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
In the early post-iconoclastic period, artistic imagery was in state of flux, with dramatic developments occurring in the second half of the century. Hermolaos' placement at the Virgin's right on the Sinai icon, his location in the sanctuary of Chapel 15a at Goreme, and his placement on the apse wall at the Panagia ton Chalkeon are all clearly honorific in intent, and it may be that, in this early period, his image and appropriate status had not yet solidified. Although the date of the Dumbarton Oaks plaque cannot be established very narrowly, on the basis of its closest stylistic analogies — ivories of the later tenth and first half of the eleventh century, as well as various illustrations in the Menologium of Basil II24 (ca.
To return to the question of the name and Winstedt's caricature of Bick, "as one word is certainly omitted [namely Mavortius], we may as well assume forty more to be omitted, and so make up a subscriptio". Winstedt himself insisted (rightly) that it was unnecessary and implausible to assume such an omission, arguing instead (wrongly) that the consul simply abbreviated his name. Since many of his presuppositions underly more recent discussions16, it may be worth presenting his argument in full: When Aulus Gellius, for example, refers to Marcus Tullius Cicero simply as Marcus Tullius, or to Q.
There is, therefore, little hard evidence of where such votives were placed in the church or to what piece of furniture they may have been attached. We are forced to rely on the less reliable evidence of contemporary practice in Orthodox countries, where accumulations of ex-votos are found primarily on the sanctuary screens, individual icon stands, or the columns and walls of the church. There are more questions raised by this votive plaque than can be resolved in this brief note, and it is hoped that further research may lead to more complete answers.