Bojan Popović

Imperial Usage of Zoomorphic Motifs on Textiles

The two-headed Eagle and the Lion in Circles and Between Crosses
in the Late Byzantine Period

UDK/UDC: Bojan Popović

The Gallery of Frescoes of the National Museum in Belgrade, Serbia
mbpopovi@drenik.net

This paper deals with the imperial usage of zoomorphic ornaments in Byzantium and in the lands under Byzantine influence.
In my research findings, I noted the prevalence of one zoomorphic ornament from the first millennium, the two-headed
eagle. In Serbia, the use of this ornament at court is attested in the first half of the 13th century. Its popularity was due to the
influence of Byzantine aesthetics, which emphasized proportional and symmetrical motifs. This and other zoomorphic and
vegetable motifs were integrated in a system of circles or crosses, which was typical of the Byzantine emblematic costume
of the late period.

Key words: two-headed eagle, lion, cross with tinders, circular and cruciform composite ornament

In the Middle Ages, in Byzantium and the lands under the Byzantine influence, the presence of zoomorphic
motifs on cloth had the value of insignia and denoted rank. Besides their appearance on human attire, these
decorated textiles were characteristic in the setting of the royal court, the hippodrome, in triumphs and military
campaigns. 1
Their role in court protocol was essential, as we learn from the “Prokypsis” ceremony, attested in the time
of the Komnenian dynasty, and familiar at the court of the Palaiologoi. 2 The raising of the curtain during the
Prokypsis, to reveal the emperor, is comparable to the miraculous revelation of the icon of the Theotokos Blacher-
nitissa. There is a similarity in these epiphanies as regards the ornamentation; pearls and jewels on the surface of
the textile. 3
On the well-known, preserved pieces from the imperial workshops, there are the motifs of lions (Köln, Ber-
lin) eagles (Oxerre, Brixen), griffins (Florence), and elephants (Aachen). These motifs often appeared in medallions
set in two circles, an inner and an outer, the contours of which were formed by a row of little white circles resem-
bling pearls. The same “pearls” in narrow stripes were depicted on the wings of the eagles, the necks of the eagles
and griffins, and in the space beneath the eagles. 4 The dimensions of the animals depicted on the textiles are an
argument indicating that they must have been used at court. The lions are 68 to 78 cm in width, while the eagles
are 70, 75 and 82 cm in height (the Auxerre, Brixen and Odense eagles), and to this one should add the famous
Aachen silk that originally had a total width of 320 cm, and depicted four elephants (of which 240 cm have survi-
ved, but without the supposed, fourth elephant medallion). 5
The principal source that records the use of court textiles is “The Book of the Ceremonies” written during
the reign of Constantine VII Porphyrogenitos (913-959), to which additions were made during the reign of Nike-
phoras II Phokas (963-969). The source mentions the types of cloth known as aetaria, gripanaria, leontaria (¢et£ria,
grup£ria, leont£ria), named according to the motifs of the eagles, griffins and lions on them. 6 The description of
the scaramangion and the colovion, two types of garment, sometimes states that the ornament consists of eagles,
1. Two-headed eagle on the robe of
King Radoslav, Studenica, 1334-
1336, copied by Miloš Jovanović

3. Despotes Jovan Oliver, Lesnovo, 1349, copied by Ljubodrag Marinković

4. Vasilisa (honorable title of the wife of

the despotes) Ana Marija, Lesnovo,
1349, copied by Ljubodrag Marinković
 Popović, Imperial Usage of Zoomorphic Motifs on Textiles

2. King St and prince Stefan De 1310-1313, copied by Šime Perić

IKON, 2-2009

eagles in circles, white lions, bulls, rams and sea creatures.7 Since Roman times, the imperial flag had born the
presentation of a dragon. 8
The most prominent textile that is featured in the Book of the Ceremonies, is the textile decorated with
“¢etîn ka basilik…wn - aquillas diblatteas et basilicia”. Accordingly, on two occasions, the appendix of the first
volume of this book mentions imperial textiles adorned with ‘twice dipped’ ornaments of eagles and ornaments
of basilisks, and textiles reserved for the rank of strategos and kleisourarches, whereas for lesser titles, are those
adorned with “vdellia” flies, or for the title of toumarches, the “vestimenta non praetextata”. 9
One can find a description in the Liber Pontificalis, from during the reign of Pope Stephen (885-91), of the
same motifs on the textile given to the Church of Christ the Saviour. This detailed description tells of the purple
cloth woven with four medallions featuring two eagles and two basilisks: “belothera serica de blathi bizantea, IIII in
circuitu altaris maioris, due ex his aquilata et duo de basilica”. 10 This is evidence that the “basilicia’’ from the Book of
the Ceremonies is, in fact a basilisk. There is no preserved textile adorned with a basilisk from that period, but we
do find this mythological creature in sculpture.11
Latin, Arabic and Russian sources from the 9th century are important evidence about the Byzantine textiles
decorated with eagles in circles, lions and griffins. The textiles are described in great detail in the Liber Pontificalis,
the inventories of the Prague and Zagreb cathedrals, and in the accounts of exchanges of gifts between the By-
zantine and Arab courts. Among other motifs, they describe partridges, grouse, peacocks, eagles, green and pink
eagles, eagles in circles, the dragon – basilisk, the gryphon, gryphon - lions, gryphon – capricorns, white lions,
bulls, flies, and sea animals. 12
The sculpture of Constantinople, like the lions from the Bukoleon palace, the eagles from the column of
Markian or from the Golden gate, the dragons from the fountain near Nea, the church of Basil I, the elephants
forming the triumphal quadriga on the top of the Golden Gate, just to mention just the most important, were the
part of the same imperial expression.13
With the advent of the new millenium, changes occurred, although the same model continued to exist at the core
of Byzantine tradition. Two new or reshaped emblems appeared - the two-headed eagle and the cross with tinders.
The two-headed eagle emerged around the beginning of the new millennium, firstly as a modification of
the eagle with one head. The two-headed eagle had the same appearance, save for the head, and was presented
realistically with all the details from the previous époque. It was illustration of the emperor of the sky, a mighty
beast, sometimes depicted clutching prey in its talons.14 The very last medallions on textile to appear in large
dimensions is to be found in the Bojana monastery, dating from 1259, and appears on the gown of the sebasto-
kratorissa Desislava. It is decorated with two confronted white lions, around the tree of life. 15 The said example
emulate the textiles of the previous period.
Some of the motifs listed above are to be found in the description of the costume, probably of Manuel
Komnenos. The garments, made for his appearance at a tournament, had the basic ornament of a red circle with
golden griffins. His red shoes were adorned with white eagles, made of pearls. 16
The eagles were not described but it is possible that they were presented with two, instead of one head.
The switch had been made, judging by sources, in the eleventh century. 17
The Crusades and the Latin Empire in Constantinople are important for a knowledge of the hierarchy of
imperial emblems. The emperor Baldwin I had two-headed eagles on his coronation “mantel”, “shining like fire”.
18
One should add that this is evidence of the use of the imperial Byzantine emblem before the age of the Pala-
iologian dynasty, but it is important to note that this was not the emperor’s regular attire. From the time of the
Komnenos dynasty, the purple of the imperial robe was decorated with jewels and pearls, and resembled the
colour of porphyry. 19 In the era of the Palaiologian dynasty, two-headed eagles were ornaments on the emperor’s
boots, his horse’s harness and his tent, as well as on the robes of the so-called “imperial titles”, of the despots, the
sebastokrators and the caesars.
 Popović, Imperial Usage of Zoomorphic Motifs on Textiles

5. Sebastocrator Jovan Oliver, Lesnovo, 1346, copied by Časlav Colić

6. Empress Simonis, Gračanica, 1318-1321,

copied by Časlav Colić

7. Empress Jelena with her son Uroš and stepson Simeon-Siniša, 8. Lazar and Stefan Musić, Nova Pavlica,
Dečani, 1343, copied by M. Jašović immediately after 1389, copied by Emir Dragulj
IKON, 2-2009

The key evidence that palace custom and rules concerning two-headed eagles as insignia from the time
before the conquest of Constantinople by the crusaders lies in the Serbian frescoes. They appear on the portraits
of the rulers, presented in Mileševa, (around 1223), and in the southern annex of the Studenica monastery (1334-
1336). In the first half of the 13th century, Serbian rulers were depicted as high-ranking Byzantine officials, with
some imperial insignia, such as the scepter. The long chlamys, worn over their attire, was an item of court dress
from the previous period (fig. 1). 20 Beneath the feet of Alexios III Angelos on the supedaneum, two-headed eagles
were presented, in accordance with the Pseudo-Kodinos. 21
From the middle of the 13th century, in Serbia, rulers assumed the right to wear plain, imperial purple.
Later on, the rulers were portrayed with two-headed eagles in the cathedral of Prizren, the church of the
Blessed Virgin of Ljeviš, and in the seat of the archbishop in Žiča, though this is a case of old insignia (fig. 2).
In Late Byzantine sources, one can find a system of emblems that differs from those in western heraldry; for
the Byzantines, jewels and pearls had paramount importance in the emblems. Eagles made of jewels were the mark
of the emperor, only. His shoes were decorated with jeweled eagles. The shoes of the despotes, the most senior title
of the nobility, were adorned with eagles of pearls. 22 It is important to notice that, after receiving the title of despo-
tes, Jovan Oliver was presented with golden eagles on his attire and eagles made of pearls on his shoulders (fig.3).
His wife Ana Marija was depicted in the gown decorated with golden eagles in circles, till on her sleeves was a
cross shaped pattern (fig. 4). Their garments were adorned with pearls and jewels, marking the title of despotes.
23
Purple eagles were the ornament on the gauntlets of the emperor’s official falconer. Golden eagles adorned the
harness of the emperor John VIII Palaiologos’ horse, during the Council in Ferrara. The shoes of the last Byzantine
emperor, Constantine Dragases, were decorated with golden eagles. Without this mark, his body would not have
been recognised after the final battle for Constantinople. Golden eagles were depicted on the costume of the
so- called imperial titles, the despotes and the sebastokrators, but not on the costume of the caesar. The same
emblem in blue colour is attested just once. The titles of sebastokrator and caesar had the right for the usage of
blue colour. Blue two-headed eagle from the altar table of Lesnovo is to be regarded in the connection with the
sebastokrator’s title of its donor, Jovan Oliver (fig. 5). 24 The most common emblems were red eagles, which were
sometimes small, used for the adornment of the despotes’ and probably emperors’ horse harness and tents. 25
In Serbia, from the second half of the 13th century, there are fourteen examples of the use of two-headed
eagles among the members of the medieval Serbian nobility. Most of these noblemen bore the title of despot,
sebastokrator and caesar, while some of the examples feature the children of Serbian noblemen from these ran-
ks. Comparing these presentations with examples of the Byzantine and Bulgarian aristocracy, one may conclude
that, in those times, the strict rule for the use of the motif only for “imperial titles” was sometimes disregarded.
That is almost always the case with the motif in the medallion, the inner and outer circle of which were sometimes
made of pearls. 26
In the same period, there are just a few instances of other animal motifs in medallions. Lions and birds were
depicted on the garments of a nobleman, who belonged to a rank lower than the imperial titles. 27 The textual
sources for the Palaiologian period refer, albeit infrequently, to other animal motifs besides eagles. The De Offi-
ciis mentions the lion rampant on the uniforms of some members of the imperial guard. The flag with a dragon,
which in early times was the basic emblem for Byzantium, still exists, but in the De Officiis that flag which only
features a dragon is linked to another flag that depicts St. George, the dragon slayer. 28
The embroidery of the period provides good examples of the use of animal motifs. The National Museum
in Belgrade has in its collection the gold embroidery from the robe of the Bulgarian emperor Ivan Alexander
(1331-1371). It was concluded to be the kind of imperial dress he wore every day. There are three embroidered
animal motifs on it, a crane, a two-headed eagle and a deer. The crane and the deer were seldom used as animal
motifs. On this embroidery, they merely supported the central motif, the two-headed eagle. The same approach,
to place the eagle in the centre and surround it with lesser motifs can be seen on the architrave above the portal
 Popović, Imperial Usage of Zoomorphic Motifs on Textiles

of the Parigoritisa in Arta, or in the lower field of the rosette of the Naupara monastery. In both cases, the eagle
is surrounded with lions, thus forming a complex motif. 29 For the arrival of John VIII Palaiologos in Venice, the
Doge sent a ship bearing the emblem of a two-headed eagle surrounded by lions. 30 The lion is an important, so-
metimes the most prominent zoometrical ornament. In Domentijan’s Life of St. Sava (ca. 1250), the saint presents
a penitent thief with a cloth, a large holoverum decorated with lions. 31 Lions appear on the supedaneum under
the feet of Despotes Stefan, the ruler of Serbia, in the Resava monastery. This is almost the only illustration of lions
depicted on a supedaneum, instead of two-headed eagles. 32 It is important to notice that the lions are modeled
in accordance with heraldic rules. In the Resava monastery, the eagle and the lion, the symbols of St. John and St.
Mark, were modeled according to the presentations of animals in the heraldic system.
Once a single piece of embroidery, known as “Branko’s belt”, today is divided into two pieces, one of which
is kept in the Hermitage and the other, in the British Museum. 33 This embroidery, bearing the name of the owner
and his coat of arms, therefore an exceptional piece of secular art, is an excellent example of the same approach
in the use of motifs for church embroidery. The lion’s masceron, dragons, eagles, and two-headed eagles are com-
mon motifs for one type of the epitracheion. 34
In the late Byzantine period, the motif of the two-headed eagle took precedence over the rest because
it was regarded as ideal, according to the prevailing aesthetic criteria. Losing its mimetic character, it became a
motif drawn in a single line, and its symmetry became the dominant feature. Its coloring was no longer realistic
but acquired an emblematic character.
The imperial flag with the cross surrounded by tinders (purškbolon), is compared with the triumphant pre-
sentation of the emperor on horseback. The De Officiis mentions that when all ships in the fleet hoisted the flag
bearing the image of the cross, the imperial ship raised the flag bearing the image of the emperor on horseback.
35
Incredibly, this sole example in the text, referring to the cross with tinders, does not correspond with its wide-
spread use. In the Liber Chronicarum of Hartmann Schedel, from 1493, above every gate of Constantinople, there
was an image of the two-headed eagle, and the stone shields on the towers flanking the gate bore carvings of
crosses surrounded by tinders. 36 In fact, the cross surrounded by tinders was presented on a shield, thus consti-
tuted a heraldic emblem. The cross with tinders is to be found on the coins of medieval Serbia and Byzantium. 37
The cross surrounded with letters was common on ecclesiastical attire. 38 The first evidence of a cross surrounded
with tinders is to be found in a manuscript from Seville, dating from the year 1340. 39 As in the case of the two-
headed eagle, the numismatic sources of the Latin Empire show that this symbol probably dated from before the
year 1204. 40
In “De Officiis” one can find an important hieratical scale comparing the two types of ornaments; circles
and crosses. As for the ornament of the skiadion, a sort of hat worn by the protasekretis, we learn that it had an
ornament made of circles, not made of crosses. 41 The same source says that the skiadia, the hats of the despots,
had crosses made of pearls.42
The hat worn by the despotes, which was called a skaranicon, was adorned with jewels and pearls, arran-
ged in circles. 43 From another source, we have learned that one nobleman was allowed to wear the same kalyp-
tra, or hat, as the emperor. The only difference was that it did not have circles on the lower rim. 44
We find illustrations of similar hats worn by the aristocracy in the typicon of the Vevaias Elpidos nunnery,
and the same form of cruciform ornament is to be found on the hats of the saints, clad as courtiers, in King Marko’s
Monastery. 45
In the middle Byzantine period, occasionally, the ruler was presented in a robe decorated with a cruciform
ornament. In the manuscript of the homilies of St. John Chrysostom, we find three portraits of the emperor Mi-
chael VII Doucas. On the most representative, the coronation scene, where the emperor is accompanied by his
wife, Maria of Alania, both of them have a composite ornament of crosses on their garments. 46 In the manuscript
containing the acts of the synod in the year 1166, there is a presentation of the emperor Manuel Palaiologos
IKON, 2-2009

(1143-1180) and his wife, Maria of Antioch. 47 The emperor is clad in dark violet attire, with a new, spherical type
of crown, and the empress is in a bright red gown, the surface of which is covered with golden crosses creating
a checked ornament. In the late Byzantine period, the ruler wore a violet, dark blue, dark red, bright red or black
robe, while the empress was dressed in a bright red or purple gown, often woven with a gold, cruciform, compo-
site ornament. (fig.5) The ruler was seldom depicted wearing a cruciform ornament. In the monastery of Gradac
(1276-82), King Uroš I is portrayed in a dark blue robe, the surface of which is decorated with jeweled crosses,
reminiscent of earlier times. The gowns of the empresses are sometimes found to be without any ornamentation,
or are adorned with pearls, like the emperor’s costume, emphasising the purple colour of the gown. The alter-
nation of a cross shaped ornament and cicle shaped ornament was typical of the attire of the empress and the
aristocracy (fig.6).48 Appearing in the spaces between the crosses or in the circles, and sometimes between the
hearts or leaves were zoomorphic or vegetable motifs, two-headed eagles, lions, griffins, birds, the fleur de lis,
stars, flowers, or circles with branches (fig.7).
In the late Byzantine period, a new pattern emerged, consisting of two types of ornaments. The composite
ornament, consisting of crosses or circles, became the base for the zoomorphic or vegetable ornament (fig.8).

1 CONSTANTIN VII PORPHYROGENITUS, De Cerimoniis aulae byzantinae, ed. J. REISKII, Bonnae, 1829 (Appendix ad librum
primum); Le livre des cérémonies, I - II, ed. A. VOGT, Paris, 1935, 1940 = (De cer); Traité des offices, Paris, 1966 = (De off),
ed. Ј. VERPEAUX, pp. 195-198; J. ANDERSON – E. JEFFREYS, The Decoration of the Sevastokratorissa’s Tent, in: Byzantion.
Revue Internationale des Études Byzantines, LXIV, Bruxelles, 1994, p. 1, 8-18.
2 De off. pp. 195-198; M. McCORMICK, Prokypsis, in: ODB III, pp. 1732-1733.
3 The raising of the curtain had a long history, from the cult of the heroes to the modern theatre, cf. H. BELTING, Image
et culte. Une histoire de l’image avant l’epoque de l’art, Paris, 1998, p. 108, 113.
4 Ibid.
5 A. MUTHESIUS, Byzantine Silk Weaving AD 400-1200, ed. by E. KISLINGER - J. KODER, Wien, 1997, p. 35, 37, 38, 49. Animals
were paired, cf. L. PETIT, Le Monastère de Notre-Dame de pitié en Macédoinne, in:, Известия Русскаго Археологическаго
института въ Константинополе, София 1900, p. 22; П. МИЉКОВИЋ - ПЕПЕК, Велјуса, Скопје, 1981, p. 289. In the
inventory from the year 1164., one of the items is a leontaria with six lions. An even number of animals depicted on
textiles intended as gifts was customary in the court’s exchange of gifts, cf. infra.
6 De cer II, p. 169; L. PETIT, op. cit.
7 N. KONDAKOV, Les costumes orientaux à la cour Byzantine, in: Byzantion I, Bruxelles 1924.
8 See the paper by D. MILINOVIĆ in the volume concerning the dragon flag.
9 Appendix ad librum primum, p. 470, 485-486.
10 MUTHESIUS, op. cit. 47.
11 N. FIRLATLI, La sculpture Byzantine figurée au Musée archéologique d’Istamboul, Paris, 1990, p. 89, No 166.
12 I. TKALČIĆ, Dva inventara prvostolne crkve zagrebačke iz XIV i XV veka, in: Starine XIII, JAZU, 1881, pp. 123-128; O. GRA-
BAR, The Shared Culture of Objects, in: Byzantine Court Culture from 829-1204, ed. H. MAGUIRE, Washington, 1997, pp.
117-124; В. Ф. РИЖГА, О тканях домонголской Русъи, in: Byzantinoslavica IV, Praha, 1932, p. 399, n. 2, n. 3.
13 W. MÜLLER-WIENER, Bildlexikon zur Topographie Istambuls, Tübingen, 1977, pp. 54-55, 225-227; N. FIRLATLI, op. cit, p.
26, No 51a, 51b; A. KARPOZIOS – A. CUTLER, Elephants, in: ODB I, New York – Oxford, 1990, pp. 684-685; Ibid, Snakes,
in: Oxford Dictionary of Byzantium III, New York – Oxford 1990, p. 1920.
14 G. GEROLA, L`aquila bizantina e l`aquila imperiale a due teste, in: Felix Ravenna, I – 43 (1934) pp. 7-36; See the paper by
A. SEMOGLOU in the volume concerning the beast clutching their pray.
15 И. БОЖИЛОВ, Портретите в Боянската църква: легенди и факти, in: Проблеми на изкуството 1, София, 1995, pp. 3-9.
 Popović, Imperial Usage of Zoomorphic Motifs on Textiles

16 H. MAGUIRE, The Heavenly Court, in: Byzantine Court Culture from 829-1204, Washington, 1997, pp. 247-258.
17 A. PALAVESTRA, Istorija srpskog grba – comments, in: A. SOLOVJEV, Istorija srpskog grba, Beograd, 2000, pp. 97-106,
108-110.
18 J. EBERSOLT, Les arts somptuaires de Byzance,, étude sur l’art imperial de Constantinople, Paris, 1923, p. 86.
19 B. POPOVIĆ, The Most Precious Thread in Byzantium and Medieval Serbia, in: Material Culture and Well-Being in Byzanti-
um (400-1453), p. 195.
20 V. J. DJURIĆ, La dynastie Serbe et Byzance sur les fresques à Mileševa, in: Zograf 22, Belgrade, 1992, pp. 13-23; D. VOJVO-
DIĆ, Vladarski portreti srpskih despota, in: Manastir Resava. Istorija i umetnost, Despotovac, 1995, p. 95, n. 120.
21 B. CVETKOVIĆ, Byzantine Emperor and Frescoes in Mileševa, in: Balcanica 32-33, pp. 297-309.
22 De off. 142 n. 3.
23 B. POPOVIĆ, The Attire of Tsar Ivan Alexander, in: The Church of St. Nicholas at Staničenje, Beograd, 2005, pp. 65-68.
24 S. GABELIC, Manastir Lesnovo, Beograd, 1998, pp. 114-116.
25 De off. 142 n. 3, p. 144, 145, 148, 149, 162, 171, 320, 333.
26 B. POPOVIĆ, Ornaments from the fresco painting next to the altar window of St. Nicholas in Pribojska Banja. The two-hea-
ded eagle and the lion in circles, in: Mileševski zapisi 6, Prijepolje, 2005, pp. 101-109.
27 J. KOVAČEVIĆ, Srednjovekovna nošnja balkanskih Slovena. Studija iz istorije srednjovekovne kulture Balkana, Beograd,
1953, p. 62, 65-66, 68-69; I. M. DJORDJEVIĆ, Zidno slikarstvo srpske vlastele u doba Nemanjića, Beograd, 1994, p. 135,
147-148, 158-160, 177.
28 De off. P.180, 196.
29 POPOVIĆ, op. cit., pp. 77-78, supra n. 23.
30 SOLOVJEV, op. cit., p. 308.
31 Život svetoga Simeuna i svetoga Save od Domentijana, ed. Đ. DANIČIĆ, Biograd, 1865, p. 224.
32 S. RADOJČIĆ, Portreti srpskih vladara u srednjem veku, Beograd, 1997, p. 71; J. EBERSOLT, op. cit., pp. 95-99, 103. A mini-
ature, under the feet of John II Komnenos depicts creatures with tails, lions or griffins. See the paper by B. CVETKOVIĆ
in the volume concerning concerning this question.
33 H. GRANGER-TAYLOR - Z. GAVRILOVIĆ, Embroidered Belt or Border, in: Byzantium. Treasures of Byzantine Art and Culture
from British Collections (Cat. Nr. 225), London, 1994, pp. 208-211.
34 G. MILLET (avec la collaboration de H. DES YLOUSES), Broderies religieuses de style Byzantin, Paris, 1947, pp. 1-30.
35 De off. P. 167, n. 1.
36 C. BARSANTI, Constantinopoli e l’Egeo nei primi decenni del XV secolo: La Testimonianza di Cristoforo Buondelmonti, in:
Rivista dell’Instituto nazionale d’archeologia e storia dell’arte, 56 (III Serie, XXIV), Roma 2001, p. 83-254, esp. p. 179, fol.
130r.
37 PALAVESTRA, op. cit., pp. 104-105.
38 G. BABIĆ , La reconstruction des épigrammes et des légendes endommagés sur le portrait de saint Sava à Peć, in: Zbornik
zaštite spomenika kulture XV, Belgrade, 1964, pp. 159-164.
39 PALAVESTRA, op. cit., p. 101. The author lists other maps with the same emblem, from 1320-1421.
40 Ibid, pp. 34-35.
41 De off. pp. 159-160.
42 De off. p. 147.
43 De off. 146.
44 EBERSOLT, op. cit., p. 128, n. 6.
45 I. SPATHARAKIS, The portrait in Byzantine illuminated manuscripts, Leiden, 1976, pp. 190-207; M. G. PARANI, Reconstruc-
ting the Reality of Images. Byzantine Material Culture and Religious Iconography (11th – 15th Centurie), Brill – Leiden – Bo-
ston, 2003, pp. 334-335; L. MIRKOVIĆ – Ž. TATIĆ, Markov Manastir, Novi Sad, 1925, pp. 50-51, fig. 49.
46 SPATHARAKIS, op. cit., pp. 107-118 (Coisilin 79, ms. gr. fol.1(2bis)v).
47 Ibid, pp. 208-210 (Vat. Gr. 1176, fol.IIr).
48 Ibid, pp. 107-118, 208-210; KOVAČEVIĆ, op. cit., pp. 188-195.
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