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72
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gia: Vardzia. P. 8 (*%.  *%. . #*%&#- Fasc. 2. 0. 370374. #8. XIXII (*%4&.:
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177
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90
Vocotopoulos P. L. Byzantine Illuminated Manu-
scripts of The Patriarchate of Jerusalem. Ath-
ens ; Jerusalem, 2002. P. 2830. Fig. 4, 5.
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Art from the Sixth to the Twentieth Century:
[Exhibition catalogue]. London, 2000. P. 127.
N B-104 (Mirzoyan).
99
Marava-Chatzinikolaou A., Toufexi-Paschou Ch. 3
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Catalogue of the Illuminated Byzantine Manu- 
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-
Manuscripts of New Testament texts 10th  . 4. 84/% %#4 7%!4
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- Bakirtzis Ch. The basilica of St Demetrius.
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#$$,  $ [#$#%#] (&%/ /&#%- Thessaloniki, 1988. P. 44-58. PL. 2233.
108
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109
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112
Musees de Republique de Georgie. Leningrad, Exposition Internationale dart Byzantin. Paris,
1986. Pl. 165175, 188190;  . :. J /- Muse des Arts decoratifs. N 493. J#, D/
*%/! /#/  &#%/
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113
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/$ $!4 // 0//8- Zaloziecky W. Das byzantinische Kunstgewerbe
( 
#&$ #!
%!4
/ 00
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, 1955. . 16. 2*. 9. 0. 742752; $- chen Periode // Geschichte des Kunstgewer-
 . 6. #$
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/7/ '
## */ bes aller Zeiten und Vlker in verdindung mit
%8%! // K. ., 1961. . 5. 0. 72, 73; Piat- Zahlreichen Fachgelehten herausgegeben /
nitsky Yu., Baddeley O., Brunner E., Mundell Man- Th. Bossert (hrsg.). Bd. 5. Berlin ; Vienna ; Zu-
go M. (ed.). Sinai, Byzantium, Russia. Orthodox rich, 1932. S. 144.

178
         

114
Brny-Oberschall von M. The Crown of the Em- '/ /#, $  *#/ 9/7/$#%
peror Constantine Monomachos. (Archaeolo- !
%#C## *%* #7  $/#2-
gia Hungarica, 22) Budapest, 1937. P. 58. % #, # 4#$ #5/&#+ 
/

115
Wessel K. Byzantine enamels from the 5 to the . . 9##C#; ##/7'2 &
13 century. Recklinghausen, 1967. P. 108111. *%&2   8%F+
/$
##/7
N 36. 1982 7.; 
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LArt Byzantin art Europen. 2-e edition.   )!4 )%/*/  1997 7. 82
Athnes, 1964. P. 401, 402. N 470. *%#&/ */#2 */& /$
117
Splendeur de Byzance. P. 192.
#
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118
Everyday Life in Byzantium. P. 506, 507. ! #7, #
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/-
119
The Glory of Byzantium. P. 160, 161. N 107; 
 . . 9##C#, 4#/ /C8/'/
Byzanz. Die Macht der Bilder. Katalog zur !%"&#/+, '/ /# 5/&#  /8%#
Ausstellung in Dom-Museum Hildesheim / . . 7/%/&
/7/  0#
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/ 2#

berger. Hildesheim, 1998. Nr. 58. 20012002 77. / 2
/ # . . J/-
120
The Treasury of San Marco, Venice : Exhibi- &#
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tion catalogue. Milan, 1984. N 14. *%* #7 XVI /, '/
121
The Glory of Byzantium. P. 160.  2$ &/*/$#$ %!
/7/
122
Ibid. P. 474, 475. 
# . . J/&#
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123
Orfeurerie et toreutique des Musees de Repub- %C/ *%#&/ 82/ !
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.    .
 .   

VII
 SUMMARIES

were protagonists of special liturgical services, often not strictly related to the ones performed on
the main altar. They regularly bear the iconographic characteristics known from the images on wood
or quite suitable for panel painting. Being analysed as monumental icons, these painted or mosaic
representations could contribute signicantly to widening our knowledge on both the appearance and
function of the devotional images in Early Byzantium.
Translated by Maria Lidova

Nadezhda Kavrus-Hoffmann, Yuri Pyatnitsky

AN ELEVENTH-CENTURY ILLUMINATED GREEK PSALTER
AT THE HERMITAGE MUSEUM (acc. no. -1309)

A small illuminated Greek Psalter, which is housed in the Byzantine Collection of the Hermitage
Museum, was undoubtedly executed in one of the best Constantinopolitan scriptoria in the last quarter
of the eleventh century. All aspects of the manuscripts execution, such as its high quality parchment,
superb calligraphy and exquisite decoration, indicate that the Psalter was commissioned by a high-
ranking member of Byzantine society. Until 1945 the Psalter was kept in the University Library in
Berlin and was known to scholars under the call number 3807. The manuscript was thought to have
perished at the end of World War II, but, in fact, it was brought to the Soviet Union as part of extensive
reparations. After the war the Psalter was not available to scholars, and a description published in 1933
by George Stuhlfauth was the only source of information about this manuscript. Since Stuhlfauths
description scholars of Greek paleography, codicology and art history have made signicant progress
in the study of manuscripts, and our use of contemporary advances has been fruitful in evaluating and
supplementing previous ndings and conclusions about this remarkable Psalter.
In this article the authors describe and analyze the Hermitage Psalter, applying modern criteria
and techniques, such as the Leroy classication of ruling patterns and systems and the identication
of the scribes handwriting to locate and date the codex. We contend that this Psalter was executed in
a Constantinopolitan workshop (ergasterion) in the last quarter of the eleventh century by anonymous
craftsmen, a scribe and an illuminator, who probably executed several other Gospels and Psalters for
example, Athens, National Library of Greece, MS Constantinopolitanus Metochii Sancti Sepulcri 375
and MS 57; St Petersburg, National Library of Russia, gr. 214; and Vatican City, Biblioteca Apostolica
Vaticana, Vat. gr. 320 and Vat. gr. 342. Codex Metochii Sancti Sepulcri 375 was executed in 10771078
for the renowned historian and patrician Michael Attaliates, and the St Petersburg codex gr. 214 was
commissioned by the Byzantine Emperor Michael VII Dukas (reigned 10711078).
The authors plan to publish a detailed description and analysis of the Hermitage Psalter in
a monograph dedicated exclusively to this exceptional manuscript and its extraordinary history.
Translated by Nadezhda Kavrus-Hoffmann

Yulia Matveeva
THRONE CURTAINS IN HAGIA SOPHIA IN CONSTANTINOPLE:
ICONOGRAPHY, CONCEPTION, TRADITION

This article is looking at the throne curtains that were hung between the poles of the Throne
Ciborium in Hagia Sophia. A gift to the church from Emperor Justinian I (527565), they were
described by Paulus Silentiarius in about 563 AD. We are interpreting the origins of the idea, conception
and iconography of the curtains through the analysis of its plots: Traditio Legis situated on the central
panel; Benediction of Justinian and Theodora by Christ on the one-side panel and their Benediction by
the Mother of God on the other; depiction of Christs miracles on one of the borders and architectural
structures (charitable institutions built by Justinian) on the other.

581
 SUMMARIES

Byzantium and the Christian Orient

Zaruhi Hakobyan
THE IMAGE OF ST CHRISTOPHER IN EARLY MEDIEVAL ARMENIAN SCULPTURE
(SEVENTH CENTURY)

There is an interesting animal-headed gure in the series of early medieval Armenian sculpture. Today
nine images of this type are known. There is only one saint with this appearance in Christian iconography
and that is St Christopher Cynocephali. Surprisingly, researchers of mediaeval art are not familiar with this
gure in Armenian sculpture and the main reason is that it has been interpreted as a boar-headed Trdat.
According to the History by Agatangeghos, King Trdat who was reluctant to adopt the new faith used to
torture Christians. He imprisoned Gregory the Illuminator in Khor Virap and was punished for this being
turned into a boar-headed gure. He recovered only after converting to his true belief.
F. Ter-Martirosov was the rst to express the viewpoint that the animal-headed gure that we
encounter on the four-sided Armenian monuments is St Christopher and we totally agree with him.
Among the signicant details of the animal-headed gure are the halo and the cross in his hand which
is the sign of martyrdom. Besides, the gure is long-haired which is connected with his martyrology.
One of the main mistakes of the image examination is that the animal-headed gure is connected with
the History of Agatangeghos, the period of creation of which is under dispute and the contents is
abundant with legends.
Taking all these characteristics into consideration we should state that not Trdat but St Christopher
is depicted on the Armenian stel. These animal-headed images present in Armenian sculpture are
signicantly important as they represent the earliest versions of St Christophers iconography and they
come to ll the gap that exists in East Christian art relating to the absence of earliest images of this saint.
Translated by Zaruhi Hakobyan

Yuri Pyatnitsky
A PRECIOUS BOOK COVER OF THE FOUR GOSPELS
FROM THE VARDZIA MONASTERY

Rare art objects of medieval Georgia attracted attention not only of scholars and art lovers but
selsh antiquarians and collectors as well. There are known cases when in the nineteenth and early
twentieth centuries the treasuries in Georgian monasteries were plundered. Especially attractive for
robbers were cloisonn enamels that decorated revetments of many celebrated icons. For personal gain
antiquarians did not even spare the famous Virgin of Khakhuli from the Gelati Monastery. Another
famous and precious relic of Georgian kings was also kept in Gelati the Four Gospels from the
Vardzia Cave Monastery. It once belonged to Queen Tamar, but in the sixteenth century the forces
of a Persian ruler seized it during the destruction of Vardzia and the Four Gospels was taken to Iran.
The pages margins bear historical inscriptions made in different centuries that reect the history of
the creation and existence of this manuscript. No less valuable was also the cover of this manuscript
decorated with gold repouss plaques and two cloisonn enamels. In the 1880s, this precious cover was
taken off the manuscript and later came to the collection of Ivan Balashev, a Kamerger of the Imperial
Court. Balashev dismantled the enamels of St Demetrios Orant and The Enthroned Virgin with Archangels,
and a number of times lent them to exhibitions and publications. The enamels were studied by the
art historians Nikodim Kondakov and Nikolai Makarov, among others. Ivan Balashov bequeathed his
collection of enamels to the Hermitage. Despite this, in the 1920s both enamels from the cover of
the Vardzia Four Gospels happened to be on auction in Germany. The plaque with St Demetrios Orant,
that is considered one of the best Byzantine cloisonn enamels of the eleventh century, was bought by
the Kunstgewerbemuseum Museum in Berlin, where it is still kept. The second plaque, with the image
of the enthroned Virgin (produced in the twelfth century in a Georgian workshop) ended up in the

584