Anna goes on pilgrimage! Part 1: The “Midwife” Esoforion

Next week at a Trimarian event called “Corsair’s Heart”, Mistress Mayken van der Alst is coordinating a Medieval Hike! I decided that this sounded more in my wheelhouse than an entry into the Birka Garb Challenge, so I chose to go full bore and see what I could come up with.

The short answer: A middle/working class Byzantine ensemble that would be comfortable for hiking in. The hilarious thing is that I don’t own anything lower class, or uh, casual.

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But for real, in period, in persona, I would have been carried to Jerusalem in a litter, or rode in the back of a carriage. If I was “roughing it”, I would be on my own horse. Walking? Bah!

But that’s not the point of this exercise. The point is to walk, and wear and carry something that I could walk in, comfortably.

Better start at the bottom. Layer that is.

In my searching for *sigh* casual Byzantine, which, by the way, not that easy, I found a Cappadocian fresco that is contemporary to my period. Here, a midwife and Salome bathe the infant Jesus and his rippling man-pecks of the Divine.

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Fresco is located in the Dark Church, Goreme, Cappadocia. 11th Century.

Everything here seemed perfect. You have women working, wearing clothing indicative of an arid climate that would have been passed through to continue to the Holy Land. The colors are great, and my favorite part? The Midwife’s SLEEVES:

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Hot diggity, they’re tied behind her back!

I determined it was either one of two things: A guard that was slung over the shoulders to allow her to pull her clothing back and away for midwifery duties, or, slits in a tunic designed to do this, again, for her profession. Both are plausible, of course, but I decided to test the theory on a tunic, as it’s also supported by some of the work Dr. Timothy Dawson has done with kavadion/gambesons whereas the underarm is open, and the padded long sleeve can be pinned back for more movement.

This is what I came up with.

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The base pattern for the esoforion (undershirt), is the Manazan Caves Tunic, which I’ve used before for some shirts for the hubby here. The reasons I decided to go forward with one of these for myself were: A; The high collar is good for protecting against the elements. B: The extant tunic is contemporary to Cappadocia, but not in the same location. The Manazan Caves are in present day Karaman, Turkey, and the Dark Church is in present day Goreme. This is a distance of about 270km. That doesn’t mean that these settlements weren’t in contact, and it’s still close enough for approximation of Cappadocian fashion. C: The long gore construction of the Manazan find would work well with allowing a ton of ease and slack on the arms for slits in the sleeves.

So, with my pile of 3.5oz natural linen, I set off on an adventure. I determined that the sleeves would have to be longer to pull this off, but since that was a Persian trend that had trickled into Byzantine fashion and stayed, I had no qualms with some potentially droopy sleeves. I also ended up hand-sewing the entire collar, and all openings/hems. There are only 6 machine sewn seams in the whole thing, not bad. I do want to do an entirely hand-sewn one of these, and I have the fabric to do it, so I figured this would be good practice. Plus, as I mentioned in my previous blog post about this tunic, hand sewing the collar construction is a must, anyway. It just won’t work right with a machine. Good thing too, because after the couple days it took me to complete the collar setup, I returned to the machine, and promptly sewed a full stitch through my left index finger, INCLUDING THE NAIL. Typing hurts right now, but it’s healing. I guess that’s a sign I should keep on my hand work practice.

So much whipstitching, man. The Byzantines loved them some whipstitch.

I decided on the arm slit placement after basting the side seams together, and looking at fit. Each slit is 8″ out of the front seam that connects the gore. I then cut the basting, turned in a hem, and it was done. Zero fuss, and zero fabric waste or odd cuts into the garment.

The pictures speak for themselves. It works. The placement of the uber-long gore makes for a full range of movement, and as you can see, I can still create more slack to go over an outer tunic.

This garment is more than practical for just midwifery. While on pilgrimage, it would be beneficial to cover your skin for sun protection, and the long sleeves still allow for this. But, if I get too hot, or need to cook/set camp/do dirty work, I can tie my sleeves back and be comfortable doing so. Genius.

What’s next?

I’m going to use a tie on the front of the collar this time, versus a button and loop as I did for Gieffrei, because I feel it will allow me to adjust fit and function better during the hike. I can inkle weave a small band easy enough in an hour on my little loom.

Of course, the outer garment is next after that. I’m following through with the color scheme of the fresco, especially the look that Salome is wearing on the right. I have a block printed cotton I will be using for the turban to match the Cappadocian look, as well.

My final touches will be a shoulder bag, and a relic bag for my belt. If I can find out more, I want to research into accurate ankle support as well, only because I’m a chronic sprainer and could use the, uh, help. These will all be completed over the course of the next week, and I’m looking forward to pulling it all together for the hike!

“So, you wanna be a Varangian?”

I field more emails and more online questions about the Varangian Guard than I do actual Byzantine personae. I lifted most of the information below from my Byzantine Personal Basics page above, but I’ve included a bibliography to hopefully help those on the path find what they’re looking for.

I’m going to preface this by saying that I have nothing against Varangian personae, but I’m about to be very blunt: Varangians are not Byzantine.

The Romans viewed them as barbarians and outsiders, and despite the fun tales from the Norse Sagas, chances are, they weren’t well liked in the City. The truth of the matter is that there are currently more Varangians in the SCA than there ever was serving an emperor at one point in time due to the fact that it gives Norse personae an excuse to wear lamellar when it’s hot (which is fine, we don’t need anybody dropping dead at war, please). Not everybody could show up at the Blachernae Palace steps from somewhere up North and demand they be admitted into service to the Purple. It was a bit more complicated than that, and each emperor had different requirements. Not to mention, Varangians were only predominantly Norse for a short period of time in the mid 11th Century if we assume what the Sagas say is true.

The first Varangian Guard was not established until the late 10th Century (around 980) when Basil II was given thousands of Kievan soldiers in exchange for marriage of a Byzantine princess to the Prince of Kiev in order to defeat the Bulgarians. The Kievan Rus were not Norse, they were Slavic, potentially with Norse ancestry, but the term “Viking” itself is a particular Norse occupation. The “Viking Age” was pretty much over at this time. We do have record of plenty of Norse travelers coming to Constantinople prior to this, but the “Viking raid” in 860 was actually Rus that had come down into the Black Sea from what is now Ukraine.

To further screw things up, the term “Varangian” itself was used by both the Romans and the Rus to refer to Norse Vikings prior to the 10th Century. So, if this is the route you desire to go, determining if you’re just a Norse traveler from early period, or an actual member of the Emperor’s elite guard is important.

If you do decide to go Varangian GUARD, here is a list of “waves” of ethnicities that served at specific times. This is by no means set in stone, but it provides a guide for those that want to pinpoint a specific time period that suits their goals:

988 – 1020ish: Kievan Rus

1020-1070ish: Scandinavian (Icelandic, Norwegian, Swedish) Bolli Bollason and Harald Hardrada served at this time.

1070-1204ish: Danish and English (Anglo-Saxon). The term “Danes” comes up in Byzantine literature often to describe the Varangians, and the English were escaping Norman rule in England at this time. This is documented in the saga of Edward the Confessor. Siward Barn served at this time. Normans were NOT permitted to be apart of the Varangian Guard, but some may have served as mercenaries in other capacities.

The Fourth Crusade has probably some of the best documented accounts of the Varangian Guard in action protecting Constantinople. After the retaking of Constantinople and re-establishing the empire, however, there didn’t appear to be as formal of a guard unit, and those that were a part of it, had fully assimilated into the Roman culture. It is unclear if the Varangian Guard really remained a thing until the Fall of Constantinople in 1453.

There are a lot of myths surrounded what they actually wore, especially in the SCA. The “red is for the Emperor’s service” and “green is for the Empress’s service” is totally a SCAdianism as far as I’ve found. It looks like the on-duty color for the guard was blue or red, while off-duty, you see them in nothing more than plain tunics and slim-fitting trousers or hose, which was typical for men’s casual wear throughout the empire. Earlier travelers would have continued to wear the clothing of their culture, versus picking up stuff along the way. Clothing was expensive and difficult to carry and launder, so the other SCAdianism of having a diverse wardrobe boasting the latest fashions of every exotic port of call you visited is also inaccurate. They would, however, assimilate over time if they decided to stay put in an area. This does not include trade goods, but items that were exchanged in business were not necessarily the same as the clothes you wore on your back.

As far as religion goes, during the period of the active guard, most serving were already Christian, or converted to Orthodoxy from  a later, heavily modified and somewhat hodgepodged version of Arian Christianity which was more common in Eastern Europe and the Scandinavian countries very early before the Western Church started coming in with missions. Please, remember that Arianism IS NOT THE SAME THING as Aryanism. Mind your i’s and y’s! Either way, the idea of your persona dripping in lovely Asatru regalia would be incorrect as a guardsman, but as a very early Norse traveler to Constantinople, still possible.

I totally just ganked these images off of Wikipedia since I know they’re there, but you can check out the Madrid Skylitzes here: https://www.wdl.org/en/item/10625/

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“On Duty” Varangian Guardsmen in the gold armor with blue garments beneath. They are armed with rhomphaioi (axes), and shields. Note the round and teardrop shields. From the Madrid Skylitzes, 12th Century.

 

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A woman kills her Varangian would-be rapist, and then is presented with his belongings from the other guardsmen. Note how they don’t look very “Norse” or Scandinavian – Dark hair and eyes, probably Eastern European, though at the time the manuscript was produced, they would have been mostly English (Anglo-Saxon). Plain tunics and slim-fitting trousers with boots- Typical of a Byzantine common man instead of a fancy hodgepodge of Norse and Byzantine that is common in the SCA.  Also from the Madrid Skylitzes.

And for those that want to actually do homework, here are the goods:

Suggested Readings

Primary Sources

Of Aguilers, Raymond. Historia Francorum Qui Ceperint Jerusalem. Translated by John H, and
Laurita L. Hill. Philadelphia: American Philosophical Society. 1968; Medieval
Sourcebook, 1997. http://www.fordham.edu/halsall/source/raymond-cde.asp

Choniates, Niketas. O City of Byzantium. Translated by Harry J. Magoulas. Detroit: Wayne State
University Press. 1984.

de Clari, Robert. The Conquest of Constantinople. Translated by Edgar Holmes McNeal.
New York: Columbia University Press. 2005.

of Edessa, Matthew. The Chronicle of Matthew of Edessa. Translated by Ara Edmond
Dostourian. Ann Arbor: University Microfilms. 1972.

Komnene, Anna. The Alexiad. Translated by E.R.A. Sewter. London: Penguin Books. 2009.

The Laxdaela Saga. Translated by Muriel Press. London: The Temple Classics, 1899. The Online Medieval and Classical Library, 1996. http://www.omacl.org/laxdaela/

Porphyrogénnētos, Constantine. De Admininstrando Imperio. Translated by  R.J.H. Jenkins.
Budapest: Pázmány Péter Tudományegyetemi Görög Filológiai Intézet. 1949-1962.

——. De Ceremonii. Translated by Ann Moffatt and Maxeme Tall. Canberra: Byzantina
Australiensia. 2012.

Psellus, Michael. Chronographia. Translated by E.R.A Sewter. New Haven: Yale University
Press, 1953; Medieval Sourcebook, 1999.
http://origin-rh.web.fordham.edu/halsall/basis/psellus-chronographia.asp

The Saga of Edward the Confessor. Translated by George Dasent. 1894.

http://www.sacred-texts.com/neu/ice/is3/is324.htm.

Sturleson, Snorri. Heimskringla (Saga of the Kings.) Translated by Samuel Laing. London: 1844;
         The Online Medieval and Classical Library, 1996. http://omacl.org/Heimskringla/

de Villehardouin, Geoffrey. Chronicle of The Fourth Crusade and The Conquest of
Constantinople.
Translated by Frank T. Marzials. London: J. M. Dent. 1908; Medieval
Sourcebook, 1996. http://www.fordham.edu/halsall/basis/villehardouin.asp

 

Books and Articles

Blöndal, Sigfús. The Varangians of Byzantium. Translated by Benedikt S. Benedikz. Cambridge: Cambridge University Press. 1978.

D’Amato, Raffaele. The Varangian Guard: 988-1453. Oxford: Osprey Publishing. 2010.

Madden, Thomas F. The New Concise History of the Crusades. Lanham: Rowman and Littlefield. 2006.

Norwich, John Julius. Byzantium: The Decline and Fall. New York: Knopf. 1995.

Queller, Donald E. and Thomas F. Madden.  The Fourth Crusade: The Conquest of Constantinople. Philadelphia: University of Pennsylvania Press. 1999.

Runciman, Steven. A History of the Crusades. 3 vols. Cambridge: Cambridge University Press. 1987.

Dawkins, R.M. “The Later History of the Varangian Guard: Some Notes.” The Journal of
Roman Studies Parts 1 and 2.
1947. http://www.jstor.org/stable/298453.

Doxey, Gary B. “Norwegian Crusaders and the Balearic Islands.” Scandinavian Studies.
            http://www.jstor.org/stable/40919854.

Madden, Thomas. “Outside and Inside the Fourth Crusade.” The International History Review.
1995. http://www.jstor.org/stable/401107441.

Pappas, Nicholas C. J. “English Refugees in the Byzantine Armed Forces: The Varangian Guard
and Anglo Saxon Ethnic Consciousness.” De Re Militari.
http://deremilitari.org/resources/articles/pappas1.htm

Shepard, Jonathan. “The English and Byzantium: A Study of Their Role in the Byzantine Army During the Later Eleventh Century.” Traditio Vol. 29 (1973): 53-92. http://www.jstor.org/stable/27830955.

Fordham Conference Presentation Available Online

I just uploaded my paper and Powerpoint presentation from the 2018 Fordham Medieval Studies Conference on Dress and Identity in the Middle Ages to my Academia.edu account.

Feel free to download them for free here (Though you will need an account on the site, which is also free): https://unh.academia.edu/AngelaCostello/Conference-Presentations

This is both an abridged version of my Master’s Thesis and an expansion of sorts. It focuses solely on Kale’s garments and her inventory as such demonstrating her changing identity from noblewoman to nun. The Powerpoint has photos of my attempt at ecclesiastical dress and some dramatic poses for fun.

The publication of my thesis as a Compleat Anachronist (#177) is still available from the SCA Stock Clerk, here: https://members.sca.org/apps/#Store

Ladies, it’s time to ditch the Byzantine head donut.

You know, that head roll that SCAdians think is so Byzantine? You can buy them at Ren Fairs, they show up in commercial paper patterns. It basically looks like something you get at a medical supply store for bum cushioning.

Yeah, those.

Stop.

I know this sounds mean, but there is -zero- evidence that such a thing existed. Artwork from the early Byzantine period (300-899) shows -something-, and that something is called a fakiolion. It’s a turban, and it continues to be worn through the middle period, when art becomes more refined post-iconoclasm.

I’m far from innocent, of course. Here I am, 10 years ago and 50lbs lighter, wearing my hair donut in a photoshoot.  This was my first attempt at Byzantine garb, which over all wasn’t bad, but if I could go back and beat myself with a hammer for the donut, I would. It was a waste of fabric and pillow fill that makes zero sense in the case of medieval construction.

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Here is the cut from Theodora’s procession at San Vitale. I know you see the stripes, and think that it has to be ribbons and spangles and fancy things wrapped around a roll to get that effect. The fact is, that the same effect can be made with a turban with the right designs on it.

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Then of course, there is the bust of the Byzantine Woman from the Metropolitan Museum of Art, believed to be Julia Amicia, Theodora’s zoste patrikia, shown as the third woman from the left above, you know, the one actually looking at us with her elegantly draped palla over her fakiolion. The front of this sure makes it confusing. Even I haven’t been able to completely figure out what that pucker is, but, thanks to my skills at museum yoga, I was able to get pictures of behind her head.  As you can see, it’s definitely not a donut. It almost reminds me of how a St. Birgitte’s Cap gathers in the back of the head. I wonder if this piece was polychromatic at one point, and, if the Met plans on having it investigated for color residue. I feel any trace of color on the hairpiece would probably make it easier to interpret.

The use of a turban rather than a head roll provides multiple benefits. One, it doesn’t use up fabric and filling that could have been better served in other capacities. Two, it keeps the hair out of the face, and most importantly, CLEAN. The use of silk on the hair also helps protect set styles, and women still use silk wraps today to wear over their rollers and other curling implements to bed in order to control frizz and damage. It was not uncommon for a Byzantine woman to leave her hair uncovered, even as a married woman, and noblewomen would have had the option of affording hair services such as ornate braids and temporary “perms” made with gum arabic. The fakiolion would have helped keep these styles in place and relatively clean, versus having to constantly re-set the hair on a daily basis. A head roll would have been useless in any of these applications. While Byzantines were known for conspicuous consumption, even that seems off the mark.

Here is my Byzan-bestie, Konstantia, showing her interpretation from the same period. Note that the stripes in scarf used to create the turban gives the same effect as you see above from the mosaic. It looks so much more elegant than the donut, don’t you think? You can read her blog post pertaining to Byzantine headwear, here: https://kaloethina.wordpress.com/2016/10/01/headgear/

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The trick, is to make sure that your fakiolion has the right grammata on it, or geometric designs. The Last Will and Testament of Kale Pakouriane describes these designs as being done in goldwork, and some scholars believe that grammata had pseudo-kufic script embroidered in, which was a popular design feature. Typically, you want the design to run parallel along the edges of the length of your turban fabric. Both Konstantia and I have found that commercially available hijabs do this nicely. And, since they’re designed to be worn on the head, they tend to not be stifling materials, and stay put.

Here’s a similar scarf to what Konstantia is wearing above, only worn by me, in the most flattering selfie imaginable, that just happens to have the best shot of my turban style. It also gives a nice railing for coronets to perch without the pinching or headaches associated with some heavy head jewelry. Konstantia rocks the look complete with a maforion, or veil over top of it, which was common for the early period, versus the middle period, when I’m supposed to be living. She used a pashima here, for added thickness and warmth.

And here I am in some 11th Century, emulating looks from The Menologion of Basil II as seen in my master’s thesis and Compleat Anachronist.

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My header of St. Pelagia’s minature from The Menologion, showing her wrapped turban in the center.

It was requested that I do a video tutorial of my preferred turban wrapping, so, here it is:

I know the phrase goes, “All good things must come to an end”, but in short, that head roll was never good. It’s an early Faire/SCAbomination of garb based on Italian and Spanish Renaissance fashions that don’t fit in this culture,  has seen its day, and needs to be retired for a more accurate solution. Consider the fakiolion for your next event, and put your donut out to garb pasture for good.

hotness

Better late than never – St. Nicholas of Myra Icon

Story time with Auntie Anna:

Back in the day, which is always a Wednesday, before we began our Knowne World Tour, it was arranged for Jeff to get his Silver Crescent at the same event as his Maunche because he was leaving Portsmouth for San Diego. Because of this, scroll requests got backed up. I wrote the words for his Crescent that was read in court, but he had no scroll. I promised him I would write an icon for him. THEN-

He left for Caid.
I got assigned Konstantia’s Herald Extraordinary scroll.
I wrote my thesis.
I moved to Caid.
He deployed.
I got the gilding down on this.
His backlog scroll came in from the East, and it’s lovely and I gave up.
He came back.
I did things other than paint.
We moved to Trimaris.
I was like, “Oh I still have this.”
And he was like, “So where is it?”

Here it is. 3 years later.

Panel is one of my handmade ones on a birch art panel with my own gesso. It is a hot mess and was not easy to paint on. I noticed the places where I didn’t sand as well, or touched a lot during demos and displays were prone to pitting and bad adhesion of the tempera. On the bright side, a lot of the flaws I had were the same flaws I saw on very old post-period/in-period panels. So there’s that, I guess. If anyone can take my experimental art and actually like it, it would be Gieffrei, anyway.

Saint: Nicholas of Myra, known to most of us as Santa Claus, but also the patron saint of sailors, and, of course, heretic puncher supreme. The reason I chose him should be evident. (Hint: Nothing to do with punching heretics.) The pattern is modern. Most period icons of St. Nicholas are rather boring and rarely show him with a boat/in a boat. Those are all post-period.

Green sky/blue water = Jeff’s arms, sans martlets, though in retrospect, I could have drawn one in. Green is also his favorite color.

Silver Crescent is on the boat, not only because service to his kingdom, but also to his country.

Inscription around the border: Γοδεφρείδος, Αργυρά Ημισέληνος της Ανατολής. “Gieffrei (Godefredus in Latin and Greek), Silver Crescent of the East.”

Main inscription just says Saint Nikolas.

After it cures for a couple of weeks, I will oil it, let it sit for a month, and then it can join the gallery on the staircase as an actual scroll.

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The great shell massacre of 2018. Shells care of the Atlantic Ocean.

Progress Shots:

Finished:

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So pretty. So…messy compared to my porcelain palette.

Broken images

Apparently, WordPress decided to go full iconoclasm, and I’ve lost a lot of images in posts. I don’t know how many, but I’m trying to repair posts as I see them. Please, be patient while I work on this. It’s going to take some time.

The long awaited completion of the Alligator Coronet

Yay, after building this as a draft for weeks, it’s finally done!

If I would have made this out of leather, it would have been done months ago. This became an issue of scope creep, that is, the project just kept growing more and more out of my hands.

At first, Jeff was going to make it, then he decided I needed to learn. So what culminated was a joint effort of, “Hey y’all, watch this.”

I am a total metalworking rookie, and I think that it shows, but hey, I did the thing! The base metals are nickel silver and brass. It’s not really based on any one particular coronet, you see hinged crowns across the continent.

Timeline: February to July. I could have had it done sooner if we focused on finishing it. But once we missed the deadline of East Kingdom Coronation, our goal became Pennsic.

February:

We started with a mockup made out of cardboard. Pieces of cardboard were cut into plausible plaque shapes, and taped together. We used this to make a stencil.

March:

I was busy with conference prep, so things got pushed back, but I got to cut METAL. \m/ I couldn’t do everything, and it was very hard to shape the plaques on the bandsaw after I traced the shape, so Jeff had to nip them by hand. It took 2 days. I felt horrible.

 

My cabochons had also come in. I went with a swampy Ruby-in-Zoisite.

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April:

Time to figure out copper shapes for enameling, and the sizing. Jeff punched them, I dished them. It was a loud night in the garage.

We tried to gun through this, but ran into some hiccups. I did all the enameling and soldering on the ornaments. Yep, hurricanes. And one tropical storm for luck. One of my non-SCA hobbies is storm tracking, much to the chagrin of my Facebook friends once the season gets cooking. That and, growing up in Florida, living most of my life on the Eastern Seaboard, yeah, they sort of become a way of life.

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Jeff did the brass work on the edges and hinges, I helped only a bit with the solder but didn’t feel confident enough with the higher temp stuff.

At this point, we were pretty much out of time, but Jeff attached the bezels for the cabochons. I didn’t get pictures of it. Attempts at polishing with the wheel and dremel failed. We needed to use pickle. This was going to have to wait.

May:

I found the damn pickle solution, and had fun with it. It took off all of the fire scale, and then I went in with some baking soda solution to get extra crud off.

July:

I had to spend some time out of town for most of June, so aside from sewing, not a ton toward Pennsic got done. Time to revisit the coronet and finish this.

Jeff finally got a good polish on the wheel, and inserted the cabochons into the bezels.

Lacquer was painted on it to protect the metal, and let dry.

The ornaments were re-attached, and the rivets were cut. While Jeff did that, I cut the pearl for the tropical storm ornament in the front of the coronet.

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Pearl in the storm, and that is not an obscure sports term:

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Because of the weight of the metal, we needed to get a suspension in there for a lining. My husband concocted a system using cardboard to frame padding made from a tube of flannel and craft felt. It was then riveted to three of the alligators, and treated with Loctite.

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And then I got to play fashion show to make sure it fit. Some of my veils are thicker, but overall it fits well. The padding should squish down a bit, if not, gravity is definitely going to do its job. I haven’t weighed it. I don’t think I want to.

And voila! We did it! A week and half from leaving for Pennsic! It’ll be on display in the Known World A&S Display on Middle Sunday. If not, I think I should stick out in a crowd.

Is it perfect? No. It’s only the third metal coronet Jeff has ever done, and the first like this where stones were set and it was full of ridiculous detail, but it’s mine, and the imperfections make it better for it.

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Byzantium and conspiracy theories: because Prokopios – another short essay.

Continuing on my “I have all these ridiculous topics I’ve written about” side quest, additional digging into the bowels of my external hard drive has produced this gem.

Note that this one delves into the more complex nature of religion during the Byzantine period, but does little to define them for folks that are unsure of how the early church dealt with heretical sects. It’s not something that you see a lot of in the SCA side of things, because it’s incredibly dense material, and my paper only discusses them briefly. If this isn’t something you are familiar with, don’t be afraid to visit Wikipedia or other open source site that can help you understand these terms better. Hell, even my brain starts melting out of my ears when it comes to this level of study. My professor who taught us the basis for heresy in graduate school had gone to divinity school, and STILL couldn’t fully grasp it. This is some heavy stuff.

Again, any citations needs to be done from the paper directly, not my blog. Academia.edu link:

https://www.academia.edu/36922619/Prokopios_conspiracy_theory_Justinian_versus_the_Heretics


 

Prokopios’ conspiracy theory: Justinian versus the Heretics.
The religious reforms of Emperor Justinian I would continue to resonate through the Byzantine Empire well after his time, with his fingertips still reaching into the modern doctrines of Catholicism and Eastern Orthodoxy. His combative stance against paths of Christianity labeled as heretical was notable, and his increased support of the Chalcedonian doctrine is what no doubt elevated him to Orthodox Sainthood. Though the eyes of the controversial 6th Century writer, Prokopios, a glance of Justinian’s attempts to win over the opposition can be seen, and blame is cast directly on the imperial monarchs for exacerbating the situation beyond control, perhaps for nothing more than to legitimize their rule.

Justin I’s reign presented a struggle in returning the doctrine of Chalcedon to the forefront of Byzantine Orthodoxy. It was clear that his successor, Justinian, would follow in these footsteps and continue the pro-Chalcedonian rhetoric from the throne, despite stiff opposition from outlying areas such as Egypt and Syria. Even before his ascension to the throne in 527, it was clear that the Chalcedonian doctrine was a cornerstone in his policies.[1] Despite evidence in that his wife, Theodora, may have been a follower of the anti-Chalcedonian school, and that he was willing to work with opposing doctrines as a way to find peace, the ultimate goal of Justinian was to appease the Pope in the west, not only to legitimize his rule, but also to create a smoother transition as he pushed to regain the lands lost once belonging to the Classical Roman Empire, and unifying his New Rome with Old Rome once more.[2]

The anti-Chalcedonian doctrine perceived the embodiment of Christ as being one person, one hypostasis, and one nature that was entirely divine, whereas the embodiment as codified by the Fourth Ecumenical Council of Chalcedon in 421, stated that Jesus had two natures: one divine, and one mortal. Another idea, Nestorianism, which is described as the true antithesis of Monophysitism, believed that Christ was even more complex by having two forms of hypostasis, mortal and divine. This view was rejected by Chalcedon, but many Monophysites believed that it was this Nestorianism that had won in the council. This was incorrect, and Justinian did attempt to correct this misunderstanding as an attempt to coax the anti-Chalcedonians into accepting what he was asserted the true orthodox doctrine. This failed, and the emperor was forced to save face and appease the Pope in more desperate measures.

Justinian’s marriage to Theodora may have been used as a method of reaching out to the anti-Chalcedonians. Prokopios, found this to be an appalling technique of policy when writing his Secret History. He claims that Justinian and his heretic wife did nothing independent of each other, but he believed that by pitting the opposing doctrines against each other in rival circus factions, that they may have deliberately prolonged the controversy, and created the illusion that the struggle was far direr than it appeared.[3] Surely, a marriage to a Monophysite could have and should have helped the tension between the opposition dissolve, but that was not the case, at least according to what Prokopios claims to have witnessed not just with the in-city violence between factions, but also in the alleged persecutions that the emperor performed against heretical sects. He paints the picture of a blood-thirsty demonical tyrant, out for the accumulated wealth of these practically backwater churches, for no reason but to attempt forced conversion, and the joy of spilling blood.[4] However, Prokopios contradicts his own views here within his Wars, were he expresses his dislike of the heretical doctrines, and also accepts them as false.[5] He never gives his support of the emperor’s alleged violence against these groups in Wars, but in Secret History, Prokopios seems to believe that it was all constructed by Justinian for his own benefit to legitimize himself on the throne. By pushing the doctrine of Chalcedon even in the most violent way, Justinian could effectively show the Pope that he was doing right, and perhaps as previously mentioned, regain control of the Italian peninsula with greater ease.

A point that may support Prokopios’ idea that Justinian and Theodora played the game of opposing each other for furthering their agenda would be Theodora’s own outreach to her fellow Monophysites in Constantinople. John of Ephesos, a Monophysite who according to Anthony Kaldellis in footnote 80 of his translation of The Secret History, was actually a missionary for Justinian sent to preach against Jews, heretics, and pagans, wrote a volume known as The Lives of the Saints, in which he praises Theodora for her good works in protecting Monophysites within the imperial capital of Constantinople.[6] If Justinian was so adamant on crushing these anti-Chalcedonians as virulently as Prokopios claims, why would he have allowed his wife to give sanctuary to heretics within the capital of his empire? In the same chapter, John of Ephesos states that Justinian continued to look after these Monophysites in the capital after Theodora’s death.[7]  Prokopios in that case may be correct in assuming that such consistent head-butting between the imperial couple was deliberate, and that Justinian overall did not generally oppose the idea of anti-Chalcedonians living safely, but was simply creating the illusion that actions were being taken to quash the heretical theories.

Prokopios’ views on Justinian’s actions against the anti-Chalcedonian heresies of the 6th Century may contain evidence that strife between the opposing Christian doctrines were deliberately escalated by the ruling heads of Byzantium in attempt to legitimize what the author felt was a farcical rule. By creating the illusion of consistent struggle against the heretics, Justinian could appease the Pope in the West, prove to the Chalcedonians that he was working in their best interest, and be successful while creating his own struggle with his anti-Chalcedonian empress in attempts to prolong the fight.

Bibliography

Prokopios, The Secret History with Related Texts. Translated by Anthony Kaldellis. Indianopolis: Hackett, 2010.

Prokopios, History of the Wars Books III and IV. Translated by H. B. Dewing. Cambridge: Harvard, 1916. Project Gutenberg Edition 2005. Accessed September 30, 2015. http://www.gutenberg.org/files/16765/16765.txt

Maas, Michael. Editor. The Cambridge Companion to the Age of Justinian. New York: Cambridge, 2005.

 

Notes

[1] Patrick T. R. Gray, “The Legacy of Chalcedon”, in The Cambridge Companion to the Age of Justinian, ed. Michael Maas. (New York: Cambridge. 2010), 228.

[2] Ibid. 229.

[3] Prokopios, The Secret History with Related Texts. Trans. by Anthony Kaldellis. (Indianopolis: Hackett, 2010), 10.13, 48.

[4] Ibid, 11.14, 52.

[5] Prokopios, History of the Wars Books III and IV. Trans.by H. B. Dewing. (Cambridge: Harvard, 1916), 5.3.5-9. Accessed September 30, 2015. http://www.gutenberg.org/files/16765/16765.txt.

[6] Secret History, 53, and page 145 in “related texts” of same volume.

[7] Secret History, 148.

Icon-a-long with Anna 6: Completion

So, I don’t have a ton of pictures of this, mostly just the end result. The total was 3 floats of highlights, then the embellishments, inscription, shell gold, and border. Total amount of time on this one board: 15 hours. A “light” amount of work. @_@

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After the 3rd day of painting.
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Done!

Use of a pattern doesn’t necessarily mean a copy, so I decided to veer from the original and give a contrast border. The inscription is in Latin, rather than Greek, since the original had the same (from what I could make out).

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I did have some issues getting lines thin enough with my brushes. I think it’s a combination of my own pressure, them wearing out, and just not being thin enough for fine line work on smaller details. For icons where I just do the head or bust, they’re probably still fine, but I need to invest in tinnier liners! I also got a bit carried away with the shell gold on the Hand of God, but everybody loves gold!

I’m also utterly surprised at how good the horse came out.

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It’s now setting up to be oiled in a few weeks, and hopefully dry before Pennsic and delivery to its commissioner. I hope they love it!

 

Next up is the War Sew-a-thon, but I’m hoping to get some paint down on the icon of St. Nicholas next, which is doubling as a backlog scroll for my husband’s Order of the Silver Crescent.

Icon-a-long with Anna 5: Highlighting

There’s not going to be many pictures from here on out, because I need to concentrate. So I probably won’t make another post until I do the finishing touches in a couple of days.

Anyways, the next step is layers of highlights and lowlights. This could be as few as two, or many, many more. So far, I’m thinking this is going to be a 3-highlight layer icon, but I could be surprised. Some areas, like the landscape, won’t need a ton of work, but the horse and skintone will take much more work. The detail lines are saved for the last day, along with the inscription and the outer border.

The trick with the egg tempera is to create different viscosities of the color to get the achieved effect. So you mix your color, then add water until you get what you need. This doesn’t always work smoothly and can take some time. Likewise, I had to go back and darken some of the more solid areas where the paint dried patchy. I lightened the background to create more contrast from the dark yellow ocher, and put back in the linework. Skin color takes on a chalky look, which is why the beggar looks a bit…weird, if not skeletal, this will soften up with the next layer.

This is when egg tempera gets fussy.  While it dries fast, it takes overnight to cure. If you go back over a spot that’s wet, or didn’t cure, fresh paint can take it right up and leave you a hole straight to the gesso. You can see that on the horse’s haunch in the picture below. The best thing to do when this happens is LEAVE IT ALONE. Let it cure overnight, and then revisit it the next day. You really only get 2-4 hours to work on it anyway before this starts happening pretty much everywhere if you keep touching things, hence why the daily limit is so important. This is when patience is key, but it’s also a lot of fun as each day you get closer to a finished piece. I worked on the board for about 3 hours.

I’ll see everyone in a couple of days when I’m ready to finish it, and set up for the long cure before oiling.

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