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Owes the church and its decoration to the writer and scholar Theodore Metochites (1260 / 61-1332) Around 1315, Metochites initiated a restoration of the monastery which was thereby extensively enlarged. The decoration of Kariye Camii constitutes a summa, a bringing together of the lines in Palaiologan art which covers the period culminating in the?eath of Andronikos II (c. 1290-1328)
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0% found this document useful (0 votes)
235 views18 pagesO. Hjort - Oddities and Refinements PDF
Owes the church and its decoration to the writer and scholar Theodore Metochites (1260 / 61-1332) Around 1315, Metochites initiated a restoration of the monastery which was thereby extensively enlarged. The decoration of Kariye Camii constitutes a summa, a bringing together of the lines in Palaiologan art which covers the period culminating in the?eath of Andronikos II (c. 1290-1328)
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Jasmina S. CiricCopyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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/ 18
INTERACTION
AND ISOLATION IN
LATE BYZANTINE CULTURE
Papers Read at a Colloquium Held at the
Swedish Research Institute in Istanbul,
1-5 December, 1999
Edited by
Jan Olof Rosenqvist
astANBU yy
‘
Sl eB Ts
2 14ee]
A) Fe
Cagaaea (Pe
NINAS®
SWEDISH RESEARCH INSTITUTE IN ISTANBUL
TRANSACTIONS, 13 “Oddities” and “Refinements”:
Aspects of Architecture, Space and
Narrative in the Mosaics of Kariye Camii
QYSTEIN HJORT, University of Copenhagen
KKARIVE CAMI, OR THE MONASTERY OF CHORA, is Constantinople’s mo-
nument of late Byzantine art par excellence. We owe the church and its de-
coration to the writer and scholar Theodore Metochites (1260/61~1332)
who held the office of Grand Logothete, one of the most important gov-
‘ernment posts, under Andronikos 11. Around 1315, Metochites initiated a
restoration of the monastery which was thereby extensively enlarged; at
the completion of the work in 1321 the interior boasted a comprehensive
decoration comprising both mosaics and fzescoes.'
In many respects the decoration of Kariye Camii constitutes a swmrra,
a bringing together of the lines of development from the phase in Palaio-
logan art which covers the period culminating in the death of Andronikos
1 (c. 1290-1328), It does, however, also contain a distinetive refinement
which, to the minds of many, is an unabashed decadence, pervaded with
mannerisms, and adding new, unexpected features to the fully-developed
Palaiologan style. Otto Demus pointed out the “overrefined figure
schemes”, suggesting that the artists were “fascinated by curious refine-
ments and oddities.” Exnst Kitzinger found the style “slightly prettified,
mannered, and overcharged with conscious classical reminiscences.”
1 Basic ending: P. A. Underwood, The Karpr Djami, 1-3 (London and New York NY, 1966); dem
(ead. The Range Djomi Sms n the Art of he Kare jam ond Intell Backgronnd (ince
$971599) RG. Ountcrhout, The Aries of th Karge Cat in Itannk (Washington DC, 1987)
Nong more recent lerure, mention must be made of the following: N. Teteranikoy, “The
Pince fr the Non Mania (ve Lady of the Mongols) in the Deesis Program of te lanes Narthex
Br Chom, Constantinople: CalAreh 43 (1995), 163-84; R. Ousteshout, “The Virgin of the Choon
No Tage and ts Contents" in Ke Ousterhout and L. Beabaker (eds), The Saved Image aut and
us tears and Cheago lll 1995), 91-109, P, Weiss, Die Movikon des Cbore-Kbners tn Tito
{Seurgart and Zurich, 1997), RS. Neleoo, “Taxation with Representation: Visual naeative and the
ital eld of the Kanye Cami” Art Hise 22 (1999), 56-2.
PO emus, "Dic Entstchung des Paliologenstls in dee Nalere:” Berth un Xt. Iterationale By-
_ontnran Kenge (Mich, 1958), W, 1, 1-83; idem, The Style of the Kariye Djami and Tts Pace
Sine Development of Palacologan Act” in Underwood (ed), Th Kary Doni 4, 107-60, here at
158
3 kitringer, “The Byzantine Contibution to Westera Aet ofthe Twelfth and Thirteenth Cents
rien,” DOP 30 (1966) 38-7 (rep. in idem, The Ar of Bygomin and hr Metical Wes Selected State,
by f Kieinbaver (Bloomington Tad. ad London, 1976), No. Xt), here at 32
Beebe reece eee eee
rion st dain La Byte Cab, }-O- Rosen Sesh Reseach Ine in sab
“Transactions vo. 13 Socthoim, 2004) ‘This applies particularly to the decoration of the narthexes, com-
mencing, in the inner narthex, with scenes from the story of the Life of
the Virgin and continuing with an extensive depiction of the story of the
Infancy of Chist in the outer aarthex. This is concluded with a cycle de-
picting the Ministry of Christ.
"Toa great extent it seems that here, all rhe manifestations and charac-
teristic of the style are brought into play. In Demus’ pioneering study of
the emergence Of Palaiologan painting, with his later in-depth and detailed
analysis of the style in Kariye Cami, everything appears to be scrupulously
put under the microscope fo elucidate the peculiar character and nacure of
the atyle: heads, faces, hands and feet, proportions, drapery, modelling,
but also, with a somewhar more concise characterization, architecture,
landscape, ere,
Particulaely striking is the use of architecture in the narrative scenes. By
way of introduction this can be briefly characterized thus: especially in the
Context of spatial compositions there feature architectural set pieces and
Other architectural elements which are exceptional, even bizarre. There is
Asymmetry and dissonance which, in many respects, greatly diverge from
ther Palaiologan art of the period, irrespective of any other similarities
And parallels. Supplementing the analysis of Demus, Viktor Lazarev
Speaks of the “fantastic constructions” and he architecrate’s rhythmic dy-
famic.* Yet one is reminded that some of the “fantastic constructions”
and mannerisms are not entirely devoid of precedents. Late antique floor
fhosaics may provide certain parallels, as do the mosaics of the Great
Mosque in Damascus (early Sth century) with their representations of un-
realistic, almost dreamlike architectural constructions. It is now generally
agreed that the artists at work were Byzantine and were brought from
Constantinople”
Tn Constantinople itself, Kariye Camii is unique: were one to com-
pate the decoration with other surviving works in the capital there are, cu
Fiously enough, no clear parallels. The frescoes in the Church of St. Eu-
phemia immediately adjacent to the Hippodrome can be dated to the
1200s. Here an extensive scheme of decoration has been preserved: a Eu-
phemia cycle, unfortunately now badly damaged, but one where the acchi-
fectural elements and set pieces aze, (0 a certain extent, incorporated into
the composition of the scenes. But in relation to the style in Kariye Camii,
there is no instance of immediately comparable elements,
‘A contemporary work is the mosaics in Kilise Camii with the surviv-
ing parts of a cupola decoration representing Old Testament prophets,
which today can be convincingly dated to the final years of the thirteenth
Century oF around 1300.’ The rendering of the figures has parallels in Ka-
ye Cami, but the decoration does not include any representations of ar-
chitecruce
“There is only one other important monument which can be put for-
ward as having any significance for the understanding of the style of Kat
$Y faze stn ea pt ein atin 38 ae '
NoLPESSaetudy of ote and eonogsapty, se FB: Flac, Te Gro Masque of Damas (Ls
den 20,
"Smo an Rtn. petite pn ne re in
Pape, “2m Si dee Mornin n dee Kile Cami Ist” Pann 32 (1978), 9-13
28 Oystein Hort ye Cami with its extensive use of architectural elements nd its presenta:
Fe eur Nace, ‘The work in question is the mosaics in Pethiye Cami, the
son oe ppaistos Church, ‘The rebuilding and renovation of the church in
aa inslogaa style was instigated by the wealthy provosirafor Michael Gla
Hae ean retsife Maria Doukaina, but following, the death of Glabas, his
Oe de wig the building by the construction of a parekkleson i Wis
caso se individual fragments of frescocs in the church date from the
ree ee gay are comtemporary with the Church of St. Euphemia, bur
Tee Rinekreon with the smportant mosaics is fiom around 1310. The mo
eae een eeahly speaking, comtemporary with those in Kariye Cami, but
aa are, ened clatsiciam of che Fethiye Cami mosaics is norable” when
TE pantd to Kanye Camil's decoration.” Even if this were a case of the
Sone chop. oy by arusts of the same school, the Fethiye Camil mosa-
Sar e vn share “the polished mannerism of the Kariye Camii.””
2
Im an extensive study, Tania Velmans has mace an important contribution
oe ae a ei oe of the architectural decoration and its role in the presen
eee of aece in Palaiolopan painting. By way of introduction she draws
fasion of space Mfact that the architectural elements beginning fo apPets
atte tone aniddie of the ewellth century are Few, small and isolated!”
seen ihe ucnessiga of space is achieved, for example in Monreale, by
Sree ane ecuon of buildings wich two wings, it is clear that, generally.
ShE.Aing, they conform to the laws of conventional perspective, Buildings
eee te eieal side wings create the illusion of space, a fearure which
deen erence general in the Duccento, and which exemplifies this ten
BECOMES Ae representation of block-like objects or walls and fagades is
sence the Clone, in a frontal plane, but when the planes are swung out
see erotpet distortions and foreshortenings start fo appear which seem to
cee eee che background, Tn more advanced representations, such as
coach ito dings, the picare plane appears az reduced and becomes Pro-
Be Saiy more complex as more viewpoints are incorporated,
ely TO, Satation of architecture becomes increasingly complicated
Be ee ee half of the thirteenth century. There is the emergence of
ao ene eee ei dislocations."= Some of the familiar features are amplified
dissonances: OF dt added, ‘There iz a sense of vagueness as far ax the loca
eR as Petawakonges (Pee
Sr te faite dead anv ot se
pee Sader Ban ie ot ahe ela af Mca
woh joie of Amaro
ree ce SU le te dcr choco teprésemtation de
Plan cmcnvg ae hata
Rye Sra, tay es A. Sona, “La concen ds ies de
aaa ees oe ca plore sume srt Sus le” ‘nie btn in IF
Slat Havre Me ef ea sass opin conocer many ame
ES eae a ty ete cfs towne ose one
wees)
by J Whi in The Bi and Rabi of
Qpstcin Hort 29
\ tion repretented is concerned: the disposal of furniture and buildings with
Angles which project towards the observer; the multiplicity of architectural
Clements in one and the same scene; an internal complication of the ele-
ments: and an even higher degree of dissolution of the spatial elements
With the resulting complete dislocation of space, the clash of various ele-
ments in the decoration, All in all there is a lack of organic cohesion, a
Quality which Velmans terms a confusion of “intérieurextérieur.”
‘One clementary example will serve to illustrate the road to the manure
Palaiologan style at the end of the thirteenth century and the beginning of
the fourteenth. Cavallini's mosaics ia Santa Maria in Trastevere in Rome
hte representative of the Inte thirteenth century. The rendering of The
ctnmmniarion in an architecture taking, the form of a large throne basically
Conforms to what we know from such artiste ar Cimabue in Assissi How:
Ever, with The Presentation one notices some of the crucial displacements,
hot so much of the ciborium-—which is a well-known feature—, but acta
ally of the two archicectural building blocks, which are divorced and pre~
Sented as two separate buildings." Taken individually the buildings are not
in themsclves exceptional, but they serve to bring the protagonists from a
Uistance into contact with one another by way of gesture and body lang~
Gage: thus a continuity of nascative is suggested. This is a feature which
Undergoes a more dynamic change in which the handling of both the
Sconography and the figures is intensified. The result is a development of
the architectural motifs which overrides any perspective and symmetry
implied.
is one cannot cite any immediate parallels in Constantinople, one
must turn, instead, £0 the contemporary Balkan painting in order to follow
the development, both scylistically and in terms of the representation of
architecture. One imporeane phase is exemplified by Sopoeani, where the
Sidest parts of the decoration date from shortly before 1270." Another
eeample is the Peribleptos (St. Clemens) of Ohrid, dating from 1295,
Which makes it contemporary with Cavalliai's work in Trastevere. The
Same is equally true of Bojana, which has a characteristic depiction of the
Presentation of the Virgin in the Temple, a fresco which is a later overpaintin,
of the entire decoration from 1259 made in the early fourteenth cencury."
Doubtless contemporary with Kariye Cami is also the monastic church of
Grataniea, from around 1320, It scems clear that the last phases of Palaio-
Togan act which are relevant for the understanding of the use of architec~
ture in Kariye Camii unfolded in the Balkans.
‘As at Sopocani and onwards, to, and including, Graéanica, it can be
seen that various architectural set pieces can be used partly as backdrops
9p, ttesheringion, The Moasce of Pietro Celik in Santa Maria in Trastevere" [War 33
Ci ie Fa dcr og Wea te
eri, IMA erortengy shin the ytantine sein suggested by such were ae.)
Seat ca he Wenn Baer ea). Lar pay de Ne rane (Sano
TP ins Ueto Spor 90:39 a 999 (Uppetia: 1ORl). des here ae S49 Eden
er cue Basen! Renee sary Wh Non" Pins el), Kr Sm
ty tre fees Ao Gna 9c
HSE) Dru pi pi, 1907, 2, 40 ae of ani engton of
Be Ect ear e taee ogmn Li Aner Moment 1 eet
(sis He 65.55
30. Oprein Fyre for the figuecs of prime importance, and parcly to bring them together as
(houp, The architectural setting peimasily anteipates the Palaiologan mo-
Bie Richy are later to be to eyercatching in Kariye Cami: logins, baleo~
BENET niet give the impression of considerable volume. They arc,
Rowewer, devoid of the mannerisms which characterize Kariye Cari 1
half-century later
We Know litle of the artists of Kariye Camii, other than—as has
been surmiscalthae it Seems as though afusts from the same workshop
wit RElponsibic for the decoration of the Fethiye Camik"* Yet another
stance of scenes from elsewhere in the Balkans corresponding (0 those
AE eRaye Camit i Kealenic. In the monastic church of Kalenic—a charac
Qetste example of the Morava School, there are scenes whose icono-
[Euphy in: Forall practical purposes, identical wath the corresponding ones
Be Raliye Cami, Si scenes from The Infancy of Christ are analogous with
those GF Karlye Camii, while some of the scenes with the same icono-
Enaphy, bur divided up over several walls, are to be found in Curten de
Sree Go Romanian Walachia), which dates from the mid-fourteenth
CEESy kalenie is, however, much later, from around 1417/18, but the
Guline Rece i that the ejcles in Kalenie of the Infancy of the Virgin and of
PEt Nopether with those in Kariye Cami, are among the most complete
SEs extant assembled cycles.” “There is the suggestion, therefore, that
Patera books were in eletulation ia the Balkans, the link being itinerant
Piles This would hold true, for instance, for the connections with and
the snnilartios between St. Clement in Ohrid, and Kalenic
Tia ik must be menuoned that even ia the capital, Constantinople,
the srtcte imay have played a role in the dissemination of subjects and
Teele eitinang assiseanes of pattern books." There are connections, both
Wrohogmaphic and stylistic, berween Kariye Camit and the Church of the
‘Spostica in “‘Thessalonike, which dates from around 1315. Teis, however,
QkEhcutr wo evaluate the extent of the use of archicectural elements in the
GEEENSR, Schone the chict point of similarey isthe pendencives with the
Pee Toccems probable that the decoration of the Church of the
IAponties s the work of artists from the capical
“The antecedents of ariye Camil in Balkan painting are generally
pervaded by a mashed Kommenian classicism, occasionally possessed of &
Pet block-like mass which, with some justification, has been labelled «
ceubisr manner” This fe also tue oF the Bgures, which are compact, ot
toeujue und non-rhythmic, and offen appear in dense groupings. Its even
eer a yGrchy that the Bgures in Kariye Cami are often given more
aoe ne innctetiste which ie a natural consequence of the disposition of
{the composition on the surface,
FEE i Recre Djens, 4, 87, wove 1; bur se now D. Simié-Lasae “Observations ae
area a ca i A
Heer eo ar xaye pm 150; A. Syagapcnten gar Sans ed a 0
ge ei era (eer ata g erm es tad
Outen Fore 31 3
Ing more thorough discuion ofthe dlanguishing characterises of the
Aiulintetarnl representation in Kaslye Camifs decoration, 1 have found te
rene tet to fake examples in particular Geom the depiction of The Lit of
SRR a the inner aurshex The cextusl basis is primarily the Dror
nga Decads Matthew and the Gospels, and itis precisely here that
SESE. Sith many key devas, Goda pacuculary strong expression,
SRectDice ok examples is nos always dictated by chronological considera-
tions, but rather by the face thae they ate all examples of characteristic
ROME Sflechnecrure and its elemence. Ie will additionally be seen what
fa contrast to avenes dealing with The Life of the Virgin and The 1n-
fancy nF Chain, i i noteworthy that the scenes Murering The Ministry
Bee KekC teat ws play down the use of the archivectaral repertotee: Th
see et composidon diese scenes are Rrcay simplibed, and the architec
EET hed more summarily: Scenography is redueed to dhe minimmurn e-
Win Wo inuene the setting, or tct-ara frame for the nelion. ‘This fs ere
Seiko cout bay of the annet narthex with seenes in the lunettes and the
Pendcnuves: Iris instructive to nove that the landscape is given an i:
eee Si in such scenes ar Tbe Tanptonon of Chr (outer narthex, vault
ESWHELEUA ayy, bac eis also true shat relauvely simple buildings ean
Bee icon across an open landscape or # yellow ground, which alone
Fotis the backsvop (or The Ministry of Ciuist. Iris mow the events Of the
New Tenament whieh are depicted, while the eycle of The Live of the
Willa Fatlowed by the Infancy of Chats te completely dominated by the
VeNBangeclin Here, as aleendy mentioned, the wealth of architecrare with
Meeket pices is of cemual importance. As far ar archicectoral representa
Shat'afe concerned, these itive mncocporation of slements of every kind:
Citas semauons ice elements, columns, porticocs, arcades, exedae, far~
Seer creichtarly thrones, foomstaols and the ike). This i ag almost
Beers Ge eiventory of the architectural elements in Kaige Carnil>™
Se ece ponage te teat i sng inte oceney Jeg Tang ar
ee tee re ea cae
a ee
32 Oytdn Hore Fig. 1.-The Ensolment For
John Willts has analysed a simple scone in etal, namely The Erol
pret for Towation (Pige 1 ad 2)! The scene is located in the fonette OF the
Fret bay in the eat sal of the outer narthes. The Virgin, followed by Jos
tbh ancl his sone, has been admitted to the presence of Cyrenius, Gover,
seh af'Syra Fle is seated on a magnificent throne on the left and Ganked
Fe eeeeyeal guard. Another guard and a scribe address themselves to the
Viegin: bebind her is 9 large
ver like building with high walls and
At several points the conventional orthogonals are broken in the ar
chitestunl constuction of this scene. The upper half of Cysenius' throne
chiouimates an somettic projection, while che lowee part approximates
wrSataque projection. Most of ehe buil
fing to the right 1 constructed sc
nut die base meets the ground
ane i surah ine, jst a 1 would in an orthogonal projection, OF the
earn ans unig with che various objects, Willas says that the dominating,
als ee upeea
ths creat
wr co approsimate an oblique project
incl outwards fromn the centre of the picture
san lunpression of inverted perspective. On che other hand,
the ontbogonals in the it
oiling furthest the left, run down cowards
the conse ofthe picture. In this, and other scenes which will be discussed
below the use of the inverted perspective is che feature which is the most
eee ts and the most frequently cmsployed. Ia Palaiologsn art (asin all
Bycantine ar) it isa fundamental convention =
ce ter i en ih Soran in One fre iw
eb ee rh eyo cama) ean ey mE nla p27
Opin ort 33 Fg 2. The Bncoment fot anation, Anaya. Wie,
“Te scone i instructive in many ways. Both the throne of Cyreniue
and the balding to the righ contaiute tthe extablakiment of »spato
TERRE ting tor the unfolding ofthe maeaive- With the long horizon
SSPESI.T oackarop and the expanse of prass ava hind of stung forthe
hiElding event the sheone of Cyreniur tno denotes a specif level of
Seriteanée we the same ume athe baling to the ight indates» sal Sa
Meee Hoi amu have wavelld press vance, where the
Co, snus and famed whiner Sum igiance, She piven
Fpromnineace by iocephaly, hierar, and the ineenption with her mame,
is brought in ghe etwcen the buingy and the charcrere tee
‘Betting bend essa dhe low wall The scene indicates a diachronic
omuche aniva ef the Holy Family and their presttation t she auth
Stine which a rendered more explldy elewhere
“Yer here moe “n addition tothe inverted perspective, there often
spent objects (rniate ow architectural elements) which te and which
TTS hpreesion thar they ate sen both soe brah ad a era. 1
Bs seat cascs of spmual Consawsson ot ike elements they are often
Sere l projechons With de overriding oF every atempe a reat
TS LLENincing fusion of eorsect perspeceve constructions oF three
‘Einensional objects ot estabsting ap expesience of spat =a
RE aRaigC eked or ostensibly ceooked angles, impossible” view
Beirne ine tine ofrightn blocked, and where up and down approx
Petia tmpossine They Mostar what E~ HL. Gombrich bas pestnly
{ue Sowa dendlock™ Purtner weamples post sexes of bivalent
SDSL SURE Efren which are far trom experimencal psrchology
‘Fuath? cae or ake tcquensly wsed double wale-averly narrow ot com
34 Opie Het pressedl—with circumFerent cornices which project rowards the observes
EST ich in their anomaly, mediately stake one av related vo that well
iMGam confgurauon one is imped to call "the ning fork” Characcets
so eMlagptescan be sean in Tie Mctiag of Joon and Anne nd Zacharias
Prope Boos te Bade of te Stors™
Rock the architectural cements described here ate separ items in
the oetaaite Painiologan sepertoure: the apeidal semi-ciculat exedene
Seen srontaioes which i a characterize element im The (igi Re
SURGE Satin oft Weel iw she lunetee above the door from the
connor, Clement at Obeid: Sopocani, Se Nika ar Cuéer im Mace
SOME aSthins and elbocia or the compecssed or deep double walls
Wea ep Necesnes (eg, Obeid: Se: Clement, Stadenies) In auch deco
MERSSP (Stina {idbs), the archirecrare undergoes subrtandal com=
SESELAE (hSnteensve incieases in density to the point of obscurity and,
arse lnglyg this i lvo tue of the scene of Zachara Poyng Boor the
eee eiye Camis Only in exiscnely rare caves ise possible to distin
cee a Senoat instances of manncsion of which there mo equivalent
th earye Cami
4
[As noted by Underwood, IIs characteristic thar the majority of the ka-
Acts peedominsniy feature Single event of moti This # most way
ESS plied in tne exonarthex wih scenes of the occasional graphic de
SSRERAISS the Gospels of The Iofuncy of Chose Ta wha i antainoune
TERE aiacn exporition, she mowth lanette with Jou” Dream and The
Jeathey to Netiehew is an clementary example oF an ordered sequence,
Lee ie a ver ren conventionally, from left to aight. A chronology It
weSlah, and with a continous, linear narative First co appear tthe
SRE Rite joteph thew she Holy Faeniy’s journey through a landacape,
ERT itgin tiding on a donkey, followed by Joseph, while one of
Jose's son goce before ther to lend the way”
Bene Eee aeping Joseph withthe angel and she journey there
ow Sea hse aeche which in bok visual and compositional terms
eee Iaeiia'at an interpolation —, in whiel the Virgin seen in
Miileesation with accompanying women, originally thought to be The
terrae atte Nl cece E185 a an 8 Poe Ewe
Me et te eta np ten, Dt Mess Cor a i
Seed a ar ak Si ge eS unr
BEANS 2 ay, Dan aga ating Dor
2 Si cag he Proms i iy Sees sr enn ap mame
‘ares tea ei op tte ar Seder oT Rae
mice an rar Os
Fee coum et, At Sy aS Ra
IM if jCabaae Nese eae DP Viniation>" “The nattative is broken to permit the insertion of a new loca
tion, Nazareth. Ta The Journey the movement and glance are directed (o-
Norte the right: only the Viegin herrelf is balf turning as if to assure her-
weit that Joseph has sufficient strength. Correspondingly, in the intexpola
fed scenes, the Virgin turns to one of her companions. With the horizon
Sk che Journey and the rocky landscape as.x backdrop, Mary and the wo-
tien on their way to Nazareth constiture a dashberween in the continuous
“The continuous narrative entails a number of methodical problems,
towards the explanation of which Kase Weitzmann has made n substantial
(2keibution "tn wha Weitzmann calls the "monoscenie method,” res
ect is accorded the unity of place and time. This applies to several scenes
Fs Karige Camii, such as The Vinin Receiving the Sketn of Purple Wool, or The
Vingin Ennated to Joseph. But with the “eyelieal method” more scenes can
be included and linked, within one and the same composition, as ean be
Seen in such scenes as that showing, The Journey of te Mag’ with The Magi
[Before Hered, and chat showing Jossph Dreaming with The Return of the Floly
Family fon Faypi. The diachronic sequence of events is compressed,
“Tie architecture is @ participant in the continuous narrative: one fur~
ther example of a highly developed and detailed architecture which works
toward emphasizing the human element will suffice. In The Meeting of Joa
‘him and inne, a three-storey building forms the backdsop for the meeting
Gtthe evo (Fig. 3). The consoles of the second floor are supported by col-
Chins in werd-antique with gilded capitals, The narrow sections of wall
With circumferent comices are, by vireue of their compression, close 10
Consututing an “impossible” figure. This is a moment of privacy, though
She which is observed-—as Joachim is in the scene of The Birth of the Vir
{gn_by a third person, possibly Judith, Anne's maidservant, who is follo-
Sing the scene from behind s low wall Ie is characteristic that the archi-
wccuaral set pieces, with their heavily accentuated curvatures, are often
Folded inwards” Kitzinger expresses the concept perfectly with the ex-
pression “cave space,” “for the figures to breathe and actin.”
“The individual scenes described above shed light on the way the re-
presentation of architecture contaibutes (0 the narrative context, In some
Pfcnes, where the landscape and architecture play a more complicated
ole, it will be seen that space and movement, space and time, are given a
2 Underwood, Palelogan Namie” 2; ol 4b he ene endo sep =
ieee ee oan acta ny hg see snd a es sone
Waieopris ier Sheraton ons 189,
Se i fe ey Syn Sg e708, 10%,
Ia a fn ten, PPM age
Be cea and ata Sindy hie Orig Md of Tein 2nd
sn ip. eee ay Caner 8,
iar ic be Ean, eb Mn toe, 7 an Ea
et 5 308
36 Oysein Hors more explicit sign
tology, of the accor
quence of the plo
those devices,
c.which are utilized
Bim, from conden:
tion and expansion
segmenting.” The
ted, slowed down oF
bbroughe to 2 seandsell
‘An obvious exarople
Srould be the Best bay
OF the inner narthex
Shere the final scenes
Torm a conclusion to
the cycle oF the Life of
the Virgin. From the
West lunctte in the se
cond bay, where the
Virgin is betrothed to
Joseph, one t= led to
the transverse arch be
tween the
cond bay,
feph takes the
his house, to The ly
Fig. 3."The Me
nunciation to the Vingin at the Will in. the pendentive to the south, then to
jesiph Tataing Leave of the Virgin ox Joreph Reproacbing the Virgin, which com:
fhines rhe two scenes in one in the first bay of the western lunette
iin Jorph Taking the Virgin to His Howse (Fig. 4) the columns (agair
verd-andiue with capitals) support # pair of turrets which rest on a by
Ylccply Fecesked apsidal. ‘The building represents a temple:
Iuneue over the door with the curtain is an Icon, doubtless # Fe
(ation of the Virgin herself? The scene is an unusual example of
Roe" mhe rendition of an architectural structure is closely adjusted ro the
Cohec's physical surroundings! the pair of columns occupies exactly the
Gkme space as the width of the transverse arch.
Tivahe pendentive with The lmmuneiation to the Wirgin at the Wellin the
first bay off the inner narthex (Fig, 5), two free-standing buildings are
[nied bya horizontal wall, which Forms a backdrop for the Virgin, The
Opstein Hyp 37 Fig, 4 Joseph
aking the Ving
while that to the eight is of evo
worey with a tiled roof. The frst
nikling of three storeys combines a
in froin above. The second build
tives ean be compared with the constructions in Joan!
"The Eni! for Teton a analysed by
anette with the depiction of Jsyph Taking Lowe of
sed by Jonph Reproucbing ihe Virgin (Pig. 6). The lunctte
cconpres, 38 stated two seers, yet in feat to the text stands a8 an
Shachonisuie interpolation.» The scene recapitulates a series of the most iment and the door with the
The Dal of
wer ite the two-storey butting, wa the doable wall wah consoles and
eRe Mtdschta, correeponds to the building bein the Virgin inthe
sh of The Enmnent Beside these there is an assortment of lesser, i
[Stiroour building elements, again seen bos from above and below ‘The
Scone eset paricatoly richly here, in that che tree features in dee places,
SSoTine chatacrenste Uapery is tfetched over two ofthe buildings? The
sein the baldachin dsctecl indicates the breach berween the Viegin
IG Joreph aod wderlines the seene’s empathy. The building in the
side, case to he eental axis of the entire composition, with the de
rang com of Joseph, constaes 2 Mashberween, while the Baal (partly
Important and conspicuous architeceueal elements which have al
Treen deserabed, The building wit he pe
‘Gvecel baldachin are acasiysdentical with Josepts house
Retrapet) scene tothe sgh indicates the time element. Taken, nits enti ig 6 Jouph Reproaching the Vig.
As is always the eat, the inscriptions on the scenes are characte
sistcaly viet at tegands deal of the evene depicted, ehus making them
Coser to commit to memory. In the form of “chapter headings” the ob
