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Da più di un secolo il “ritratto” dell’imperatore bizantino che campeggia sui tondi marmorei di Venezia e di Washington sfida gli studiosi con il suo enigmatico silenzio: chi è o chi sono gli imperatori raffigurati con le loro insegne e un fastoso abbigliamento? Quando e dove furono realizzati i due tondi? Per quale ragione furono trasferiti a Venezia e, uno di essi, prima in Germania e poi negli Stati Uniti? I saggi raccolti in questo volume affrontano con le più diverse metodologie i numerosi problemi posti da questi esempi straordinari di arte ufficiale, nel tentativo di offrire al lettore una nuova cornice per la loro interpretazione e nuove ipotesi suffragate da nuovi dati. For over a century the “portrait” of the Byzantine Emperor featured on two marble tondi in Venice and Washington, D.C., has been posing a challenge to scholars with its enigmatic silence: who is or are the Emperor depicted with his/their insignia and sumptuous attire? When and where were the two tondi created? Why were they brought to Venice, and why was one eventually transferred to Germany and then the United States? The essays collected in this volume address the numerous problems raised by these remarkable examples of official art by using a range of different methodologies, in an attempt to provide a new framework for their interpretation and new hypotheses supported by fresh data.
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