By Henry Schilb
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Extra resources for Byzantine identity and its patrons: Embroidered aeres and epitaphioi of the Palaiologan and post-Byzantine periods
Daniel M. Gurtner, The Torn Veil: Matthew’s Exposition of the Death of Jesus, vol. 139, Society for New Testament Studies (Cambridge: Cambridge University Press, 2007). , Byzantine Monastic Foundation Documents, 359. 26 Gautier, “La Diataxis de Michel Attaliate,” 97, lines 1300–01. , Byzantine Monastic Foundation Documents, 359. 28 Gautier, “La Diataxis de Michel Attaliate,” 97, lines 1304–05. ”) This passage probably means that both the katapetasma and the endyte, a type of altar cloth, are of similar silk and are old.
14 and style. In Chapter 4, I have concentrated on the question of what aëres and epitaphioi meant to the patrons who commissioned them. My approach to the question of terminology in Chapter 1 is not to assemble a complete list of instances of the use of certain terms. I have not attempted to outline the development of terminology over time. I have only questioned the ways in which other scholars have interpreted and used terms that refer to liturgical textiles. I believe that reasoning backward from modern practice has led to mistaken conclusions about the development of the aër and the epitaphios.
The Bloomington Epitaphios (figures 96–99) shows that the technique was still used in the sixteenth century with great technical skill. The passage from Paul the Silentiary refers to a cloth with embroidery, but this was a specific cloth made for and located in Hagia Sophia in Constantinople. The function of that cloth was probably ornamental. It was what Johnstone would call a church furnishing, like a katapetasma or a podea. That the Patmos inventory refers specifically both to “embroidered” kalymmata and to “antique” kalymmata suggests that the embroidered examples were relatively new at the time.