Journal of the Australian Early Medieval Association 3, 17-27., 2007

2009

"Can an object be defined as votive solely based upon the presence of an inscription? Does relying upon such a definition restrict a more multivalent analyses of objects thus identified as votive? In this thesis, I examine the most prevalent practice used by scholars to identify votive offerings in the Middle Byzantine period – relying upon an object’s accompanying inscription. This study focuses on those objects inscribed with a particular invocation – one that uses the word boethei. I demonstrate that we cannot rely on this inscription alone to identify an object as votive. It is rather the combination of many elements, including medium, iconography, patron and function that contribute to this identification and which enable us to more clearly understand the multivalent messages conveyed by these objects. In Chapter One, I turn to the context with which votive is most often associated – sacred. With each object I consider whether it is or is not votive and how the inscription contributes to that identification. In Chapter Two I examine objects inscribed with boethei that were intended for use or display in a secular context. While the objects discussed in Chapter One can be identified as votive, those discussed in this chapter cannot be so labeled. What then does the inscription mean in a secular context? In Chapter Three I present one object as a case study. I examine aspects of its production including inscriptions, patronage, iconography and function to argue that identifying a votive object requires a multivalent analysis of all its components. I show that, in this case, the patrons created a unified program of text, iconography and relics to convey their hope for salvation through perpetual prayer. I demonstrate that when all of these components are considered, we find a more precise message than what is explicitly stated in the inscription itself."

The Art Bulletin, 2008

Word and Image 28.2, 2012

Eastern Christian Art, 2011

"This paper is an attempt to comprehend and interpret the function of illusion through works of art in non-holy spaces designed to serve the need of nutrition in monastic buildings. Through the study of the exceptionally well-preserved decoration of the refectory of the Monastery of St. John ‘Theologos’ at Patmos, I will attempt to approach the issue of the decoration of refectories and to analyse the depicted scenes. For example, how through the use of specific themes does the imagery of one of the most basic biological needs become ‘translated’ into a spiritual state? The reality of the need of nutrition is confronted with the illusion of its conversion to a spiritual activity – the transformation of nourishment of the body to nourishment of the soul. This issue is approached through the comparative study of all the surviving Middle-Byzantine refectory decorations. My approach is based on the choice of scenes depicted and their interpretation. It will also provide differentiation of the meaning conveyed by the same scenes in the church, and on the illusive use of the imagery for the achievement of very specific goals. Useful tools in this attempt are also the surviving monastic typica, which provide information about the daily ritual of dining in a monastery, as well as the origins and goals of Christian common meals."