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This study day at the German Study Centre in Venice looked at the two Tondi (ie marble, cut from a column slices) with relief images of a Byzantine emperor who come from the city, and one of which is at Campiello Angaran in Venice, the other in Museum of the Research Centre of Dumbarton Oaks in Washington DC is obtained.
These two pieces, which are usually dated to the 11th or 12th century, are unique and without parallel; the question of whether they were made in the East or in Venice, craft storage whether they are thus to be regarded as authentic Byzantine emperor images or Venetian imitations, has not been satisfactorily resolved.
At the beginning of the meeting there were two introductory lectures: ALBRECHTSBERGER (Munich) outlined the development of the Republic of Venice from a remote territory of the Byzantine Empire and its relation to this realm to the Fourth Crusade in 1204; Niccolo ZORZI (Padua) examined the representation of the Byzantine emperors in historical and rhetorical texts from the presumed craft storage time of origin of the Tondi.
A dating and historical context of the Tondi is possible only on the basis of details of costume craft storage and regalia of the emperor shown. The following contributions were trying therefore, to approach this problem from different sides:
ANDREA Babuin (Ioannina) presented the emperor costume is based on pictorial records of the Middle Byzantine period and put them with the presentation to the Tondi in relationship. CÉCILE MORRISSON (Paris) examined based on coins and seals the iconography of Loros, so the long, intricately looped fabric strip the emperor costume, which is mapped craft storage to two Tondi in a very strange manner. OLGA KARAGIORGOU (Athens) extended the analysis, this time in particular, based on the seal of the emperor craft storage and their high officials, on the other components of the costume from. The most striking feature of the two Tondi, namely the association of Loros and Chlamys is, except for an unclear craft storage view of the late 11th century actually craft storage prove nowhere.
The following article by Gudrun BÜHL (Dumbarton Oaks) presented, starting from the previously proposed identifications craft storage of Emperor Alexios I Komnenos shown as (1081-1118) or his son JOHN (1118-1143), craft storage the question of the possible original context and also again after the authenticity of the Tondi as objects from the Byzantine East.
BENJAMIN ANDERSON (Cornell) dealt with the reception history of Tondos of Dumbarton Oaks, which was acquired shortly before the Second World War for the local museum, having previously since 1850 in the art collection of the Prince Karl of Prussia in the courtyard of small Glienicke had found. Earlier doubts about the authenticity of the piece were then pushed aside, explains craft storage the Tondo by the works of Hans Peter L'Orange and Ernst Kantorowicz a symbol of the Byzantine ideology craft storage of world domination and Sonnenkönigtum.
MARA MASON (Udine) doubted by stylistic and technical criteria the Venetian origin of Tondos craft storage from Campiello Angaran. LORENZO LAZZARINI (Venice) craft storage referred to the damage of the last decades of this piece back and discussed the possibilities of restoration and a better protected attachment.
AMALIA BASSO (Venice) sat down, no longer based on the Kaiser image alone, with the serious problem of environmental damage on the sculptures in Venice apart. Then put ALBERTO RIZZI (Venice) that genre of medieval Venetian Sculpture in front of which stands the two images the next emperor, craft storage that of which today many are built into facades of numerous columns and decorated with reliefs cut called patere.
At the end of the meeting was an evening lecture by LUIGI Sperti craft storage (Venice) on the re-use of ancient sculpture in Venice. Especially the statues were discussed repeatedly changed on the pillars at the St. Mark's Square with the representations of St. Theodore craft storage and the winged Lion of St. Mark, both composed of antique pieces and have been restored.
As a result of the meeting craft storage is to be noted that while many contentious details related to the two Tondi were resolved, a clear
Home About H-Soz-cult partner editors craft storage Former editors headings Citation emphasis craft storage Clio-online donations FAQ Submitting opportunities Research Reports Forum Miszellen Proceedings reviews appointments craft storage magazines VG Wort chances craft storage Jobs Scholarships craft storage courses flats Research Reports Forum Article Discussion Miscellany News Projects inquiries Web News Reviews Digital Media exhibition reviews book reviews Webrezensionen Conference Reports Dates Magazines
This study day at the German Study Centre in Venice looked at the two Tondi (ie marble, cut from a column slices) with relief images of a Byzantine emperor who come from the city, and one of which is at Campiello Angaran in Venice, the other in Museum of the Research Centre of Dumbarton Oaks in Washington DC is obtained.
These two pieces, which are usually dated to the 11th or 12th century, are unique and without parallel; the question of whether they were made in the East or in Venice, craft storage whether they are thus to be regarded as authentic Byzantine emperor images or Venetian imitations, has not been satisfactorily resolved.
At the beginning of the meeting there were two introductory lectures: ALBRECHTSBERGER (Munich) outlined the development of the Republic of Venice from a remote territory of the Byzantine Empire and its relation to this realm to the Fourth Crusade in 1204; Niccolo ZORZI (Padua) examined the representation of the Byzantine emperors in historical and rhetorical texts from the presumed craft storage time of origin of the Tondi.
A dating and historical context of the Tondi is possible only on the basis of details of costume craft storage and regalia of the emperor shown. The following contributions were trying therefore, to approach this problem from different sides:
ANDREA Babuin (Ioannina) presented the emperor costume is based on pictorial records of the Middle Byzantine period and put them with the presentation to the Tondi in relationship. CÉCILE MORRISSON (Paris) examined based on coins and seals the iconography of Loros, so the long, intricately looped fabric strip the emperor costume, which is mapped craft storage to two Tondi in a very strange manner. OLGA KARAGIORGOU (Athens) extended the analysis, this time in particular, based on the seal of the emperor craft storage and their high officials, on the other components of the costume from. The most striking feature of the two Tondi, namely the association of Loros and Chlamys is, except for an unclear craft storage view of the late 11th century actually craft storage prove nowhere.
The following article by Gudrun BÜHL (Dumbarton Oaks) presented, starting from the previously proposed identifications craft storage of Emperor Alexios I Komnenos shown as (1081-1118) or his son JOHN (1118-1143), craft storage the question of the possible original context and also again after the authenticity of the Tondi as objects from the Byzantine East.
BENJAMIN ANDERSON (Cornell) dealt with the reception history of Tondos of Dumbarton Oaks, which was acquired shortly before the Second World War for the local museum, having previously since 1850 in the art collection of the Prince Karl of Prussia in the courtyard of small Glienicke had found. Earlier doubts about the authenticity of the piece were then pushed aside, explains craft storage the Tondo by the works of Hans Peter L'Orange and Ernst Kantorowicz a symbol of the Byzantine ideology craft storage of world domination and Sonnenkönigtum.
MARA MASON (Udine) doubted by stylistic and technical criteria the Venetian origin of Tondos craft storage from Campiello Angaran. LORENZO LAZZARINI (Venice) craft storage referred to the damage of the last decades of this piece back and discussed the possibilities of restoration and a better protected attachment.
AMALIA BASSO (Venice) sat down, no longer based on the Kaiser image alone, with the serious problem of environmental damage on the sculptures in Venice apart. Then put ALBERTO RIZZI (Venice) that genre of medieval Venetian Sculpture in front of which stands the two images the next emperor, craft storage that of which today many are built into facades of numerous columns and decorated with reliefs cut called patere.
At the end of the meeting was an evening lecture by LUIGI Sperti craft storage (Venice) on the re-use of ancient sculpture in Venice. Especially the statues were discussed repeatedly changed on the pillars at the St. Mark's Square with the representations of St. Theodore craft storage and the winged Lion of St. Mark, both composed of antique pieces and have been restored.
As a result of the meeting craft storage is to be noted that while many contentious details related to the two Tondi were resolved, a clear
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