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--KAPAK ARAÞTIRMA kopya - Kültür ve Turizm Bakanlığı

--KAPAK ARAÞTIRMA kopya - Kültür ve Turizm Bakanlığı

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supplemented by a qualification of a monastic diakonia. The height of the lettering reaches<br />

4 cm., the inscription is introduced by a well engra<strong>ve</strong>d cross written on top of the<br />

initial epsilon; the letters show a square and circular shape, and three abbreviations<br />

ha<strong>ve</strong> been used. The well cut quality of letters, together with the high quality of the decoration<br />

push toward a middle 6 th century date for this church furniture.<br />

It cannot be, of course, inferred that the church of this monastery, whose hegoumenos<br />

was Dorothaeus, has to be that of the oratory of St. Michael visited by Theodore<br />

of Sykeon: the two villages, albeit called with the same name (Pidron/a), are different.<br />

One last piece of information on this site. While visiting the modern village – all<br />

around it there is farm land watered by a running stream - we noticed also a piece of<br />

Medieval Byzantine decoration on the fountain of the upper Eleği 10.<br />

Turning to the copious evidence of Early and Medieval Byzantine decoration coming<br />

– one has per force to assume it – from the city of Antioch, we opt to present here<br />

some samples of different kinds and dates.<br />

a) 6 th Century Capital (in the 1924 depot)<br />

This capital (white marble), numbered as 24 (albeit no reference is gi<strong>ve</strong>n in the<br />

museum’s register), represents a well refined piece of church decoration (Fig. 2). The<br />

total height is 35 cm.; the side of the abacus reaches 46 cm., the diameter measures<br />

23 cm. The abacus shows four registers, respecti<strong>ve</strong>ly of 3, 3, 1.5 and 3.5 cm. high. Although<br />

the capital has been (perhaps intentionally) cut in two parts, the one left shows<br />

on its left upper broken part the full design. Four angular lea<strong>ve</strong>s of acanthus, well drilled<br />

and perfectly spaced, ga<strong>ve</strong> rise to interlacing variations of smaller acanthus lea<strong>ve</strong>s<br />

on the upper and lower parts of the capital. The central room showed a trapezoidal moulded<br />

field closing a lily-motif (gigliato), surrounded by the small acanthus lea<strong>ve</strong>s. The<br />

base, too, was decorated with smaller drilled lea<strong>ve</strong>s (the surface of this motif howe<strong>ve</strong>r<br />

is erased). The technique shows good quality: the drilling depth close to the central motif<br />

reaches 2 cm.; the angular lea<strong>ve</strong>s of the acanthus the drilling measures 1.8 cm., while<br />

the motif at the bottom touches 1.4 cm. Little need be said about this type of capital:<br />

widespread throughout the empire, it has remarkable prototypes in Constantinopolitan<br />

examples of the 6 th century.<br />

b) 10 th-11 th Century Capital (in the 1924 depot 11)<br />

The capital is numbered A248, white with grey <strong>ve</strong>ins marble (Proconnesian?),<br />

and was brought into the museum the 29 th of June 1963 from Görgü Mahallesi (Fig. 3).<br />

The total height of the capital measures 25 cm. (4 cm. for the base), the upper width<br />

reaches 36 cm., and the diameter at the bottom is 31 cm. The conservation of the piece<br />

is discrete, although the upper and lower corner ha<strong>ve</strong> suffered, being erased or<br />

broken. The decorati<strong>ve</strong> scheme is gi<strong>ve</strong>n by four angular palmette lea<strong>ve</strong>s, <strong>ve</strong>ry stylised,<br />

filling the corners and bordering two couples of central decorations in oblong oval fields<br />

12. The remnant fields gi<strong>ve</strong> room to <strong>ve</strong>ry simple, roughly car<strong>ve</strong>d abacus motif. The<br />

skill produced on this capital reaches a certain quality only on the treatment of the angular<br />

lea<strong>ve</strong>s, where the oblong palmette lea<strong>ve</strong>s show a sort of chiaroscuro due to the<br />

depth of the engraving. A round moulding shapes the oval fields designed on the centre<br />

of the four faces of the capital. Here the technique is <strong>ve</strong>ry poor, and the execution<br />

of the central pattern (palmette or flower with a massi<strong>ve</strong> engraving of the contours) is<br />

10 Just outside the village, but within its territory, local farmers showed us a beautiful Roman sarcophagus with classical<br />

capitals which were scattered all around the field.<br />

11 As one can easily ascertain, to find a piece in the room classified as a "1924 depot" does not assure anyone about<br />

the pro<strong>ve</strong>nance of the piece, as the present case will show.<br />

12 One might find analogies with this sort of decoration in M. Dennert, Mittelbyzantinische Kapitelle. Studien zur Typologie<br />

und Chronologie [Asia Minor Studien, B. 25], Bonn 1997, 299a, 248 et passim.<br />

13

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