao je, izmeu ostaloga, kako je sva oslikana drevnomhilograjom. U pokuaju boljeg razumijevanjanametnula su se tri pitanja: na prvom mjestu to jesama hilograja, zatim na to bi se konkretno odnosioopis da je crkva sva oslikana, te najzad znaenje izrazaarchaios: drevan, star ili starinski.

Najprije su razmotreni prijevodi dotinog mjesta,iz ega je proizaao zakljuak kako se autori odluujuuglavnom za dva shvaanja pojmahylographia, u uemsmislu - za tehniku enkaustike ili u irem - za opeznaenje slika. Potom su propitani izvorni navodi otehnici enkaustike i o njezinim nazivima, posebno onazivuhylographia, prvenstveno na temelju opirne DuCangeove natuknice u njegovu djeluGlossarium mediaeet inmae Graecitatis. Pokazalo se da se za enkaustiku uranom srednjem vijeku ustalio naziv hylographia, te da je on mogao imati i ire znaenje, koje je obuhvaalo sve

slikarske tehnike osim mozaika.Hilograja se ostvarivala u najveem brojusluajeva na drvenoj podlozi, a rijetko na platnu ilina zidu. Stoga je i na zakljuak uoblien sukladnotome. Najvjerojatnije su u Svetoj Stoiji posrijedi biledrvene povrine oslikane tehnikom enkaustike, no nije

nemogue ni da je rije o zidovima ukraenim nekdrugom tehnikom izuzevi mozaik.

Najmanje se vjerojatnom ini izazovna pretpostavNikole Jakia kako bi se opis odnosio na oslikanizrezbarenu krovnu konstrukciju. Hipoteza se oslana analogiju s ukraenim dijelovima srednjovjekovgreda pronaenih u Svetom Donatu. eko je, meut vjerovati da se izrazom kako je crkva sva oslikana na krovnu konstrukciju. Budui da je pisac izrijekopisao mozaikalni pod i raznobojne stupove, biloza oekivati da isto tako navede i krovite, kad bi njemu zaista i radilo. Stoga mislimo da se horizontpojas katedrale ne moe iskljuiti iz kombinacije. njega izraz sva oslikana ne bi imao smisla.

Odgovor na pitanje je li oznakom archaios aumislio na staru ili starinsku hilograju proizlazi usporedbe s uporabom toga pojma na ostalih sedmjesta uDe administrando imperio. Naime, u svim timprimjerima znaenje je pridjeva drevan ili star

nikada starinski, pa se i odgovor na nae pitanje nedvosmislenim.

Kljune rijei: Konstantin Porrogenet,De administrandoimperio , Zadar, Sveta Stoija,hylographia , enkaustika,archaios

Hylographia

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