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Additional info for AETOS Studies in honour of Cyril Mango presented to him on April 14, 1998

Sample text

8); for the passio, see V. Latysev, Menologii Anonymi Byzantini, SaeculiX, II, St. Petersburg 1912, 214-216. 10 PG 115, cols. 448-477; Synax. CP, 847 (as in n. 8); for the particular texts that concern us here, see: V. , XII, 2, St. Petersburg 1914,40-53 (passio), and 53-65 (laudatio). For another passio see V. Latysev, Menologii (as in n. 9), 216-222. Other texts are listed by F. v. Panteleemon. 11 J. Mateos, Le Typicon de la Grande Eglise. Ms. Sainte-Croix, no. 40, X* siede (Orientalia Christiana Analecta 165), I, Rome 1962, 351.

36 Victoria and Albert Museum, no. 818-1891: Glory of Byzantium (as in n. 4), 495^96, no. 331; Splendeur de Byzance (as in n. 18), 182, no. Br. 25. Although the present gilding is modem, it is thought to replace what survived of the original gilding. Another gilt copper repousso plaque, with the Archangel Gabriel surrounded by eight medallions enclosing saints, is described in Masterpieces of Byzantine Art, ed. D. T. Rice, exh. , Edinburgh 1958, no. 174. 37 W. F. Volbach, Mittelalterliche Bildwerke aus Italien undByzanz, Berlin-Leipzig 1930, 148, no.

The source cited for this scene is Panteleimon's notice in the Synaxarium (Synax. CP [as in n. 13ff), where Christ is described as appearing in the guise of Hermolaos during Panteleimon's torture in the vat of boiling lead as well as when he was cast into the sea. These incidents, including Christ's ap- 20 Susan A. Boyd Hermolaos in Decorative Programs Narrative sequences with Hermolaos are, however, rare. In decorative programs of the later eleventh and twelfth centuries, he is usually represented among the ranks of saints on the soffits of arches or on the lower registers of the church walls, but always in the company of other anargyroi16.

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