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cameo: a gemstone or shell carved with a figure
in relief that contrasts in color with the background (see cat
147), also see intaglio.
Canon Tables: a system establishing concordances
between the Four Gospels. The Canon Table is traditionally ascribed
to Bishop Eusebius of Caesarea 313-339/40. Typically the Canon
tables are proceeded by a letter written between Eusebius and
Carpianus, explaining their usage (see cat 174).
catena, catenae (Gr., and Lat., chains): term
used from the fifteen century onward to describe exegetical
fragments commenting upon biblical texts (see cat 33).
censer: (Gr., thumiaterion or thumiatos): metal
bowl attached to metal chains in which are placed charcoal and
incense, see also katzion.
Chalcedonian Churches: group of churches accepting
the findings of the Fourth Ecumenical Council, held at Chalcedon
in 451 C.E. The council finalized the orthodox position about
the existence of the dual nature of Christ, both human and divine
united inseparably in a single, person. The churches that did
not accept this position, or rather the manner in which the
issue was phrased were what are now known as the Non-Chalcedonian
Churches; the Armenian Apostolic, Coptic and Syriac Churches.
chalice (Gr., agion poterion): liturgical vessel
intended to hold the wine of the Eucharist (see cat 271).
Chalke (from Gr., "Copper," or "Brass"):
main ceremonial entrance into the Great Palace of Constantinople,
the gate is believed to have stood opposite the existing first
Gate into the Topkapi Palace. The gate was called Chalke, or
copper, because its bronze roof tiles were gilded. Above the
gate was the famous image of Christ Chalkite, a standing, full-length
image of Christ standing upon a suppedaneum. This image was
one of the palladia of Constantinople, and particularly associated
with the events of iconoclasm.
champlevé (Fr., "raised ground"):
a western European technique in which areas are excavated out
of a metal matrix, into which are placed powdered glass or sand,
which after being fired creates areas of enamel, see also cloisonné
enamel (see cat 293).
chartophylax: keeper of archives, a monastery’s
clerk or registrar
Cherubikon: (Gr., Cherubic Hymn): troparion
intoned during the offertory procession known as the Great
Entrance. Two brief litanies and this solemn procession
mark the transition to the principal portion of the liturgy
known as the ‘Liturgy of the Faithful.’ The text
states: "We who mystically represent the cherubim, sing
the thrice-holy hymn to the life-giving Trinity. Let us put
away all earthly care, so that we may receive the King of All,
invisibly escorted by the Angelic hosts. Alleluia." This
hymn calls attention to the mystical unity of the heavenly and
earthly liturgies.
chiton, chitones (Gr., "tunic"):
an adaptable garment that both Byzantine men and women wore.
The garment could either be long or short, sleeveless or with
sleeves. The garment was fastened at the shoulders and tied
around the waist; court rank was discernable from the type of
chiton one wore, a kamision being emblematic of lower rank than
the skaramangion.
chlamys: a long cloak thought to be of Macedonian
origin and initially used for riding, military campaigns or
hunting. The chlamys was worn over a chiton, the fabric was
folded in half vertically, and the front and rear sections were
attached to one another by a fibula fixed at the right shoulder.
The wearer’s left hand remained underneath the fabric,
whereas the right hand was free to utilize a spear or whip.
The fibula could be moved under the chin to free both arms.
During the Byzantine period the chlamys came to be part of court
costume, with different colors associated with specific offices.
Purple ones were worn by the Emperor with a gold tablion at
his coronation. In art the chlamys is worn by Old Testament
Kings and in numerous depictions of military saints (see cat
110, 136, 138).
choros, choroi (Gr., "chorus"): a
round or polygonal lighting fixture similar to a chandelier,
consisting of a wide band of wood or metal, occasionally incorporating
architectural elements such as arches, that support candleholders
or oil lamps. Double-sided icons are sometimes used to decorate
the perimeter of choroi (see cat 60).
Christ Amnos (Gr., "Christ the Lamb"):
the image of Christ, sometimes appearing in fresco programs
as a prone child; also an image of the dead Christ laid out
for before decorating the Great Aer, which later developed
into the epitaphios.
Christ Anapseon (Gr., "the reclining one"):
depiction of the reclining Christ child, resting his head upon
his right hand with eyes open and holding a scroll with his
left. Christ is either seen flanked by two angels, extending
their hands in prayer, or holding instruments of the passion,
or occasionally with the Virgin. In monumental wall programs,
the image can be found at the entrance to the pastophoria, and
notable examples were painted by the artist Manuel Panselenos
(fl. Ca. 1300) at the Protaton at Karyes on Mount Athos. The
theme is taken from a prophesy of Jacob and refers to the ancestry
of Christ (Judah is a lion’s whelp: from the prey, my
son thou art gone up: he stooped down, he crouched as a lion,
and as an old lion; who shall rouse him up?), [Genesis 48:9].
The image serves as a prefiguration of Christ’s Passion,
as the Physiologos, a Greek bestiary, describes the lion as
sleeping with its eyes open and that lions emerge from the womb
dead, but are brought to life in three days by their fathers (see cat 181).
Christ Pantokrator, see Pantokrator.
Christ the High Priest: iconographic depiction
of Christ combining dual attributes symbolizing his temporal
and ecclesiastical authority. Christ is shown wearing the sakkos
and a miter-crown with cascading prependoulia, both garments
originally associated with the basilieus. These imperial
attributes are combined with the Episcopal vestment known as
the omophorion, a long stole decorated with crosses and
draped around the shoulders. This iconographic depiction during
the Late Byzantine Period, as the temporal authority of the
Basileus was increasingly eclipsed by the moral authority
of the Patriarch, who began to assume some of his secular counterpart’s
regalia. The duality of the image is underscored by inscriptions
that declares Christ to be the "King of Kings" and
the "Great (High) Priest."
chrysobul (Gr., Gold seal): an imperial document
written on parchment and signed by the Emperor in cinnibar.
The term comes from the golden seal, or bulla, attached to it,
verifying the document’s authenticity.
chrysography (Gr., "writing in gold"):
linear hatching executed in gold leaf, applied in the last stage
of painting.
chrysokentema (Gr., "gold embroidery"):
the application of gold or silver-gilt threads to the surface
of the textile, secured in place. The threads have thin strips
of the gold foil loosely wound around them, enabling the colored
core to be visible see also argyrokenema.
Ciborium, ciboria (Lat., "chalice"):
an open-sided baldachin or canopy on four or six columns placed
over an altar or tomb.
cinnibar: mercuric sulfide used as a pigment;
the red ink used by the Emperor to sign and date documents.
clavus, clavi: (Lat., "that which shuts
or fastens") clavi were initially an element of secular
dress; they were woven into tunics in pairs, one crossing vertically
over each shoulder. Originally clavi were an indication of senatorial
rank; however, examples from Egypt indicate that they were later
worn by people of less exalted status. Eventually the garments
of bishops, archimandrites and hegoumenoi (abbots), were decorated
with clavi, these are found on their mandyas, a type of monastic
cloak; they symbolized the rivers of wisdom flowing from them.
In Byzantine Art, Christ, the Apostles and Angels are most likely
to be shown wearing garments bearing clavi.
cloisonné (Fr., "partitioned"):
powdered glass contained within thin strips of upright metal
known as cloissons and fused by firing; also, a masonry technique
in which thin bricks are utilized to surround stones to create
decorative patterns.
coenobitic (Gr., "conventual, living together"):
monastic rule in which all possessions are held in common and
private property is forbidden, see iddiorythmic.
colobium (Lat. From Gr., "kolobos,"
"docked," or "curtailed"): a long tunic,
with or without sleeves. The sleeveless colobium is worn by
Christ in depictions of the Crucifixion as late as the Middle
Byzantine Period.
colophon (Gr., "summit," "finishing
touch"): as inscription usually found at the end of a book
giving information about its production, such as the name of
the patron, the location of the scriptorium and occasionally
the name of the scribe.
Communion (Gr., "metalēpsis"): the
Christian Sacrament in which bread and wine are blessed and
consumed as the body and blood of Christ, also known as the
Holy Eucharist and the Mysteries.
conch (Gr., "conchē," "lit. "mussel
shell): the semi-dome above an apse.
contrapposto (It., "opposing, conflicting"): pose
in which one side of the body twists in relation to another
part.
Copt: (Ar., Qibt): term derived from the Greek Aigyptoi, a derivation
of the word Hikuptah, House of the Energy of Ptah, the religious
epithet for the ancient city of Memphis. The term now refers
to the indigenous Christian population of Egypt.
Coptic: the language of ancient Egypt that ceased to be a living
language in approximately the thirteenth century. Originally
transcribed in hieroglyphs, a writing system without vowels,
attempts at transcribing the language in Greek characters date
as far back as the third century B.C.E. Coptic utilizes Greek
uncial characters, with an extra six or seven characters derived
from the Demotic, depending upon which dialect, either the Saidic
or Boharic is being transliterated. The language is now preserved
in the liturgical language of Coptic Church, a member of the
Non–Chalcedonian churches that .
cross-in-square: church plan in which a cross shape is inscribed
within a square building. The church interior is divided into
nine bays, the central bay utilizes piers or columns to support
vaulting for a dome. The cross shaped arms are usually surmounted
by barrel vaults or groin-vaulted; in some instances, such as
at the Holy Apostles in Thessalonike, the four outer bays are
also surmounted by domes on drums.
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