By Ihor Sevcenko, Irmgard Hutter
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Additional info for AETOS Studies in honour of Cyril Mango presented to him on April 14, 1998
Other avenues that merit further research are the origin and development of the iconography of St. Hermolaos in the tenth and eleventh centuries, and an in-depth study of these copper repousse reliefs — along with their counterparts in bronze. 45 See, for example, the icon of the Virgin displayed on a large icon-stand in the Church of the Portaitissa (1680-1684), Iviron Monastery, Mount Athos: Glory of Byzantium (as in n. 4), Fig. on p. 26. 46 The description in the Life of Daniel the Stylite states, that the silver icon "is preserved to the present day near the altar", see Three Byzantine Saints (as in n.
Bloch in: Conflict between Paganism and Christianity in the Fourth Century, ed. A. Momigliano, Oxford 1963, 214-217. 15 The contributions of the late antique correctors are carefully distinguished in M. Geymonat's edition, Turin 1973; see his list of sigla on pp. xix-xx. 16 E. g. J. F. Matthews, Historia 19 (1970) 464 n. 2. 13 Basilius, Mavortius, Asterius 31 It will be noted that Winstedt seems to assume that it did not matter, whether in the age of Cicero or the age of Mavortius, which of his three or four names a man omitted when he was being informal.
H. C. Evans and W. D. Wixom, New York 1997, 159-160, no. 105 (S. Boyd). Ace. no. 3 cm. It was acquired in 1987 from N. Koutoulakis, Geneva, and was formerly in the collection of G. Feuardent, Paris. When first seen, the background of the relief was dented and uneven and four distinct creases indicated that it had once been folded into a square; harsh cleaning had stripped the sheet down to the raw, reddish-pink color of natural copper. Unfortunately, by the time it came to Dumbarton Oaks, the plaque had been heavily restored by heating (annealing) and burnishing to remove the creases and smooth out the background, and the front had been very heavily patinated.
AETOS Studies in honour of Cyril Mango presented to him on April 14, 1998 by Ihor Sevcenko, Irmgard Hutter