Byzantine music

Tillyard, H. J. W.

doi:10.1093/ml/4.3.000-g

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Attic Bf Neck-amphora1

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“…Foot: exterior monochrome, resting surface reserved, inner face painted; interior of foot reserved. 64 While one might at first think that a female on a bull is Europa, Tillyard rightly concluded that 'The subject probably does not represent Europa, but rather a maenad riding on a bull. This subject is fairly common on bf vases, and the fact that it is often repeated on the same vase (in one instance 65 no less than five times) proves that the identification with Europa is by no means always possible.…”

Section: Attic Bf Neck-amphoramentioning

confidence: 99%

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Antiquities in Oundle School

Arafat

2006

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Section: Attic Bf Neck-amphoramentioning

confidence: 99%

“…Tillyard. 6 Many vases have a number or other mark on them, occasionally an apparent sale price, usually handwritten under the foot. I have noted these marks where appropriate, along with any interpretation I have been able to make of them.…”

Section: Introductionmentioning

confidence: 99%

Antiquities in Oundle School

Arafat

2006

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The Byzantine-Poetic Path of the Works of St. Maximus the Greek (Mikhail Trivolis, *Arta, ca. 1470 – St. Maximus the Greek, †Moscow, 1556)

Zajc

2018

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Maximus the Greek has been frequently misunderstood because of his individual use of the Slavic language. Born as Mikhail Trivolis in the Greek town of Arta, he received his humanist education in North Italy, particularly in Florence and Venice, where he was engaged in the process of the first editions of printed books and where he would constantly deal with manuscript samples. His original, authorial work, as preserved in his manuscripts, reflects his awareness of firm Orthodox theology and at the same time a special attention to grammatical rules. The paper shows how his use of the (Slavic) language was at all times intentional and at the same time profoundly influenced by the metrical rules of liturgical emphasis. Through such attitude, Maximus the Greek managed to create his own, deeply personal language and to express the complexity of Byzantine patristic, hagiographic and iconographic issues. Finally, he successfully established his Orthodox theological system, significantly marked with the poetic effect that strongly inspired his theological works.

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Byzantine music

Cited by 2 publications

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Antiquities in Oundle School

Antiquities in Oundle School

The Byzantine-Poetic Path of the Works of St. Maximus the Greek (Mikhail Trivolis, *Arta, ca. 1470 – St. Maximus the Greek, †Moscow, 1556)

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