r .... nTOr....(E FACE TO FACE Ponraits of theinEarly Chri>t;;,nity Copyright C 200S AUg,burg !'ortre.. , Allrights r...,rved.for brief quotat ion. in critiocalor reviews, no part of this book m.ay bCr) l.JesusChrist_ Art.1.God_ Art.3,Saintsi n art.4,Art,EarlyChri'ti.n, 5.Purtr.tit"Roman.J.Title, N8050,j431004 704.94SS09011-dc21 2004012360 The paperu ..dinthis publ i,,"tionmed, theminimum of American Nat ional StandardforInformationSIiUvery much l>anof humanity. Andinmy pielu,,,,,I wan' to say s"methinga, rno,i, doe. _ I want 10 paintnlen and women with" touch of the "" .... nal, wh.,... .ymbol " .. ISthe halo,whichwet ryto '"'-eybythe '''ry radia nc. and vibran,y of our colouring.... Ahportraiture. portraiture.withthemind.ti>csoulof tht modtl_ that i. what.-tally must come, it sentialaboutits subject that t ranscends mere surfacelikene>s.This is achievedthroughtheuseof color, composition, technique,or style, whichincludes such secondary details as costume, props, or setting thaI addimportantidentifying aswellas descriptive elements. For somereligiouspersons, Iheideaof making aportrait of Godis utterly blasphemous. God is asserted 10be invisible and beyondhuman comprehension.Nevertheless, Scripturesarefiiledwithanthropomor-phic descriplions of Godand slories of God's appearance tohumans in one formor another(a burning bush, anangelicvisitor, theAncientof Days on a throne).Mosesistold thathecannot see God's face,butthe ApostlePaulassureshisreaders that one day wewillseeGod"faceto face"(1Cor13:12).Jesustellshisdisciplesthatif theyhaveSeenhim they haveseenthe Father(John14:9), eventhoughthefourth evangel -ist still claims that uno onehas ever seenGQd"(JohnI: 18). The Epistle totheColossianscalls Chri stthe"imageof the invisibleGod" ( 1: 15). And, even thoughitavoids anyrepresentation of the First Personof the Trinity, theOrthodoxChurchdefends the importance of portraiticons onthebasisthatthe i'Karnationof ChristgaveGoda "humanface." Thesestatements of faithallclaimthatverbalexpressionisnotGod's onlymeans of self-revelationand that Christians might wellclaimthat thereisalsoavisualmeansofknowingandcomprehendingthe Divine- having both ears to hear and eyestos of the Lord" inandthroughthetestimony of nature, history, andeverydayhuman living. Notonly whetherbuthowtheimageof God or Christshouldbe portrayedisa differentproblem,whichhasbeendeeplycontroversial and divisive inthe history of Christianity. Theproblem of representing adivinenature, or evenupturing aphyskalhumanlikenessof that One wholeftnocertainrecordof appearanceor eyewitnessdescrip-tion, might be insurmountable apart from an act offaith, a belief in the gift of a miraculous image, or the acceptance thaIa true likeness isnOI basedonmundanehistoricaldatabut canemergeout of tradition, XI XIIPREFACE personal religious experience, Or eVenparticular visionary experiences. And, if therecord shows us anything, itisthat a wide variety of differ-entrepresentat ionsdoesnotimplythatall(butperhapsone)are wrong.It maybethatallareright.Thenearlyinfinitevariety of por-traitsof ChristthathavebeencreatedbyChristians inallplacesand times mayleadus\0 one almost paradoxical conclusion-thatnoone image cantell the wholestory andthatallcanshowus some aspectof thetruth.Inasense,more isbetter. The existence of fourseparate canonicalGospelsperhapsdemonstratesthis.Butthesamemightbe said of any human portrait as well.No one image can capture the whole of anindividual's lifeand character. Every image leads us tothe model, while at the same lime it shows only an aspect or even a tiny glimpse of the reality of theindividual. Thus, the termhere has a verymeaning-i tlikevanGogh'spaintings,tocapturenotonlytheexternalappearance but also the whole person, including the mindandsoul, and to portray thatof eternit Thus, the picture a far more expansil'e andprofound thanitmight seemon the surface. Thebeautyandthe truthof theseimageshaveless to do withverisimilitudeor evenaes-theticjudgmentsthanwiththewaytheyaffecttheirviewers.Such images lead viewers to a different kind of understanding of the subjoxt, and perhaps even to the story arousing affoxtion or devotion, and finally allowth...observ... rbothto senseth ...presenC. C.,,,,in" (I'o1,,,.) J'mn", 14',,"al", i. l)oni.!.", (Corn"""''' y 00[bni.iJ Aug""i""Dr fik" 'Y"'OO/o(00 Fa;th li nd tho S)TIlOOl) Joon of [brnaKtl5, DtM< 0"""""'. (On th, Ortl>orlOJlF. ;th) Cyprian. Ad ""rI",,"'"," (To l'a"turuotur:E.xhorution 10 MlIrI)Tdom) Euripide>,Fmg"'''''. (Fr.rsm,n") luli.n (Emprro,), mrg"",",um Epi,,,,/M (F,.gmrnt of. Lrttll kr.Pri",) 1J< ";",..",",,,, (00 Hight .nd 0. G","" i rr,w.) Orig""Ho","i.,;n N"m"", (Homilion ... ) Trrtullian. fX Ula/olorrio(OnIdoiatry) Luc;"', Imagi""(b>ay> on I\rn..i,u) IIth.n ..' '''' Dt i_null;"", (00 tl1li,( Ilook of ,h. I'opu, Marne.."" (Agoin>'Marcion) Tmullt.n. Ad Ma,,,,,o, (Tothe M." y... ) PIu .. ,ch. Mo,a/,a(Morab) De >m'T;b", ""It>",. ,,,, ../ita,kallbY' Onl'oI1 ..itu Dy 8et1 PI>oto: Estelle """'"' Fog.6._stri'-"g the nod< "theut.>pin t. th< bibliil tion. butht off.... on;"'pon.n, dioti",,' ionbetwntil< 'emu "idol' ond 'Iil:j>OSIit lOY' I""t"" idol inIh.1o'OI'Id ..... Uy ..;"""..... il< .. . ht." (/Icmoiii....). wltidt onm hao. poo.niv< ..... In addi'ion ' 0'ht .1>0..,i,I ,...,fromICOrinlh ...... l'lIul.pf ....nou. ",no (RomI:Z4-Z7). P.ul dotk12:16). ,h. word u!Cd(0' ,h.I, rf ,h. m." of be, .."( I Co, 15:49,. I"ICo,4:4. Cluj" i, 'he imol' (';M" ) of G04 , "'b,,,,., ,n Phil2:7. Ch,;"""" .h. f"u" (...".ph6,,) of. ,I ..,nd', borni" huoun lik."", (h ...,;,;"""; ".,h,';pOn ). In C.,k" ,I.n, he"the im.g. (,;"'") of thein.i,ible GodM",rillDI '0 '" 3:9.human" " m" l< inthe lilo ..... of God I""""';';';" ,,,,,"w). ,od in2 Co, J: '$. Poul "'.;... ,hhu ..... n'. y "" II I>ome of, non Ch,;',i," nhri",ohW:O,J",'1IIy pI..c>., 1U,"in8 i"" .. >houid to. mor< hishlr hono..,J,lun ,"" prod""" f lhri, cft.Howc...,. I>t""",Id cl.ol'" ,n. rno iliUfnl.1>t . rt;",1hti ..... willn. Sn 10...m moo.h..d .. i,y,,,,h...,h.n!m ,i"' n '0 pu. .ui" of 'h" im'p,in"ion",hit II 0( Romr andon .. rwphagi; figu . ",i,..mo,ift (including zodiacfi 8"'" .n.! 'ep"""""''''nI ftho god flclioJ)f""ndon mooaic !Ioonof 'Y">ss"'" in til< Gam''''' r,,"rth. Dd" d h, ,,,,u.i..,.nd.moton,. I''' ) morr {on rnlwi.h,h. p"nk" of idol.,ry ,b. n wi,btilIrid"1'1"'111to .... >mS.ibilil'" u( ph""""",,i ally oophi""".",!.,,,,'-told R'F":.o\!Cl."!s Y...20FACETOFACE WOmenarriving atthe emptytomb; three of the fivewise brides carry-ing their lamps to the tent of the bridegroom; or virgins escorting Mary 10thetemple,anillustrat ionof apassageintheProtQevu"ge/;,,",of James)." Basedonthe example fromDura,itseemslikelythat otherearly Christianbuildings were similarly adorned. We do know that Christian buildingsweredemolishedduring th ..greatpersecution of theearly fourthcentury, andtheirwallsmaywellhavebeenenhancedwith paintings."Despitecertain di stinctionsin slyle, the similarity between some of thethemes foundontheDura baptistery wallsandmotifs from the Roman cata(Combs also suggests some common intluem'cand perhaps {'ven some sharedmodels. Althoughwehaveno extant exam-ples,itseemspossiblethatcertaininfluentialprototypes(illuminated biblkalmanusnipts, providedpatternsor cartoonscon-tainedincir.::ulatingbooksof artisans'motifsthatcouldaccountfor somelevelof consistency."Inanycase,giventhe certainfactof an emerging and distinctiveChristianiconography,churchauthorities may wellhavetried to regulate the trend, especially if they continued to be concernedaboutthe snaresof the surrounding paganreligiousor even secular culture. Surprisingly,however, wedonothavemuchevidenceof suchreac-tion. The earliestknownregulationof Christianvisualorfigurativeart comes fromacanon of alocalchurchcouncilheldinElvira,Spain, about305C.H.Curiously, the canon'smeaning isa bitambiguous. Two differenttranslationsof akeyLatinclauseint hatcanonarepossible, resulting intwo rather different meanings.TheLatinreads: Plaw;1 pic-wras itl ecdesia eJ5enon debere,lIequod co/jwr et adorawr i" parie/iblls drpj"garur.Onepossible translationis:"Thereshallbenopicturesin chur.::hes, lest whatisreverencedandadoredbedepictedonthe walls,M whilea sond reversestheverbsandof thesecondclause, thatis,"lestwhatisdepictedonthebereverencedandadored."" The firsttranslation, whichseemsthe moregrammatically straightfor-ward,prohibitspicturesbause of t hedangerthat certainsacredor holythingsor persons mightbeinappropriately portrayed(or even exhibi tedto view). Ifoneacceptsthisasalimitedprohibition,thenperhapsother images might bepermissible (perhaps in other places than the walls of a chur.::h ), or atleastnot asproblematic. The second translation demon-a concernthatviewersmightconfusetheimagewithitsmodel andmistakenlyoffertheimagesomekindof adorationor worship, therebyfallingintoidolatry,inwhichcasetheprohibi tionprimarily attendstothepoteotialformisuse,notexactlyonthe imagesthem-selves. Nevertheless, both translations appear to prohibit art 00 the walls of thechurch, albeitforsomewhatdifferentreasons.Furthermore, the VI!VALPORTRAIT). AND(DOLATIW ....... otm-. d......"," .. bI ....*"ooKh bofot< tho:tun< rJ c-ur.'ID _,,'d olh.,wi.. 'p'nd th." 'i .... f ...'ing . nd .. tho'Om"of ,h. atho. ,tun ''''''in! in ...... ,ho,".."h.o Th .... inIi ..... r"""'" ....w.....th.ve ben".. cspUy ... did> w.....itt .....w.I. 'wo 1>1..,.. 10 .... in ,..., wwn opillitt "' C, .... r Iht Grn, 10IIilIt.or s.,..., ... of MI .....lel.l" Ih_.... Itt""", r...bon"",,,", ;......,. from d ....d .... in hio d;",. ... (on< "'11M" 6 ... L--to """'''''''' '" i< G,< ......d _1" .... ,.,.., but_ bWnt,.... '" """,,,bn*n them.- Mol. ..... pouM ..... """ yai .. '" ,,",",In rotlht i1t ......... ("1*' .,Iy '" Ih< ......u:tb,o,... Iht local...... . 1.0. ;" ode"0< "'ttbto ....... nott.I tho, oudo "'_ ........Iud IVCD< ..;,....,-....n.iN1itr i>rdrn'''ion of 0..(". ,h. fiK""or.1>< . post! rJrow ,hom "cho. ",'Ii ... Df c..... ...." F.mr-.14. .................... wrth -'...d ;" " ;m'" 0>10.", '" -....."" .... ....... OM-""" __ ....... .,. .,...., 1'""'0"' .....n.._ .......... "" .... ___ ....... _ aDd Ih ,ian ltatkr< roruitkml to be -oldidol'''0\11 ",.ro,,,.: The,u' hrn'iwriting> obo ......,.., indica'e tlu inhio.i< ... ,.1< d,(fc=>,(tom "",... ,iY< OJsymbol;' ;r\'U5"'- in,..., 0..;, pri""",}, Pu,pft "'0 p ........ ,.n ir>' .".."10,, . nd,hn>.tI "'" to..".,..,'on. ...."h i. ,IIm ,on,id" 'bot,ho." of FO""' i' "I1;>111in ,h. Ro",.n ...,.Id.nd woO,in f.a . .., .....ul.l."00"1 ,I>tiut """'" ott.....t .. _........... w .. "'" ,"" oIl'iJ1o ........., I"" ... \\'bo' ""'" ron''''' diflt" '" in rly CIt"..... ,hootJlt,,," u.n. ..... iLarity'0 .... idol. 0I,1It pol,.. ,hn..l'urtl>mno....tion In .... ..rond. '" lIUrd.c..uu'1 Ir1Ob>blr ..n) """ II{ /DIo"...., .. . h. ""'1 of ...".,n ....Ithy ..... n. L,.""k ok;, .......'" old f""","",, wi"'.a..p.o ......... "","". w.,."J, hc:aImI . toW1Iand lov"inS 100 .... ,,1>0anius"",,'d t.ttf ho, dtd.1rtdphOOoopi>ru. and Arisootlt) .....U.. of Id1Ui1y rn>lha, Co","n,in.:om mimor>! KUlplym 61P'''' of the Good SI"p/K, d and Doni-IH: fuu "" in' in Coo ..,,,, i""" ..... .>.=nling '0 Ihe l.ib-versiesaboutthepersonand namrds)ofthesavior.Th .. demonsthatentrappedthepeople intoworshipingt hevainand empty creations of humanhands nowhadanother waytodrag the unwaryintoperdition,through falseteachings rather thanthrough theworshipof falsegodsorthe venerationofidols.Pagangods werenolongerthecompet ition and threat that they wereinthe first centuries,andthesecularworld wassomet hingtobeaccommo-datedratherthanavoided .Unt il the beginning of the eighlh century andtheoutbreakoficonoclasm, portrails of Ihesainls,Mary,and even werehardlyamatter for concern. Instead, images of saintsaswell asscenestakenfromtheBible becamemoreandmorepopular forchurch decoration.Intended 10 inspireaweaswellastoteach,th .. artworkinchurchwasasmucha mode of theology asth .. writing of treatisesor delivering of homi lies, andilwasaseffectiv.. ameansof nurturing devotionor pious emo-tionasanyof therhetoricalarts. However, even though the material evidencecertainlydemonstrates 33 Fe.I J. StMett'imo. Inhi>.;.... po ..... i,.. mooI""po"'. 'funru..n-. ' 0 foolm",. i" of now rwnrt... indivi",.i' ,ugo'" oginning of the third century, the St>1'eran.. mperors werelike-wiseportrayed with long curly hair and forkedbeards (fig.21). CaracaUa however, favoreda more clipped beardand hairstyle (fi g. 22).' Verisimili-tude camebackintostylebeginning inthenos forportraits of the sol-dieremperorsThra:o;andBalbinus.lnordertoexpressthe personalityofthemodelandtoachievearealisticEkeness,artists employedroughand evenimpressionisticmodeling.Theresultspro-ducedanappearance of severity and implied strengthof character. H.P. L'Orange has analrt.ed this shift in style as the attain mentcal" imagery.Musing on one exampleof thistype,thebustof Emperor Philip the Arab (244--249 C.F. . j, L'Orange writes: With. greatsimplifying 10IKhthe anislhasmanagedto concentrateph)" iognom;'; life inone characteri!t;'; ' '''''''P. 'Ihe central motif is the th""'lening lo"'-"). fA{[ TOFA( '*'ih, 000, po"";( ..... "f(enin. incomnwn '0 bt odnowl lg. u ...tlyn ... ,t..: "",,,. 1.. rium. ond". ( p haw'U,,';vN. AldwotoloJi>o.dilCOY h.onqu0. nd hno.pon"i" of ,I>< ,hat -... plad n... ivaI;nwb ....'" fonn .........t,,, Iu", op:Ul.'!"ncr, si ...n,heoxtriOO,dinuy I bun (ofr,n for ,h. ng layahy and I""rioti,m. .nandreliv>'" .ml;'(i,," ....n hi>1on.:..! di".n".11>< l'Ouray" of Aug"""''' lupit" or tl>.n of imagWl.ndr.blylmod< ..,"rot, "",und ,t.< ,..>f 400: "0 .. ""rg< ..--01"''''' "'.. 011""wHkIy 'nJ < lind of honor only dut God... alL II< IOJ". if ,II< ""ph.,d ">liJ '" ....1'' tItw>.h. 'hR< )"".h, ,ulni"3 .t..;, w.:kJ On' " ntil., .... "" "P' ,,,he< molk noo< ",i.h his n,h", ",,,,!>;m',,n < "'nrn' (Of i"" m:rntly 1"") >i'LlO1",nof who ri,,II"Y '''8 """"'. '" of ,t.. ''''pCh,i>,ian "'bj" 8...,1.hi. inltfJ''''iog i, ... d.im ,b" eon",n,i", w.. ('ia/ly guideJ by, . nd in,("fi>iltI roo ... nins ODdp ...id_ ins " "" 'h, fi", ""menk.1 ",unril ., pli".. iol2S .fu,hi. d.>th. II< " .. hur>ml .....,0' ",.I buh! '0 ,I>< Churd of lh. .1.,..Iii. I">",..i". " h fbtt"m. in,d "''Y " " FA (TOfAtE m,"",It.< "'m04 ............ _.. ... tbr ........ . .. ...".dROPY .... __ ...... _I" ......... n _-""'" tbr < .."pon>", 'mag .... pIv ...,..,._ 1"110.........roo.d ......... y_ ... .-. "",,,, .... _-",,-nboJ l'I' .... "'" ....... bo'_.boa....... "'-".;d ...... .... -"" ...... ...-,.... Hi, f..... ";"n -.w ,,, ... day h,;.i"'"' I'..u"" of "nhOO"'r.' "al$o" 1Ilh, ho.,.. "r ""'" who ",Wd 0&1 II......1);0 Ch,.,...,.", ..,. ..."" ...'u'1' oro'''' .nd philoooph. Ii"... art ... Iiqprod""rd , h";, fi g",,, of ,h. """1_r", wha' bct.idcoimi, ..ion 0>u1dbe forsuch"p, .. "'tlt""'? ApoIloniu .tNIltitl'ion" a.... btk 'hins. "prepoon'wi,h wiodom.nd ,...;"..;Ind ,h.I!W(:to, 1 foco, of ',- toide"look atlhe fant.st;';, unnatural creature thaithe .. Chri... tian. h.,e deviOm0 .......d.rou', ..m..AnY" .... b< Ny>. whowouWIOU pa" in illYOlvi"ll_ i""P'l '" ,hN "'ppt ad pl. isbooh,nd pi'''bI., Lldudtd ,nd of LttI$OOndmind, THEINVI!l81ETfH VI\IHEIMAGE JustinRefutation of Idoh I.IldO;v;neTheophan;... ,I>"" nd of con .... '"co_king , nd"'l"i,.. h"""n .in"" .. ,h 'hoo m",,"" olfd;ngo. l.ik """l' of Ih, Ct.";"i. n .poIogi>" and w,i'm "00 f"UWIhim 1;11( 100 ins Mio""i". I'd..). lu"", ..,kn ,tu, Ch ,i"i. n. ;Wtt in """"n mpU with ,I>lin of1hi' n< iovUibility .ndof God "'" """I",ibit wi.h r1';n ,! . nd"",ru) ..... 1"'. s..,h '3< God htod. h. ",uldnmtolu,ion(, hal the Sorond hnon WOO,be Ill,*" of'hcst: ,hcop/ronia) -."..t 01",' 0 "'* 'hi> 0an8< i" diff."""'l'1"'"inS diff",,"tly '0 diff.,.."individual>...,a """ of Go1, ,It< "'I"';'Y ,,, bom< ..... iblt.nd ""uld do..,,, ,..11\. poi", in Ih. {,, '"t 'brough, h. 51ftof rrorl> fo""'''' ,II ,,-/to 10,,, God ;"'0 'hin",. .h,m,d... "l".....',.! in Iholro.lttr ,h.lim< "fTIt..riu.Tertullian:TheDil nity ohheIncar nat ionand the Di ..inc.ion of tho..... rson. oft h.Tnnity TenuUi.n. tiMhi>fwNo"h I\f,ian Minot.rm;"8'" God_Bu ...... tbrir.... ". ,h.. ,h. w.mJ..-.. ,h.. me",b.,0{ . 11 ... os.""of tIw Fo,hu him>df.- Such. rot. for ''''' Son. "" .imul......,.".y au_ ''''''m .... "'" b. undm'ood ,,, okmo"",. .. ,Jifl' GodinfullI...,. ....,. > lilt s."",", Porton, byvin", of "th< d;,.p..n...tion of hi>dorivod"';"-n,"" Th< God io /'f'rialr Tonul li.;on",,qy OUtof 'hio ronundnimioto doim ,'''', ."" oppd"_ of II>< Son.!>ow> frth,Iv "fa of tl>i< God. "undt,. m.nif.., .nd .,.,...,...1 di'''IK,ihn5,l7, ")'>\I1uvc TlCVibl< by ( its hu!tW\) n"''' .... Clement of Alexandria: Philosophical Aniconi.m and the Futility of Idols CliU1;' ,11n .... ind ...ructib!t nd on high inthoouter""'" ipK ol thoh ........ in ,print,,,,",,,, God ..ul, oi... fo r",...'lindh, (ollows.hi.upwithIquo ionfrom F..,tipid... ",. pion.wirh,t.< ino!'< god "J nIybo'" ""I ,bm ,h. ,im. J",wing W1'iID'rntrd. !(td",IItoe.rly Ii,., nypoin,ed< """.. 1hfly,.....bl .. ,t... Immo"" Spi,;' .1>.txt.. ttl< lium.I" mind, iI ;, pu, thm: by God," lha.thi, "'lummI of...', i> g ,;.n poioting out lh .. wtirr""Chm,ian' hod got . lcn'h< tru,b \If th. ",.'''r. 'h< C"",b (.nd 1.1", Roman. ) p ""... , ..... '""'"" to Madhuman i:ood)-, hut ...11< ,he ...,.i.. told olio .. ,,h ... 8"'.. .nd fur.ny f'U'f'OO< ,h., God wiIl ndis abk to bo:booh .....n .Dd lI0f1ld. wiocen, anothertopercei"randbeperceived,or toknowand tobeknown."'" Origen'sunderstandingof thepowerandnatureof wordsassymbols, however, opens the wayforatheolog), of image thatwillcome 10apply to th ings actually seen bythe eye. Origenmighthavemadethe same argumentwithrespecttothe wholetextof John1:18: one has ever seenGod.ItisGod theonly Son,whoisclosetotheFather'sheart,whohasmadehimkllOl"'( (emphasismine; Greek'" exigi5l1fO, trans.or '"interpreted). This Jrgument also allows the words preceding the claim of John14:9 to explain its you know me, you will ktlOw (Greek '" rile)my Father also. Fromnow on you do hlOw him and ha"e secnhim . . . . Have I been withyou allthis time, Philip, andyoustill do notblOW me?H(John14: i -8, emphasis mine J." Moren"cr, Origen that this nonsight..-d '"knowing also characterizes the way humans encounter the whole Trinity,sincet heability to be seenproperly belongs only to cor-poreal bodi.:!, which excludes the Divine Triad, which byit s verynature "'transcendsthe limitsofIncorporealand intellectual natureis onlycapable of knowingandbeingknown.It is'1ewrseen,evenby itself." Using the language of sight as a metaphor for intclloxtual perception, the stories of God's appNfance to theHebrew patri archsallegorically.Forexample,inhisfnlmhhomily onGenesis,he givesthe storyof Abraham'sdivinevisitat ion at Mamre amoraland mystical meaning. He focuse,on the between the waysAbra hamand LO(recei"" andtreattheir guests, the significance of the placc name(Mambrc,thcname Origenuses,mcans "visionHin"our lan- according to him), the symbolic rather than superficial meanings thatone candraw fromthe factthat Sarahwasstandingbehind THEINVI!IBLE CODAND THEVI !iBlEIMACE ham. 0' tlut GOOu>iyun"'"t>loul', pu"ui' of tb. d,,,, brightligh'of i< con "mpla'ion of ",n.ibi< thins' Id 'hot loot ""n (I....i""'F). ,II!. ,.. " iU ....., boor, .......... of ' .... .... n ofhnvrn.....Iirnl.ibly mrmooi$ ""uc, 00;8yoUq> ,hrit ' inn ..) the modrl. And the ' ......formo';"n from ,h. muddy "'n ... of >in.nd ronfu""" to , .... cl ..,rod"not of di., .. Ii ........ "'..... in ""'-' . ,Itup '0 ,I>m""of ,b_ ,n "...n. ,,,,,,I>os 'h< 01r1i"",lvodin,IIk ......' ........... _inl __ ..,. .... _ .. .............. ofGo.!..md .... Lln-of .... uon-,-f'A,ho""""" II>l)"h wo,k AmobiUi ill"" fdlowotil< pottn ... by,IIlugi'".n.! ....il.lh"3 in.o II",.,roI of po/ythrum. Toill ....... hi>point.8uiI .mpioys ." . ..mpl.well .""","'"hi'>nl< r""'3 was of the same mind, insist -ingthatGodwasbeyondexpressionandimpossibleeventoconceive becauseof the udarknessof thisworldandthethickcovering of the flesh"that serveasanobstacletothecompleteunderstanding of the truth, not merely to the ignorant and carelessbut also tothose who "are highlyexaltedandwholoveGod."Gregorydeniesthat even"higher naturesn andpurerintelligences"(hepresumablymeansangels)are able toperceivefully,but, "bKausethey are illuminedwi th allhislight, [they] may possibly if notthe whole, at any rate more perf...:tly and dist inctly than we do . .. inproportion to their Thus, the appear-ancesto Abrahamor thevisionsof Isaiah, E7.ekiel , or evenPaul(when hewascaughtup intothethirdheaven;2 OJr12:24)arepartialand provisional glimpses of anindescribable mystery. !n another place, Gre-gory speaks of the Sonasthe perfKt image of theFather, the "pure seal 105 '" FA(t TOFA( .Dd hi>m",'"n0;1 .... pn'V< unma(i'"(II10:, 1'''''''''''' fromth< 'r "0I>0I0 '" im.", ' hathu .... n. opplyto Godthat... u..fuJat the,,, .. of the . ..... , mu" b< finally ,bo,.Jc,ned AI ta.t, , .... "''''' .. cnm .. 10__ Gd,hti, ownprache. of inu5' ... ""ar"''' .". ,LainUng ,"", 'h' 0' piny). Aug"!!in ..dmi!> Ih. , iti. difl'KuJtM- hu ..... n' 10of .being "';lho.l body. bta.... of l!>tiff.mili>rity "';lh vi, i"'". fr 'h I'ht Pho,in;'DI). who anip bqinninl '" 'ht Son . , 'ht humonbi"" from tilt If'qin. tto...vn. ho ron.in-. ,ho i"3 of ,II< h.... """.,.,. "",...,., God" .... 110\""'n'ci;"i",uUh .ht!' of.ht Trini'y bu, ", ..,.bIi>h that no ..... "'n ... God;" ,ho Niln ' mad< known by "'"'Son" i.. ....,n lIlooflht mind 1Iun ,hto00lop0'no 1:> ond < inw'""'on. Onl y lhoot who annot "&I"'" ,I>< i"",ibl< >crip'" ral ". p"..ctnil allowth;"... ",>h.m,_"'" ""'....1 """i!eo","," of ,hoHoly Trimly. ", . n ' rp< i"",n>1,on-o.i.w ,hoi1>."" < ...pp'''........ .... d'>linh.m finol ly loIo; 12> 'f7. ()orn" me ...."'" hand of God wr,,.\hi-om "'" ith Ch;ng fountain. flow,Ih. evangelim, Ihe living ,tream. of Chris.." The Trinity,portrayedasa lamb, dow, and something thatwouldhaw symboli1.ed a voice (or perhaps the hand of God), was based onthebib-licaldescriptions of Jesus' baptism(including John's reference to Christ asLamb of God, John1:36). Paulinus's rcfcren.e to the image of a voice is similar toGregoryof Nyssa'sdescript ionof t he!Keneof Abraham offeringIs aacand, basedonthefrequentportrayals of AbrahamandIsaacwiththehandofGod,it seemsreasonabletoassumethatthe divine voice wasrepresentedwitha handin both Paulinus's apse and Gregory's painting. However,accordingtoPaulinu$, somewhere elsewithinthe composi-tionanossrepresentedChrist, twelvedovesthe apostles, and the four riwrs of paradise the evangel-ists. TheBishop of Nola, proud of hisportraitsofsaintsand prophets elsewhereinthe church, also chose to substitute symbol s for portraits of the apostles or evangel-ists inthe apse of his basilica. The use of dovestorepresentthe apostlescan beseenelsewhere,forinstanceinthe earlysixth-,entury mosaicfrom thebap-tistery of Albenga, whichalso uses a triple chi -SEEINGTHEDIVINE rhomonogramtosymbolizethe Trinity. And, justasthelamboften representsChrist(asinPauli nus' s basilicaandinthe dome of San Vitale-fig. 48 ),sheepor lambsfrequent ly stand inforthe apostlesas well, asin the apse of the Basilica of San Apollinare in Classc (fig. 86, p. 166), or inthe sb;:thcentury apse of theBasilica of Saints Cosmas and Damian inROllle. Arguab)y, a differentkind of nonfigurativc presentation of the Trin-ity istheimage of the empty throne witha crown or cross setuponits thick cushion, with ~descending doveoften hovering ~ b o v e .One of the earliestexamples of thiscomes fromthemosaicprogramof Santa MariaMaggiore, but stunning examples maybe seenin Ravenna, inthe Basilicaof SaIlVitale,and boththeArianandOrthodox baptisteries (fig.4'1). The absence of a figurerderring to the Holy Spirit in this case, however,isinnplicableif thisisasymbolof the Trinity,althoughthe thronemaybeunderstoodasa symbol forGod, The imagemaybea more specificreferencetothekingdomof hrawn, andtheascended andenthroned Christ astheLordof thatkingdom, withitsparallelin 123 f ill "8- t....."Oof God.modoo/M 1.OnGtr

FACETOFACE morefiguratiwimagesof theenthront'd Christ, likethatseenonthe Junius Bassus sarcophagus (fig.14,p.34), Despite these effortsto arrivea1typological, symbolic, or nonfigura-tivevisualimagesof God,theDivineWord, ortheTrinity,certain attempts also were made inthe fourth centuTrlo portray the triune God inIheformof tllre ...human-appearingmales. Someof these images showedthe Trinity receiving the offerings of Cain and Abel.For instance, ona sarcophagusnowintheVatkanMuseoPioCristiano,a bearded male wearing a tunic and pallium and seated on a rock receives anoffering fromthetwobrothers;onchasa basketof fruit,theother holds alamb (fig. 50).Tne figure makes agesture of blessing over Cain's offering of fruitandgrain- thesamegesturemadebythe figuresin the hospitality of Abrahammosaic descr ibedabove(twofin-gers extended, the other three curled back to the palm). Behindhishead are cut (in lowrelief) two other faces that might be interpreted either as onlookers(two angels!)or theother twoPersons of the Trinity.If this was intended as arepresentationof the HolyTrini ty,thentheFather's older (bearded)visage,aswellasthe distinctions among allthrepro-fi les,may be signi fi cant,perhapsimplyi ng a subordi nationistor Arian Trinity. Or, if this isanimage of Godblessing the offering of Cain, then IEEINGTH E DIVINE thestoryinGenesishasbeenunderminedintheimageforsome unknownreason. Later, as in the mosaics programs of San Apollinare in Classeor SanVitale,onlythe offeringof Abelisdepicted(whileina fourth-century fresco of Cain and Abelinthe ViaLatina Catacomb, God isnot depicted)." Strengthening theidentity of theaboveimage asa portrayalof the Trinity(as opposedtoGodandtwoangels) aretherepresentationsof the Trinity ontwo other sarcophagifromapproximately the same date (early to mid-fourth century). These images appear to depictthe Trin-ity creating AdamandEve.One of these isnow intheMuste de l' Arles Antique(andmaybethe older of thetwo), andtheotherisinthe MuseoPioCristianointhe Vatican.Bothof them,double- registered sucophagi, ha'etheimageof a seatedmaleintheupper leftcorner, joined bytwoother standingmale figures, perhaps meantto represent theHolySpirit, theSon{figs.51 - 52) . Inboth cases, has a fullbeard, but, inoneinstance (the Aries example), the isbeard-lesswhilethe"Spiritn hasa dipped beardand shorterhairthanthe 125 Fis- 51, 'itt. cen. u.go '" t"" "'""'"" dorN1e5 Amique(l'hoo, VaticonCity(PI>oto; """'" 126 53. DeuitAtlos ...-eopi'>. vo. "'" TriNryv.,.,,"i Adwn ..-.d(PhotcxAuthor). r" 5. Deuit the T...".y V>tian (PhotAuthof). FACETOFACE IEEINGTH E DIVINE Father(fig.53).OntheVaticansarcophagus,theSonandSpiri tbear moreresemblancetotheFather (fig.54).Beforethisgrouparetwo diminutivenude figures,AdamandEve at their creation. TheSonputs hisrighthandon theheadof Eveineachof the scenes(inone case Adamisstilllying onthe ground ), andtheFather makest henOW-familiargesture of blessing. "OntheArlessarcophagus, the apostle Paul alsoappearsinthe scene,asif presentingthe koldAdamtothe "new The imagesof the TrinityarepresentedinsomeCaSeSas identical and inothers ashaving different facial types---either older andbearded or younger and beardless. The factthat the central figureis seated while the others stand suggests that these latter two are the ones engaged with theworld as agentsor messengersof theFather(his rightandleft hands" }."Giventhedateof theimages(mid-fourthcentury),the explanationfortheir age or facialdistinctions may depend onwhether theprevalenttheologyemphasizedthe identity andcoeternity of the Personsof the TrinityOrtendedtosubordinatetheSonandSpiritto theFMher. A Nicaean version of this iconography arguably would show thethreefacesasidentical,whileapre- Nicene versionwouldpresent theSon andSpirit as younger thanthe Father. The SonOrLogos figure mayalsobe shownasidenticalwithor older thanthefigureof Christ elsewhereinthecomposition,arti sticallycapturinganothertheo-logicalidea.Ononehand,thefleshtakenint heincarnationmustbe 127 FI&- 55.Adorn ..-.dWIth a..ist./l.ogo5 Or>41/1cen. CE Owi5ti&ninthe t-'MeoPioCri>01,i",,",n btl......... ,I>0)'>.r< . mof John,. contrast"'" vnbo ginDIIldb ....n..,;.,. of en,;"u. ')'DIboIicIorm .. t'" Good Sh .....n ..'ion.' Tht fundom.n ..l qubon;. whu1db ''lummt ny ......1port,,!",,1 of A.. ... m ...'b< inod df, ,b .. i>. -..+.rtb ... ,b. i""V 1"''''''''' ." ''1'......... bC1 ..... ......... "" btin8 ofor whiblt hodpr< ...,. ;. Iftptofpondru,. o>l>,M. '" """"" ...,"'poo,.uffon.[hJg''''''' Nt Woo, FACETOFACE LiketheMarrdy/jar"theVeron-ica portrait shows the face of Christ withoutanybackground. It often appears(as dOl'S the Mar/dr/ion)as a featureof alargerpainting,the portraitupont heclothheldby Veronicaherself, saints, or angels. Thefaceof Jesusis and dark, with curling long hair, parted inthe centerandreachingtohis shoulders.Jesus'noseislong and st raight ;hismustachedroops downtomeetaforkedbeard. Thesetwotraditionalimageshave muchincommonwithanotlwT the Shroudof Turin, aswellasbearing significant resemblancetothe earliest{sixth-century} Byzantine panel paintings of Cllrist, likeIhe Teacher fromt he Monaslry of Saint Catherine on Mount Sinai{fig. 59}. Earlier portrai ts of Christ also bear some similarities, however, including the fourth- and early fifth-century port raits of Christfrom the Catacomb of Commod-illa(fig.II,p. 31). Thesetwomiraculouslyreceivedimagesandtheirlegends(includ-ing their amazingtravelsandrediscoveries)hecamerather entwined withone another inthe Middle Ages, andtheir detailsaredifficultto distinguish. And while these stor ies dearly have enormous implications fortheByzantine and Westerncult of images,neither the detailsof these stories nor the questions of their veracity are as important to this discussionasthematterof whatconstitutes anauthentic portraitof Christ. [nboth of these cases, a claimismade not only that the portrait of Christwasmadefromlifebutalsothatitwasproducedmiracu-lously. However, amuchsimpler assertion, that a certain artist painted animage of Jesus during his lifetime, can be datedfairly early- the ref-erenCebyIrenaeustothe Carpocratians' possessionof aportraitof Jesus "fromlife,"madebyPilate. "SinceIrenaeus showsno obvious doubt aboutthis, one wonders whether other suchclaimswereinci r-culation. Furthermore,sincethedetailsofChrist'sappearanceonthe MafJdy/ioll and S"da,;um are quite similar (long dark hair partedinthe center, forkedbeard, and so forth), the matter of t heir bearing an actual '"likeness"ismutually supported. Unl ikeordinary portraits, however, theseimages "made wi thouthandsD wereallegedtobeimprints pro-ducedbydirectcontact withChrist'sbody,makingthem "reverse" or PORTRAIT!OFTHEIN(ARNATE ONE "n,i,.."." iaug. Th"".n ....... ",t.; "",1>1'0 but pO" .-.i' "" .ithtT of ,.,... "Jr",- ;m.gn would"l.n,,, ,n ,o,h""h",,'..! ,te"'" 'YF .ou of whk" ' ;'r"YTn thorbrNy>kal.ppl inhi, '"' FA""8...d old, opp no01i>tr 8fCO'''' ,h,,, h. IntheSyriK MI' ofn.._ the"",,un' of , h.dted. of J..... "..;n.f. Cf. PiCriniM>o. V...,.., Cit)'(l'hotAutho,Johnl:lS andEph5:14) and with some textualreferences to Christthatemployedsolar imagery, induding Clemen! of Alexandria's descriptionof Christasthe "Sunofwhoridesinhis chariot over allcreationand "who has changedsunsetinto sunriseand crucified deathintoRutwhile/esus' starKe.stature, dress, and gent"Tal demeanor inthe earliesticonography couldbeinterpretedasa cleart'mphasisonhis humanity, cerlainkeyaSpestru,kbyathunderbolt.and>0 .scended toheaven: and Bahus. to' aft h. had been tornlimb from limb; and He,,;ul... when hehad ,ommined him",lf '0 ,h, flamesto e"ape hi. toil, .ndth.son.ofLed .andDioseuri;andPer",u .'OilofDonae;.nd Bdlerophon who, though sprung frommortalsro .. l0h..",n onthehors< reg ...... , . and ... hat of the emperors ,,'ho die among )"0", ..1..., .. whom)"" dtem worthyof ,jci!i qS \ J s n s J / M O q S . i n u n s n S U O l ) ! s o d m o : > J S J q J . ( S t l p u c t f d d ' L 9 p u r t l s S y J l c d m O ) - . I i l l p q S U I M O l j S S U l l e p u c ' S l J p ( n o l j 5 ' p c . ' ' ' l 5 ' ' ' l ) 5 U J . I C J l j. ) 1 l ) ) 0 p o 8 J 4 ' ' ! n p c : ) o . ) [ I U U m J l j l A n u n p u S ! ) U l j l 1 0 0 ' 5 1 0 0 ) U u o d l 1I . , J ) s ! q ' 5 1 ! > ) s u q : ) ' l I U ! P U e l S J O p e . ) , s u ! ' S . ) ' U C I S U ! J m 0 5 U I . ) S ! P " J C dj O 5 1 J . I 1 ' J n o j J " l ' l I U l l d s q ) I q . " W O J ) u . ) f Y , l / c q l o S I 0 9 J O. ) " l l u o d nA l l u l l m ' { M e l . ) q l l O I I O D S J q l 8 U ! " ! ' ) X l 1 5 ! m O l j . I I J O J U O } [ n c d p u c J . ) I . ) du . ' . \ . \ \ ) < > q p u c , U O J J l I u ! ) , , ) ' S P U C I S 1 5 U l j : ) ) u . ) P U . ) : U " J I p . ' S U O I 1 ! 5 0 d w O JJ ! J I l I ) O 1 5 0 l U u J O I l / p l m ) s . ) l l s o d u 5 1 q 0 ) ( p d s 0 8 l O ) . " " 1 , , " ' J u "J I I ' S U ! A ! S s e I n S J [ J O J S C W ! J I { 1 - A l n I U J J q l J Y J 1 ( l l ( . ' l n O J 1 ( l l q S u ' ! " S O Wp u c ' S u ! l l l ! " d ' J J l l l d l " J S P ! ( J J m 1 c l " d o d J w c X l q A i ' P ! l l b ) C 4 1 p . l 1 c J d d cJ d A I : J ! 4 d U l 8 0 u O J ! " , J U u ' A m l l l J ' 4 U I l O ) J l e l 0 1 J I P P ! W J " l l A 9 q W O ) J I { 1 W O l } W I l l S U ! S ! C J , s n S J [ J O 5 . J U J J S U ! s n J U Z C " } 1 0 J J 1 5 1 SJ i l l; J J I l I S O < !J " l l t p n w . u J . I U ! ' J J p C J J 5 ! 4 1 J O l J J ) J " l l < ; S P I 0 1 u . " o p. = 7 _ _ _ _ - , . . . . . . . . . . . O o l ' ( J o < i ' v > n b < l I J V " " I J V j " PL . OD " ' " 4 " . . W O J j ' " " ' " P O ' i Q S ' I L% ,PORTRAITI OF THEINCARNATEONE pa&S )csus coming into his divinity, perhaps beginning athisbaptism."Or thisiconographymightalso reflecta biblicalChristologybasedonthenarrativestructure of the Gospd of John, which beginswitharewunting of signs andwonders andtransitionstoa of glory" asChristapproacheshisPassion. This transitioncommences withthe washing of fectattheLastSupper inchapter13,whenkm"Wthathis hour hadcome"( JohnlJ:l), compared tohis earlier proclamation, "my time has not yet comen ( John 7:6). Aswehavenoted, beginning withtheimageof thewst Supper at the apse end of San Apo!linare Nuovo, Christ'sbeardactuallyseemsto growlonger throughthestory of thepassionandthe postresurrection Jesus' growing in stature and more mature masculine pres-enceinthis caserepresemsJesus'manifestdivinity.3ppar("ntmorc throughhispassionthallinhismirudes. The samecontrast of physicaltypesforJesus occursintheiconogra-phy of baptismfoundinthe two baptisteriesof Rwenna, one designru fortheorthodox(theNeonianBapt istery,ca,475)andtheother designed forthe Arians.ln some resprcrnlost, andsignificantrestoration work hasmadedetailsratherdoubtfulinboth, wealso SctaAuthor). The Transfigured Christ andthe TwoNatures Controversy Inaddit ion to seeing the variations in Jesus' image based on his different roles(savior andteacher versusjudge andking), a keytextof Scripture alsopointstoavar iati onintheappearance of Jesusatthecrucial momentof histransfiguration. Up ona highmountain, Jesusappeared toPeter,James,andJohnastransfigured,hisfaceshininglikethesun andhisdothesdanlingwhite(Matt17:1 -8andparallels).OTigen pointed to this text as the proof that allpersons were not equally able to look upon this sight inits fuUglory. Peter, James, and John were singled out fromthe others as alone capable of this vision,andinthis waythese threeparallelMoses andElijahwhowerebothallowedadivine theo-phanyupona mountain. Asif thiswerehis cue,Moses alsoappears, suddenly, with Elijah, talking to Jesus. And a bright cloud overshadowed them al l fromwhicha voice ismySon, the Beloved; wi t h him I amwellpleased; listento him! " (Matt17:5; compare the voiceatJesus' baptism, Matt 3:17). 166 r" 86. Tr>.Mf'i"""'''''rnod-6thCl. "!""ApoInat1"h"nun .nd ilivin.ehotdhim inthi s gui.. andfellontheir face>, thusadmininsth.ttheycouldnotwith>tandIhesight!.. , How e.n one paintanim. geof '0wondmu,and"natt.in.ble. form-iftheterm "form" i t allapplic.ble tothe divine and .piritual ...",nee-unte ..,tik theun!:>eti< dUti..ru...n ... of both ""n'" and...!tan.,.. .. p ..... I ..! in' ho ina,' ..... .,.., w"""""It!hapod.ho """t< and f"."", of CJ>riotuni.y .. .., tabIW>n of tl>oIo;Estelle ....." Descriptions of Saints'Portraits inLiterary Documents Atthebeginning of thefi fthcentury, Paulinusof Nola, whohadcom-missioned artists to decorate h isbasilica dedicated to Felix, commended thevalue of paintings on the wallsof churches-sacred scenes as wellas portraits of Christandthe saints.Hedidnotbelievethattheimages themselvescontainedsomekindof sanctity and,infact,calledthem figures." Allthesame,hethought that contemplating things wouldthebelievingmindwithrepresentationsbynomeans empty." Accordi ng to his description, his art program induded narrative scenesfromthe hero stories of the Old Testament, aswellasportrayals of the saints' deeds "performedinChrist's name." 0ver these paintings, henoted,werecaptions that identifiedthem.Paulinusadmittedthat some might thinkhisdecoration unusual," but he defendedhis artistic programbothasa means of competing wit h the continuing attractions of paganidols andas a wayto draw pilgrims into the churchandaway fromthemartyr'stomb,wherethe customary feastinganddrinking might get a litt le unruly; ThiswaswhyIhoughlilo,dullOhou .....of Feli x wilh p. int i"!!, on ".credthem ... inthehope Ihaltheywould = ite the interests of lhe,"'Iiby their ,lIr.oclive .p""..... """, forIhe ' ke1 ' I> rnf' ;miMion ofChtU, lO ..hM men '-r uido l""oId 'III" '" Ibm earthly imagcftlUIIonly '''''''m'i..... he.....;., EARLYPORTRAITSOFTHESAINTI of the martyrs'passions,theseinteresti ngtextsalsodescribethepor-tr ayalsofthesepassionsastheyappearedonartobjects.Atextual descri ption of a pidorial subject (ckpllr/Isis)had a rhetorical purpose of itsown,of course;itmay havebeennOtonlyto describe an act ualvisual image but, e,'en more, torecreate the "isual experience and emotionalreactionof aviewerwhomayhavebeensimultaneously hearingthe story."The audience(or reader) of this descriptionisthus invited to imagine whatitfeltlikc to secthe artv>'orkand experienceits emotionalimpact. However,in almost allcases, the worksin these documents hal'e disappeared (or newr existed),and so we haveno basisforcomparing a verbal descriptionwithanactual object. Atthe "cryleast , wemayassumethatauthorselaboratedor enhanced the images they describedin order to achieve a particular literary purpose, even if they did notmake themup entirely. " The value of these images lay not only intheir accurate and edifying illustration of particular individuals' couragrous deeds but also intheir abilityto instructviewersonthenatureof sanctity itself,something that might be attained by gazing upon the image of the saint, while call-ingtomindthe fort itudeandtranscendentaims of thehero.Intime, thefacealone couldserveasanemblemof hoJineSlS,andgazingona portrait would offer some directknowledge or aWareneSl;of the char-acterof itsmodelandwouldthereby edify,inspire,or infl uencethe viewertoimitation.Thiswasthe casemadebyPaulin us,atleastwith respect to Martin's portrait asit was seen by those being baptized in the font at Primulacum. In that inst ance, the image, al though a simple por-trait,revealedfarmorethan amere externallikeneSl; sinceitbore wit-nesstoMartin'sentirecharacterandcalledtomindhismany wonderfuldeeds.Anotherexamplecomesfromahomilyof John Chrystostom'sinhonorofSaintMclctius,BishopofAntioch (360-361 ). He pointed out that parents both named their children after Melctiusandreproducedhislikenessinpaintedportraits thatwere etched on rings, seals, and bowk Thus, Chrysostomnotes, the faithful not onlyhearhisnamerepeatedfrequentlyintheir community but can takeadditional consolationinseei nghis traits"on an almost daily basis.Inmanyof theseliterary descriptions of martyrs'images,the art-works described seemto focus on the acts of the hero, more than on his or her external appearance, and soarCnot portraits inthestrict sense. Many of them supposedlYl'rcsented scI"Cralscenes in scquence and Wilh extensive narrative detail. perhaps somewhat embellishedby the writer in order 10 give a dramatic,pictorially oriented presentation, character-istic of muchrhetoric of late Ant iquity. Still, the vil'idneSl; of these writ -ten descriptions provide important data about the significance of saints' images in the devotional lifeof the era. 181 182 FACETOFACE One suchexample comes fromahomilythaiwasapparently deliv-eredatthemartyrium of SaintBarlaamin Antioch,whichhasbeen 3uributcd to Basilof Cacsarca. According to tradition,Barlaamdiedal the beginning of the fou rth cenlury during the persecutions ofGalariu5 and Maximinus Daia. He refused to drop incense into the sacrificial fire, allowinghishand10beburntinstead.Theauthor(perhapsJohn Chrysostom, sinc ..thehomilywasdeliveredat Antioch)describesa "j,ual depictionof thissdr_.Dd ,;"""- """ _, ...... """"""Y"""" -... ....... ,", ............... ... """Y'"....,.,., .... faithl\Jl...,..... &,Uow""..."., ... "", ..... poth, St .. ""..! otithj:tid oodI< fo"""'" that the portraits of Peter and Paul, asrlOC-ognizabk astheywere,werebasedon collvcntions thatrc\cakdthc modelasaphilosopher or teacher."AccordingtoPaulZanker,Paul's face ismodeled on Socrates', while Peter's is baS.ccording totheirwhint. ",mdim""Mtineatingthesallieperson>.' oldmen.sometim.,OS)'Quth"[ondso)intrudinginto thing, whichthe)" h.w" notn of til.,,""cr