Cited by 0Byzantine Studies and HistoryHistorical and Religious Studies of RomeClassical Antiquity Studies

The DOI matches its Crossref record, with a small difference in title or year; none of the 14 sources its claims cite is checked for support yet.

Ancient Statues, Christian City

Chatterjee, Paroma·2017·Oxford Scholarship Online

Abstract

This chapter examines some of the public statues of Constantinople between the 4th and sixth centuries ce, and their significance to a Christian audience as illuminated in literary records pertaining to the city. The Parastaseis Syntomoi Chronikai account dated to the eighth century ce, which not only describes the statues in their historical urban settings, but also details various encounters of viewers with them. Roman Empire perception was perpetuated into the future and encapsulated by the statues. The statues proved themselves to be superior to Christian images, which, up until the ninth century ce, were repeatedly debated concerning their very validity. The statues, however, never suffered the official interrogation and violence their Christian counterparts did—adding to their charisma and appeal over generations. Constantinopolitan public statuary offers critical insights into the ways a controversial ancient heritage imbricated itself into the very fabric of Christian material infrastructure and endured.

Overview

AI snapshot

Written from the paper’s full text.

TL;DR

This chapter reads the eighth-century *Parastaseis Syntomoi Chronikai* to argue that Constantinople’s pagan statues remained central, charismatic, and prophetic actors in the Christian city, not marginal ornaments. It shows emperors, officials, and philosophers closely scrutinizing statues to decode imperial past and future, even as the statues retained enigmatic and sometimes dangerous power.

Key findings

  • The *Parastaseis* presents pre-Christian statues as integral to Constantinople’s topography and historical continuity, often tied to imperial intervention, prophecy, or destruction. Its opening chapter says S. Mocius was built by Constantine the Great (324–37) on the site of a temple of Zeus and with its stones, while later chapters describe rebuilding under Justinian (527–65) and others.
  • Specific episodes show statues’ agency: a statue of the pagan Fidalia caused the ground to shake after removal, prompting the emperor to send a procession; at the Kynegion, a statue killed the official Himerius, and Emperor Philippicus (711–13) ordered it buried because it was impossible to destroy.
  • In chapter 64, Emperor Theodosius II (408–50) and seven philosophers—Kranos, Karos, Pelops, Apelles, Nerva, Silvanus, and Kyrvos—inspect statues in the Hippodrome and produce cryptic prophecies about horses becoming riders of men, barren times, and whether Constantinople will still stand.
  • The chapter argues that pagan statues never suffered the official interrogation and violence directed at Christian images up to the ninth century, and that texts written at moments of crisis—the *Parastaseis* during Iconoclasm, Nicetas Choniates after 1204, and Manuel Chrysoloras in 1411—link imperial continuity to ancient materials rather than Christian visual culture.

Methods

  • Close reading of the *Parastaseis Syntomoi Chronikai*, focusing especially on two episodes: the murder of Himerius at the Kynegion and the philosophers’ investigation in the Hippodrome.
  • Uses the Cameron and Herrin 1984 translation and commentary on the text preserved in an eleventh-century manuscript (MS. Par., gr. 1336), while engaging scholarship by Kazhdan, Odorico, James, Anderson, Magdalino, and others.
  • Historical and literary analysis of how the text describes statues, viewers, imperial involvement, and prophecies, rather than a systematic archaeological or art-historical survey.

Limitations

  • The paper states that the *Parastaseis* is difficult in date and contents, with proposed composition in the eighth century, possibly over several decades, or even compilation in the ninth or tenth century; its purpose and audience are also debated.
  • It notes that the text’s language is sometimes difficult and grammatically erroneous, its histories are often inaccurate or confused, and chapter 64 is “extremely difficult and textually very corrupt.”
  • Evident from the chapter: the argument relies heavily on one enigmatic textual source, so conclusions about Byzantine attitudes and viewing practices are mediated by a cryptic and historically uncertain document rather than by direct archaeological or visual evidence.

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Integrity signals

Registry

Crossref · 10.1093/acprof:oso/9780190278359.003.0013

Cites

Statistics

Nothing to recompute.

Verification

Claims the paper makes

0 of 14 cited sources checked · 0 supported · 0 flagged

Show all 41 claims

  • Probably not a substantial claim. 51
  • It may state two separate claims as one. 32
64 of 64
  • The paper relies on this without support.

    The role of pagan values, ideals, and culture in the long middle ages still requires a more comprehensive analysis than it has been granted.

    “the role of pagan values, ideals, and culture in the long middle ages still requires a more comprehensive analysis than it has been granted.”
  • The paper relies on this without support.

    The Parastaseis provides reliable enough evidence to infer attitudes toward public statuary in Constantinople.

    “But texts such as the Parastaseis strongly suggest that ambiguity endured in the realm of public statuary.”
  • The paper relies on this without support.

    The Hippodrome was the primary public space for the display of imperial power in early Byzantine Constantinople, where the emperor was crowned and ritually acclaimed by the throngs.

    “But it was also the primary public space for the display of imperial power where the emperor was crowned in the early Byzantine period and ritually acclaimed by the throngs.”
  • The paper relies on this without support.

    Prophecies were predicated on knowledge of the past of the individual(s) or empire(s) that formed their subject.

    “because prophecies were predicated on the knowledge of the past of the individual(s) or empire(s) that formed their subject.”
  • The paper relies on this without support.

    The Parastaseis was composed in the eighth and/or ninth centuries, even if it were compiled later.

    “the Parastaseis in the eighth and/or the ninth centuries (even if it were compiled later)”
  • The paper relies on this without support.

    The Iconoclastic controversy raged in the empire during the eighth and/or ninth centuries and sparked a debate over the value of religious images.

    “when the Iconoclastic controversy raged in the empire and sparked off a debate over the value of religious images”
  • The paper relies on this without support.

    Several of the depictions on the Golden Gate had been ravaged in the Fourth Crusade.

    “well after several of them had been ravaged in the Fourth Crusade.”
7 of 7

Citations

Metadata

Authors
Chatterjee, P.
Corresponding author
Chatterjee, Paroma
Venue
Oxford Scholarship Online
Published
2017-06-22
OpenAlex
W4252920498
Cited by
0
References
0
FWCI
0.00
Type
book
Language
en
Open access
closed
Locations
Oxford University Press eBooks (publishedVersion)
Topics
  • Social Sciences › Arts and Humanities › Classics › Byzantine Studies and History
  • Social Sciences › Arts and Humanities › History › Historical and Religious Studies of Rome
  • Social Sciences › Arts and Humanities › Classics › Classical Antiquity Studies
Keywords
public statues, Constantinople, late antiquity, Christian iconography, classical reception, 6th century

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