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The Monastère from Panaghia Hodēgētria (in Greek: ὁδηγήτρια, litt. “The one that shows the way”), also known as Hodèges monastery (en grec μον νὴ ὁὁηῶῶν) à sale u tradition by Sainte PuleroPe (R. 377-408) [ first ] . The monastery was one of the three foundations dedicated to the Virgin revered under this name with the Church of the Blachernes and that of Chalkoprateia [ 2 ] .

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The monastery was located beyond the district Chalkoprateia (In Greek: χαλκοπρατεῖα, litt: “copper market”), near the sea in the south-east of the city and served as a counterpart to that of the Blachernes, located in the northwest of the city (see map). Both served as a starting point and an arrival point for processions like that, weekly, which left theodose walls to end in the Chalkoprateia district [ 3 ] .

According to tradition, the monastery would have housed the Hodegretia icon, the image of the Virgin who was painted by Saint Luke and, according to a narrative of Xanthopoulos, was reported with Antioch [ 2 ] . Between 1403 and 1406, Ruy Gonzales de Clavijo described it as a square painting covered with jewels, such as emeralds, sapphires, topazes and pearls [ 4 ] . The name of Panaghia hodēgētria Given to the icon refers to the legend that a miraculous source had the power to heal the blind and all those who suffered from the eyes was within the monastery. The Virgin would have appeared to two blind and guided them towards the source where she recovered their sight. The “hodèges” were the monks who guided the blind towards the source. All Tuesdays, this miraculous icon was brought in procession in the streets of the city where the crowd of those who hoped for miraculous healing were massaged [ 5 ] . The sanctuary was restored under the emperor Michel III (r. 842-967), but there are only a few ruins today near the Gülhane park, if that is the location of the old monastery [ 6 ] .

Map of Constantinople under the Byzantine Empire.

We do not know the exact place where the monastery was in Constantinople [ 7 ] . A description in the In the Logos in DeGeematics [ 8 ] Like a mention of Nicétas Choniats [ 9 ] lead to believe that the monastery was located “near the sea” (that of Marmara or Bosphorus). According to certain written sources, in particular the description of a contemporary pilgrim [ ten ] , the monastery was to be in the east or southeast of Hagia Sophia.

Excavations at the Gülhane Park made it possible to uncover a rotunda as well as the remains of what would have been a fountain (approximate location: 41 ° 0 ′ 33 ″ n, 28 ° 59 ′ 6 ″ o); These ruins could have belonged to a monastery [ 6 ] . Note, however, that they are northeast of Hagia Sophia, while written sources rather indicate a position in the southeast [ 11 ] .

The name ” Hodegoi »Appears for the first time certainly in the texts in X It is century: according to Homeland of Constantinople [ twelfth ] , the emperor Michel III (between 856 and 865) had a chapel rebuilt which had long amounted to the site of a miraculous source [ 13 ] , who healed the blind; The “ὁδηγοί” (that is to say in Greek the “guides”) were the people who led the blind to the source. In the spring of 866, the César Bardas made a solemn visit to the new sanctuary before leaving for the campaign against the Arabs in Crete, and an omen (the fall of his cape) announced his imminent end [ 14 ] .

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Another tradition was later existed on the origin of the term: the foundation of the church would be attributable to the Empress Pulchérie by Nicolas Mésaritès [ 15 ] and by Nicéphore Calliste Xanthopoulos [ 16 ] , who reports that she was intended to house an icon of the Virgin painted by Saint Luke sent from Antioch by her sister-in-law Eudocie; A text devoted to the sanctuary, copied in the 1430s [ 17 ] , affirms that the Empress would have herself designated this icon as a guide (“ὁδηγὸν τῶν καλῶν ἁπάντων”). The icon which was kept in the sanctuary is traditionally identified as a “hodêgêtria”, an iconographic type attested on the imperial seals from 695 [ 18 ] .

According to Letter from the three oriental patriarchs to the emperor Théophile [ 19 ] , the patriarch Jean the grammarian would have been a time reader of the church of Hodegoi Under the reign of Léon V, therefore before reconstruction under Michel III. Nicon of the Montagne Noire indicates that the emperor Jean Tzimiscès fixed the hodèges as residence at the Patriarchs of Antioch during their stay in the capital, and it is to this status that the term “μονή” must return, used to designate the ‘establishment from the X It is century (general). In 1097, a decree of Alexis Comnene mentions a Higoumene des Hodèges named Ioannikios. The Patriarch of Antioch Jean L’Oxite took refuge there after his escape from his seat in 1100, and he had troubles with the monks of the establishment, which he describes as “brigand lair” and which he ends up with escape [ 20 ] . During the Council held in Blachernes in May 1157, the Patriarch of Elected Antioch, Soterichos Panteugénos, whose questionable opinions were examined, refused to move from his Hodèges residence, and demanded that the Council, if it were to be one , stood there. After his election as Patriarch of Antioch in exile in 1185/90, the canonist Théodore Balsamon also resided in the Hodèges.

We know from the texts [ 21 ] That the Hodèges were located in the vicinity of the Grand Palais, east of Sainte-Sophie, on the path which led to Saint-Georges-des-Manganes, not far from the shore. According to Narrative discourse , the church was backed by a slope, in height near the maritime wall which served partly as a fence in the estate, near a lighthouse which must be the one in the northeast of the Grand Palais. Archaeologists Robert Demangel and Ernest Mamboury announced that they have identified the site in 1923, between the maritime wall and the Gulhané hospital [ 22 ] . According to the Speech , the establishment had annexed a part of the old Marina domain (τὰ μαρίνης in a certain time) which we know that it extended to the east of the Grand Palais [ 23 ]

A Hodège guides a blind man towards the miraculous source, icon of the Greco-Byzantine church in Saint-Sauveur, Cosenza, Italy.

At the origin of the foundation was therefore apparently a miraculous fountain supposed to cure the blind; Regardless of ἂγιον λοῦμα, an epigram of Théodore Balsamon [ 24 ] Coat creases near the Orme Deval of the Church of Sain Advertises (δ1υAα ὸστл ὸῶν ὂὂηῶν ὂὂῶῶν ὂὂῶῶν ὂὂῶῶν ὂὂῶῶν ὂὂῶῶῶν), restauré XII It is century. These facilities were managed by a “diaconie”, a pious brotherhood which met once or twice a week [ 25 ] .

But the particular veneration with which the establishment was surrounded was mainly due to the number and holiness of the relics which were deposited in the church. According to Nicéphore Calliste Xanthopoulos and the Narrative discourse , we kept the spindle of the Virgin, a few drops of blood and part of the languages ​​of Christ. We do not know if these texts speak of the realities of their time, or if these relics were carried away by the crusaders after 1204 like many others.

The most important relic was the icon of the Virgin supposed to have been painted by Saint Luke himself [ 26 ] . According to testimonies, it was a very heavy large icon, on Pierre according to Russian pilgrims [ 27 ] , on wood according to Xanthopoulos, carried in procession once a week. It was apparently an icon of the type of the Hodēgēgia, of Egyptian-Palestinian origin, whose oldest attested examples date from WE It is century. There was a special group of remunerated “servants of the icon”, mentioned in XII It is century in the typikon From the pantocrator monastery, where Hodēgētria was solemnly transported each year for the commemoration of the founders. According to the pseudo-codinos, she was also transferred to the palace on Thursday of the fifth week of Lent and venerated until Easter in the chapel of the Virgin Nikopoios. There was a large procession until Blachernes on Sunday of the twigs. It was one of the four miraculous icons of the Virgin kept in Constantinople (with that of the Blachernes, that of the Chalkoprateia, and a Virgin “Chymeutè” deposited we do not know where) [ 28 ] .

All Tuesdays, a ἀγρυπνία (vigil) and a λιτή (procession) were celebrated at the hodèges, instituted according to Xanthopoulos by pulcherie which followed the icon with bare feet, head covered, surrounded by women holding torches. The same day stood in the northern entrance to the church a fair (πανήγυρις) [ 29 ] . To pilgrims who came to attend the agrypnie or bow down in front of the icon were distributed holy oil and holy water.

The Hodèges monastery housed at XIV It is And XV It is A centuries a scriptorium producing luxury manuscripts, often illuminated, on the order of members of the imperial family, mainly containing liturgical texts, and easily identified by their writing style, the “Hodèges style”. The existence of this workshop was established in particular by Linos Politis, Hans Belting and Hugo Buchthal. The most renowned copyist monk of this center was called Joasaph (long identified with the emperor Jean VI Cantacuzene, who took this name by becoming a monk, error corrected by Linos Politis). This Joasaph des Hodèges, known in particular by five epigrams of Jean Chortasménos addressed to him (an iambique, the others in hexameters), was highiene of the establishment and died the .

The Hodèges church was the burial place for Emperors Andronic II (1328) [ 30 ] , Andronic III (1341) et Jean V (1391).

  • Angelidi, Christine. “A heritage and edifying text: the” narrative discourse “on the Hodègoi”. (In) Byzantine studies review. vol. 52, 1994, (ISSN  0766-5598 ) , pp. 113–149 .
  • (of) Belting, Hans. The illuminated book in late Byzantine society , Heidelberg, 1970.
  • (of) Berger, Albrecht. Studies on the Patria Konstantinopuleos (= Poikila byzantina; 8). Habelt, Bonn 1988, (ISBN  3-7749-2357-4 ) , pp. 376–378 .
  • (in) Buchthal, Hugo et Hans Belting. Patronage in the Thirteenth-Century Constantinople. An Atelier of Late Byzantine Book Illumination and Calligraphy . Dumbarton Oaks Studies, XVI, Washington, 1978.
  • (in) Buchthal, Hugo. « Toward a History of Palaeologan Illumination », (dans) The Place of Book Illumination in Byzantine Art , Princeton, 1975, pp. 143-177 .
  • Demangel, Robert & Ernest Mamboury. “The Manganes district and the first region of Constantinople” (in) French research in Türkiye, 2, Paris, 1939, pp. 71–111 .
  • (of) Hunger, Herbert. “Archaisizing minuscule and Hodegon style in the 14th century”, Yearbook of Austrian Byzantine , 20, 1980, pp. 187-210 .
  • (in) Kazdhan, Alexander (ed). The Oxford Dictionary of Byzantium . London & New York, Oxford University Press. 1991. (ISBN  0-19-504652-8 ) .
  • (of) Kidonopoulos, Vassilios. Buildings in Constantinople 1204-1328: Dealing and destruction, restoration, conversion and new construction of profane and sacred buildings (= Mainz publications on Byzantine; 1). Harrassowitz, Wiesbaden 1994, (ISBN  3-447-03621-4 ) , pp. 77–78 .
  • (in) Maguire, Henry. Byzantine Court Culture from 829 to 1204. Dumbarton Oaks, 2004. (ISBN  0884023087 ) .
  • (in) Majeska, George P. Russian Travelers to Constantinople in the Fourteenth and Fifteenth Centuries, 1984, p. 362 and following .
  • (in) Mango, Cyril. “Constantinople as Theotokoupolis”, (in) Vassikali, Mother of God, Skira Editore, 2000, pp.  17–25, notes 15 and 58 .
  • (in) Pentcheva, Bissera V. Icons and Power: The Mother of God in Byzantium. University Park (PA) The Pennsylvania State Press, 2006. (ISBN  0271025514 ) .
  • Pérez Martin, Immaculate. «The Kephalaia de Chariton des Hodèges “, (in) P. Van Deun and C. Macé (dir.), Encyclopedic Trends in Byzantium? Proceedings of the International Conference Held in Leuven, 6-8 May 2009 . Oriental Lovaniensia Analecla , 212, Louvain, Peeters, 2011, pp. 361-386 .
  • (of) Politis, linos. ‘Eine Schreiberschule im kloster of the guide’, Byzantine magazine 51, 1958, pp. 17-36 and 261-287 .
  • Politis, Linos. “New data on Joasaph, copyist of the Hodèges Monastery”, Illinois Classical Studies , vol. 7, 1982, p. 299-322 .
  • (in) Reinink, A. W. & Stumpel, Jeroen. Memory & Oblivion: Proceedings of the XXIXth International Congress of the History of Art held in Amsterdam, 1–7 September 1996. Dordrecht, Springer Science & Business Media, 2012. (ISBN  978-9-401-05771-4 ) .
  • (in) Spatharákīs, Iōannis. The Portrait in Byzantine illuminated manuscripts. Leiden, Brill Archive, 1976. (ISBN  9004047832 ) .

Notes [ modifier | Modifier and code ]

References [ modifier | Modifier and code ]

  1. ↑ Mango (2000) pp. 17-25
  2. ↑ a et b Pentcheva (2006) p. 121
  3. ↑ Maguire (2004) p. 96
  4. ↑ Spatarakis (1976) p. forty six
  5. ↑ Kazdhan (1991) « Hodegon monastery », vol. 2, p. 939
  6. ↑ a et b Demangel (1939) pp. 71-111
  7. ↑ See on this subject: Berger (1988), p. 377 et Kidonopoulos (1994) p. 77
  8. ↑ Angelidi (1994) p. 134
  9. ↑ Ecclesiastical history , XV, 14 ( PG 147, col. 44.
  10. ↑ Majeska (1984) p. 362
  11. ↑ Kidonopoulos (1994) p. 77
  12. ↑ Belong to , III, § 27 (= Éd. Th. Characterize, Tome II, Leipzig, 1907, p. 223).
  13. ↑ En grec Launa, un “Saint Bain”.
  14. ↑ Theophane continued, ed. of Bonn, p. 204 ; Gifsios, odds. Lesmaster-Werner It Thurn, p. 77 .
  15. ↑ Description of the Saints-Apostres church , Eligible. G. Downey ( Transactions of the American Philosophical Society , n° 47, 1957), § XXXIX, p. 7 (About the tomb of pulchérie in the saints-apostles).
  16. ↑ Ecclesiastical history , XV, 14 ( PG 147, col. 44). This author attributes the foundation of all the Marian churches of Constantinople to Pulchérie, which is surely a simplification. Its main source, in this part of his work, is the Ecclesiastical history of Théodore the reader (lost as such), but the passage on the Hodegoi does not necessarily go back to this last author.
  17. ↑ The « Narrative discourse on hodēgoi »( Reason for the narrative containing the land and divine temple of the Virgin Mary, the so -called guide to the guide. ), analyzed and edited by Christine Angelidi (1994). It is located on a quaternion of thirteen leaves, probably detached from a codex, found in 1988, in the Vatopedi monastery, by Chryssochoid Criton.
  18. ↑ Werner Seibt, “the representation of the theotocos on Byzantine lead seals, especially in the 11th century”, in N. Oikonomidès (Dir.), Studies in Byzantine Sigillography , Dumbarton Oaks, 1987, p. 37 and 40-41.
  19. ↑ Text with the authenticity discussed, in any case presenting reshuffles and interpolations. See Paul Lemerle, The first Byzantine humanism , Paris, 1971, p. 137 .
  20. ↑ Paul Gautier, “Jean V l’Oxite, patriarch of Antioch. Biographical notice ”, Byzantine studies review 22, 1964, p. 128-157 .
  21. ↑ In particular the travel accounts of Russian pilgrims. See George P. Majeska, Russian Travelers to Constantinople in the Fourteenth and Fifteenth Century , Dumbarton Oaks Studies 19, 1984, pp. 362-64 .
  22. ↑ R. Denangelace e. Mamiboury, The Manganes district and the first region of Constantinople , Paris, de boccard, 1939, pp. 71-111 and 119-20 . They notably identified a large seaside construction and an open door in the maritime wall, with an inscription on the lintel, which would be the door of the Hodèges.
  23. ↑ Cyril Mango, « The Palace of Marina, The Poet Palladas and the Bath of Leo VI », in Evangelia Kypraiou (Dir.), the Palade of Leo VI. Eufrosynon: Afieroma Ston Manoli Hatzidaki , Athens 1991, pp. 321-330 . Marina was one of the three daughters of Emperor Arcadius, so the sister of Pulchérie.
  24. ↑ N ° 42, edited. HORNA.
  25. ↑ See Paul Magdalino, Medieval Constantinople. Studies on the evolution of urban structures , Paris, de Boccard, 1996, p. 31-34 (“Public Bains and Diaconies”) and pp. 93-95 (Appendix I: List of twenty-five “diaconies” known in the city). According to the author, the Hodèges Diaconie was “the most famous by Byzantine brotherhoods”.
  26. ↑ The tradition according to which Saint Luke painted the Virgin appears in VIII It is century in a homily on the veneration of images attributed to André de Crete ( PG 97, col. 301-304).
  27. ↑ George P. Majeska, place. as.
  28. ↑ These four Constantinopolitan icons are reproduced on a register of an icon of XI It is century preserved in the Sainte-Catherine monastery of Sinai.
  29. ↑ This Hodèges fair is represented on a fresco of XIII It is century of the church of the Panaghia Vlacherna monastery near Arta. See Myrtali Achiastou-Potamianou, “The Wall Paintings of the Vlacherna Monastery (Area of ​​Arta)”, XV acts It is International Byzantine Studies Congress , II /A, Athens, 1981, p. 1-14.
  30. ↑ Nicéphore Grégoras, Roman history , II, annoyance. the bonn, p. 555.

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