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HYPERTEXTUAL
ANALYSIS: EXAMPLE 2, PSALM 25:1-6
DESCRIPTION, FUNCTION, AND SIGNIFICANCE OF THE VERBAL ELEMENTS
The textual block of this page presents the text of Psalm 25:1-6
and appears on folio 27 verso. The title of the Psalm, "PSALM OF DAVID," provides
the abbreviated name of David, visually distinct by its size, uncial script,
and gold ink, and serving as a finding aid. Each verse terminates with punctuation
(three dots for the beginning and two at the end). No glosses appear, except
for illustrations.
Links in red appear under the verse of Psalm 25:4, corresponding to another
link next to the initial E, four lines from the bottom of the Psalm. Inscriptions
stand above the figures, identifying the figures. The first inscription states "Saint
Nikephoros and the Holy Father." The second inscription states "the
Holy Father with the Patriarch refuting the Iconoclasts," and the third
inscription states "the Iconoclasts." The scribe Theodore produced
this manuscript for the Abbot and the monastic community of the Studious
Monastery. Theodore did not specify the name of the
second saint, assuming
that the community
would know that the figure represented the founding father of the monastery,
St.
Theodore the Studite (Barber).
RELATIONSHIP BETWEEN VISUAL AND VERBAL INFORMATION
Relationship between the Visual and Verbal Information
Three thematically related marginal illustrations add a new layer
of meaning to this Psalm by interpreting it in terms of historical
context. The text of
Psalm 25:5, "I have not sat with the council of vanity, and will in nowise,
enter in with transgressors" contrasts the Psalmist's loyalty to God with
the false accusations of the wicked. The illustrations do not represent literally
the historical events of the time of David, neither do they merely decorate
the margins. These illustrations create a bridge from the time of David to
the historical events of the Iconoclasm. In Psalm 25, the word "wicked" lies
in proximity to the word for "sitting." In the illustration,
too, the Iconoclasts are shown in sitting positions, in sharp contrast
to the standing
saints, defenders of Icons. The scribe reiterated the debates over
images and the victory of the defenders of the icons, now elevated
to the status of saints.
The first illustration, centered vertically
in the leading edge margin, portrays Patriarch Nikephoros and St.
Theodore the Studite
holding a clipeate (circumscribed)
image of Christ. Both wear the halo, a sign of holiness and sainthood.
The second illustration, at the leading edge bottom corner, portrays
Patriarch Nikephoros
and St. Theodore the Studite, wearing halos, speaking to a sitting
figure identified as Emperor Leo V, all gesturing, apparently debating
an issue. Leo looks to St. Theodore
but gestures with both hands toward Nikephoros. The third illustration
features three sitting bishops, the one on the right whitewashing
a clipeate image of
Christ. Their vestments reveal their ecclesiastical rank. Scholars
consider them to be Patriarch Theodotus I (815-21), Patriarch
Anthony I (821-37), and Patriarch
John the Grammarian (837-43) whitewashing the image (Barber).
A vessel stands beside the bishops, in which they dip their whitewashing
device.
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RELATIONSHIP TO OTHER SOURCES: ICONS AND LITURGY
Relationship to Other Sources: History of the Church
and Liturgy
This illustration proclaimed the official position of the Church in supporting
the representation of the divine through images and icons. Both Patriarch Nickephoros
and St. Theodore Studious participated in the argument over whether Christ became
incarnate in time and space. This illustration appeared for the first time in
the 9th century Chludov Psalter (folio 23 verso), presumably produced in association
with the theological debates on Iconoclasm. The Chludov Psalter, however, depicted
only Patriarch Nickephoros holding the clipeate image of Christ. The Theodore
Psalter artist added the scene of the patriarch debating with Emperor Leo V and
avoided the previous crowds around the three Iconoclastic patriarchs. Another
polemical illustration appears on folio 88 verso, where two figures whitewash
a clipeate image of Christ.
The illustrations directly provided another link with past historical and cultural
realities. They comprised "visual polemics" (Carrigan), identifying
the victim, Christ himself in his image, anathemizing the villains, the Iconoclastic
bishops, and sanctifying the heroes, Patriarch Nikephoros and St. Theodore
Studious. The illustrations reminded the monastic audience, and particularly
the manuscript's
patron, Abbot Michael, of the role the Studious Monastery played during the
Iconoclastic controversies. By adding the figure of St. Theodore Studious,
the illustrations
seemed to affirm the active participation of the monastery in the history of
the Church.
In addition to its historical connotation, the text of verse six
relates both to ancient Jewish liturgy and to contemporary Orthodox
liturgy. Psalm 25:1-6
depicts a liturgical action and might be classified also as an entrance liturgical
prayer of the priest, requesting approval to serve at the Temple altar: "I
will wash my hands in innocence, so I will go about your altar, O Lord." (Mosca)
The Orthodox Church still uses Psalm 26:6b as the prayer of the priest, just
after he has put on his vestments, as he washes his hands prior to the Divine
Liturgy. It appears also that the ritual associated with this prayer reminded
the monastic audience of the act of "washing hands" associated with
the Iconoclastic controversy.
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