Abstract The Codex Rossano from Constantinople (562). A Reassessment of a Misunderstood Original Since it became known in the 19th century, the pictorial prefix of the Codex Rossano with its 14 miniatures has been regarded as a fragment that has survived in an incomplete and disorganised form. Neither the rearrangement of individual picture pages, nor the hypothetical addition of canon tables or the completion of the final pages with a crucifixion scene could lead to a convincing result. A new analysis of the existing findings, on the other hand, reveals a deliberate reduction of the organisational structure, while the allegorical content of the images is increasingly given greater significance. In the creation of biblical images, the reorientation of an allegorical exaggeration of Christ as the image of God and the Holy Trinity becomes visible. The special nature of this deepening allegoresis as a second, hidden reading points to a high episcopal addressee, presumably the patriarch Eutychius (552-565, 577-587). This manuscript is thus akin to the Vienna Genesis, which with its selection of Old Testament scenes was probably dedicated to Emperor Justinian, and it seems likely that both manuscripts were produced in the same workshop. There seems to be some evidence that both manuscripts were produced for the rededication of the Hagia Sophia in Constantinople at Christmas 562 / Epiphany 563 respectively, where the Ekphrasis of Paulus Silentiarius describes the ceremony of the emperor’s great entrance.
Warland Rainer (Wed,) studied this question.
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