Saints and Spectacle

Abstract

Abstract The awe-inspiring mosaics covering the walls, vaults, and domes of Byzantine churches of the medieval period still remain a mystery to modern viewers. The systematic character of their arrangement and unrestrained opulence of their appearance indicate a well-developed scheme that exploits not only the architectural framework but also the brilliant medium to their fullest. Three surviving examples in Greece attest to the glory of these mosaiced churches. Colorful scenes from Holy Scripture and portraits of saints appear against backgrounds of solid gold, and seem to float in the surrounding space. Where did this system originate, and when and why was such a powerful and expressive art devised? Saints and Spectacle ventures into the world of ninth- and tenth-century Constantinople, the capital of the Byzantine Empire, to recapture the spirit of Byzantine thought and expression after Iconoclasm. Texts, artworks, and the archaeological record aid in reconstructing the visual and literary context of the age of the first rulers of the Macedonian Dynasty. The emperor, patriarch, and army of court officials, along with crowds of the populace, participated almost daily in spectacular liturgical processions that literally filled the streets and churches of the city. Mosaiced churches were designed to play an active role in these dramas honoring the saints and soliciting God’s protection for the empire. Rituals of remembrance and loyalty to the ruling dynasty resonate throughout the surviving Middle Byzantine program of mosaics when considered, for the first time, in relation to this dynamic civic setting.

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