Title: The triumphant entry of Justinian II
Artist: Unknown
Type: Wall painting, historical representation
Date: 7th century AD
Dimensions: Large scale (fragmentarily preserved)
Materials: Wall painting
Location: Church of Saint Demetrios, south wall, Thessaloniki
On the south wall of the famous church of Saint Demetrios in Thessaloniki, there is an extremely important wall painting dating back to the 7th century AD. It is a historical representation depicting the entry of a Byzantine emperor, most likely Justinian II, into the city of Thessaloniki after a victorious campaign. The wall painting, although fragmentarily preserved and interrupted by a later opening, is a rare example of secular art from the early Byzantine period with exceptional artistic and historical value. The representation combines strong narrative elements with foreshortening techniques that create a vivid depiction of a significant historical event (Theocharidou-Tsapralē).
1. Iconographic analysis of the wall painting
1.1 The layout and main elements of the composition
The examined wall painting, extending on the south wall of the church of Saint Demetrios, presents a complex narrative scene with multiple levels of interpretation. The work is divided into two distinct parts due to a later opening, allowing the organization of the narrative into two complementary episodes. The complex spatial arrangement, with the juxtaposition of architectural elements and human figures, creates a dynamic composition that guides the viewer’s gaze to a specific triumphal procession of the imperial parade (Burke and Scott).
1.2 The depiction of Emperor Justinian II
The central figure of the representation is the haloed emperor, identified as Justinian II. He is depicted on horseback on a white horse, an element that emphasizes his royal status. The halo surrounding his head indicates the divine origin of his authority and his special role as God’s representative on earth. His body posture, with calm majesty and the head in three-quarters view, follows the Byzantine conventions of depicting imperial figures. Notable is the early Christian technique of rendering the face with strong features and expressiveness that betrays the influence of the Hellenistic tradition.
1.3 The representation of burning Thessaloniki
In the second part of the wall painting, the dramatic depiction of the city of Thessaloniki in a state of danger unfolds. The space of a church building is discernible, inscribed as “The Holy Church in the stadium,” identified with the church of Saint Demetrios. The architectural elements are rendered with perspective foreshortening that allows the representation of the interior of the church, while the flames on the roof indicate the destructive attack. The anguished expression of the women praying in the gallery and the presence of invaders with shields and spears intensify the drama of the scene.
1.4 The symbolic confrontation of evil and divine intervention
Of particular interest is the confrontation of hostile forces with divine protection. While the invaders threaten the faithful, an angel of the Lord descends to protect the faithful, constituting the divine intervention that saves the city. This dialectical relationship between threat and salvation is a central theme of Byzantine education and art (Skedros).
1.5 The inscriptions and their significance in the interpretation of the work
The inscriptions preserved in the wall painting provide valuable information for identifying the depicted elements. The possible inscription “Thessaloniki” on the left side and the clear reference to “The Holy Church in the stadium” determine the topological identification of the scene. The epigraphic testimonies, combined with the stylistic and technical characteristics, constitute decisive elements for dating the work to the 7th century. (Search for more information with the word: Byzantine wall painting inscriptions).
The haloed emperor Justinian II on horseback on a white horse enters triumphantly into Thessaloniki after the victory over the Slavs in the battle of Kleisoura.
2. Historical context and significance
2.1 The victory over the Slavs and the entry into Thessaloniki
The triumphant entry of Justinian II into Thessaloniki depicted in the wall painting is associated with specific historical events of the late 7th century. According to prevailing historiographical approaches, the representation refers to the emperor’s entry into the city after the victorious encounter with the Slavs in the battle of Kleisoura, dated around 688-689 AD. This military success was crucial for establishing the Byzantine presence in Macedonia during a period of intense demographic and political upheavals in the Balkan Peninsula. The effective handling of the Slavic ambush and the subsequent repulsion of the raiders was a critical event for fortifying the northern borders of the empire and securing the trade routes of the region.
2.2 The protection of Saint Demetrios in the city
The presence of the church of Saint Demetrios in the wall painting, characterized as “The Holy Church in the stadium,” underscores the pivotal role of the patron saint in the theological and political dimension of the operation. According to Byzantine belief, the victory over the Slavs was attributed to the miraculous intervention and protection of Saint Demetrios, who was considered a fervent defender of Thessaloniki. The depiction of the angel descending to save the faithful in the sanctuary of the church reflects the established tradition of divine intervention through the city’s patron saint. The connection of imperial authority with hagiological tradition is a fundamental element of Byzantine political theology, reinforcing the legitimacy of imperial presence through divine endorsement.
2.3 The symbolism of the imperial triumphant entry
The ritual of the triumphant entry (adventus) of the emperor retains rich symbolism rooted in Roman tradition, adapted to the Christian context of the Byzantine Empire. The official entry of Justinian II into Thessaloniki, riding a white horse and accompanied by a military entourage, typologically reproduces the Christian representation of Palm Sunday, enhancing the connection of the imperial office with divine kingship. The halo surrounding the emperor’s head intensifies the sacred dimension of his authority, making him God’s representative on earth and an imitator of Christ.
2.4 The strategic significance of Thessaloniki in the 7th century
Thessaloniki in the 7th century was a vital center of Byzantine presence in the Balkans, playing a decisive role in the military and commercial operations of the empire. The period is characterized by intense instability in the region due to raids by Slavic tribes, making the maintenance of Thessaloniki as a Byzantine stronghold a strategic priority. The strengthening of the city’s fortifications and military presence responded to the need to secure the northern borders of the empire and protect the sea routes of trade to the Aegean. (Search for more information with the word: Byzantine Thessaloniki Slavic raids).
2.5 The donations of Justinian II to Thessaloniki
The visit of Justinian II to Thessaloniki after his victory over the Slavs was an opportunity for the practical demonstration of imperial favor towards the city. According to historical sources, the emperor made significant donations, including the granting of salt pans to the city, highlighting the importance of economic support for the coastal areas of the empire. This act is part of the broader context of imperial policy to strengthen provincial centers that played a crucial role in the defense and economic life of the empire, reflecting the recognition of Thessaloniki as a bastion of Byzantium in the Balkans.
Technical elements of the wall painting of Justinian with the perspective foreshortening and Hellenistic features that date the work to the 7th century.
3. Artistic characteristics and technique
3.1 Techniques and stylistic elements of Byzantine painting of the 7th century
The wall painting of Justinian II in Saint Demetrios is an excellent example of 7th-century painting, a period crucial for the formation of the middle Byzantine visual language. It is characterized by quick, lively, and concise brushwork in design and color, with a strong influence of the Hellenistic tradition. The preserved parts of the work testify to the application of advanced techniques of perspective foreshortening, allowing the effective rendering of depth and spatial arrangement. The early Christian art of this period is distinguished by narrative vitality and expressive immediacy, elements that differentiate the works of the 7th century from the stricter and more standardized compositions of later periods.
3.2 The significance of the wall painting in the history of Byzantine art
The particular significance of this wall painting lies in its rarity as a secular, historical representation in a church space. The depiction of a specific historical event with clear references to real people and landmarks broadens the thematic scope of Byzantine art beyond purely religious content. The iconographic composition is a valuable testimony to the connection between political and religious iconography in Byzantium, as well as to the aesthetic consideration of Byzantine art that incorporates secular and sacred elements into a unified visual narrative.
3.3 The Lesbian cymation and other decorative elements
Of particular interest are the decorative elements that frame the representation, with the prominent Lesbian cymation on the bands surrounding the composition. This motif, with clear roots in classical architectural decoration, is also found in other representations on the south side of the church dating to the same century, reinforcing the evidence for dating the work. The survival of classicist decorative elements in early Byzantine art testifies to the continuity of the Greco-Roman tradition and its incorporation into the artistic expression of the Christian empire, creating the characteristic aesthetic approach that forms the basis of early Christian art.
3.4 The rendering of human figures and expressive qualities
The rendering of human figures in the composition is of exceptional interest, with emphasis on the emperor and his entourage. The expression of the faces, the posture of the bodies, and the rendering of movement reflect the artist’s systematic effort to convey the emotional dimension of the depicted event. The figures of the youths who precede with a quick step, coordinated with the calm gallop of the emperor’s white horse, as well as the female figures praying anxiously in the gallery of the church, are rendered with expressive immediacy that adds drama to the scene. The juxtaposition of these different emotional states within the same artistic composition achieves an intense narrative dynamic that characterizes the aesthetic perception of Byzantine art (Koumpalaki-Panselēnou).
3.5 The narrative function of the wall painting
The composition of the wall painting of Justinian strongly exhibits the narrative functions of Byzantine art, structuring the individual elements into a coherent visual narrative. The representation of successive episodes within the same artistic space, with the simultaneous presentation of the city’s exterior, its wall, its architectural elements, and the interior of the church, reveals the conventions of Byzantine narrative art. The coexistence of different temporal and spatial levels within the same composition, with the depiction of both the emperor’s triumphant entry and the dramatic events that preceded it, underscores the didactic and mnemonic character of Byzantine art. (Search for more information with the word: Byzantine narrative painting technique).
The Byzantine wall painting of Justinian combines historical and religious elements, depicting both imperial authority and divine protection of the city.
The Zenith of Byzantine Power
Echoes of Imperial Grandeur
In the realm of historical visual narratives, one cannot overlook the profound significance of the wall painting depicting the triumphant entry of Justinian II into Thessaloniki. This masterpiece, nestled within the hallowed confines of the church of Saint Demetrios, stands as a monumental testament to the intricate dance between political and artistic expression that characterized the Byzantine Empire during the 7th century. The sheer magnitude of this depiction, capturing a pivotal historical moment within a sacred space, underscores the deeply ingrained dialectical relationship between temporal political power and the perceived divine endorsement, a cornerstone of the Byzantine worldview. This interplay, resonating with the very fabric of Byzantine society, mirrors the complex interplay between secular and sacred that has, in different forms, shaped the evolution of political iconography across various cultures, including the rich tapestry of artistic development within the United States, where the influence of historical narratives on public art is evident. Through its remarkable technical prowess and iconographic completeness, this wall painting transcends the mere function of decorative embellishment. It operates on a far more profound level, serving as a multifaceted and enduring testimony to the intricate tapestry of political theology, the preservation of historical memory, and the refined expression of aesthetic principles. The work, in its layered complexity, offers the modern observer an unparalleled and unique perspective into the Byzantine perception of power, the celebration of triumph, and the manifestation of divine intervention. It meticulously reveals the complex interconnections of semiotics and politics that were so central to the Byzantine world. The ability to portray power and divine right through art is a skill that has been mastered throughout history, even in the USA, where the concept of manifest destiny was often depicted in paintings and murals.
Frequently Asked Questions
What is the exact dating of the wall painting of Justinian in Thessaloniki?
The wall painting is dated to the 7th century AD, specifically around 688-689 AD, the period during which the victory of Justinian II over the Slavs in the battle of Kleisoura is placed. The elements that support this dating include the stylistic characteristics of the painting, the decorative motifs (particularly the Lesbian cymation), epigraphic testimonies, and the association with the historical events of the period.
Why is the Byzantine wall painting art of Justinian considered so important for art history?
Its significance lies in its rarity as a secular, historical representation in a church space. It is a unique testimony to the iconographic depiction of specific historical events in Byzantium, documenting the connection of political and religious symbolism. Additionally, its technique, with Hellenistic characteristics, perspective foreshortening, and lively narrativity, offers valuable information about the evolution of Byzantine painting.
How is the triumphant entry of Justinian into Thessaloniki connected with Saint Demetrios?
The painted depiction of the emperor’s entry is directly associated with the patron saint of Thessaloniki, Saint Demetrios, as the right part of the wall painting depicts his church (“The Holy Church in the stadium”) with flames on the roof and an angel descending to save the faithful. Justinian’s victory was attributed to the miraculous intervention of the Saint, enhancing the symbolism of divine endorsement of imperial authority.
What historical events are depicted in the wall painting of Justinian and how are they connected to Thessaloniki?
The wall painting captures the events following the battle of Kleisoura (688-689 AD), where Justinian II avoided a Slavic ambush and defeated the raiders. Subsequently, he entered triumphantly into Thessaloniki, which was a strategic stronghold of Byzantium in the Balkans. His visit included significant donations to the city, including the granting of salt pans, economically and symbolically strengthening the Byzantine presence in the area.
What does the technique of the wall painting of Justinian reveal about Byzantine art of the 7th century?
The technique highlights the transitional phase of Byzantine painting, with strong elements from the Greco-Roman tradition. It is characterized by quick, lively brushwork, application of perspective foreshortening, and lively narrativity. The rendering of human figures with expressive immediacy and the coexistence of different temporal and spatial levels within the same composition reflect the evolving aesthetic perception that would shape the middle Byzantine visual language.
Bibliography
- Theocharidou-Tsapralē, Kalliopi, The Architecture of Hagia Sophia, Thessaloniki, 1988.
- Skedros, James Constantine, Saint Demetrios of Thessaloniki: Civic Patron and Divine Protector, 1999.
- Burke, John, and Roger Scott, Byzantine Macedonia: Identity, Image, and History, 2000.
- Koumpalaki-Panselēnou, Nausika, Byzantine Painting: Byzantine Society and Its Images, 2000.
- Micheli, P.A., Aesthetic Consideration of Byzantine Art, 1946 (1st ed.), 1972 (2nd ed.).
