Description of the Augusteum

DESCRIPTION OF THE AUGUSTEON

BY GEORGIUS PACHYMERES DESCRIPTION OF THE AUGUSTEON

^A The temple of God, called Sophia, is adorned with many and various beauties within, and it shines with many exterior ornaments; these are so marvelous that they cannot be perfectly recounted. Indeed, it is better to enjoy such spectacles in silence than to describe with words things that surpass all speech. For it is not just once, or twice, or many times that a stupor joined with pleasure takes hold of someone seeing these things; but the more he gazes, the more he is possessed by greater admiration; and although he may have seen and marveled at them many times, he thinks he is seeing them for the first time when, approaching again, he is delighted by such wonders. I refrain from discoursing on this all the more because I consider that mystical beauty ineffable, which belongs to God alone; for I believe that this divine and sacred tabernacle holds second place in this regard; and if it were possible for God to dwell in man-made temples, I believe this is the only one under the sun where He would reside. Nevertheless, I shall more boldly undertake to describe that column with the statue placed upon it, which is seen by those entering the temple on the left, clad in stones joined with wonderful art, so that I may depict it as best I can for those who have not seen it. It is, in fact, as follows, as the account sets forth.

^B The atrium of this divine temple is surrounded from ancient times by public buildings; in the middle of which stands the Augusteon. This is the column of the Augustus Justinian, erected in his honor when he had returned, having completed the labors of the Persian war. The base from the ground... All the bronze around the column was gilded tile, covering the entrance to the palace of Constantine the Great, the emperor, which even until now is called the Chalce. And all that which is around the column was gilded tile, covering the entrance to the palace of Constantine the Great, the emperor, which even until now is called the Chalce. Moreover, Procopius has graphically and completely described this equestrian statue of Justinian in the first book De Aedificiis, chapter eleven, and from him whatever other writers have on this matter have drawn. Since this description of Procopius is somewhat long and easy for anyone to access in the same book, it is omitted by us on purpose.

^A This column rises from the ground, furnished with seven steps of white marble (though the three lowest steps have been buried beneath the earth by the injury of time). These steps are broader at the bottom and narrower at the top, and they do not ascend from one side only, but from all four sides in a square-like shape; so that one may ascend from below from whichever side one wishes, and then arrive on a level surface. This would indeed be a plain surface throughout, were it not that a red-brick and mortar building had been constructed upon it, which presents the appearance of four columns at the same number of angles, although they are not in truth columns, but only represent the appearance of columns. For slabs of marble are woven onto the surface, concealing within them the fire-stone blocks, as is possible to learn from a single one that in time has lost its slab, such that the form of the building is crafted into a cube, with the four sides on the lateral surfaces adorned with as many porticoes.

Above this, another base of white marble is set; and upon that another; and upon which a third; and upon these a fourth zone of marble. So that the three are broader at the base and narrow as they ascend, while the zone upon them is circular and provides a fitting foundation for the pillar. From this point the pillar is constructed; in the past, as we hear, it was covered with varied ^B Temesian bronze, which, if credence is to be given to the account, would not yield much to silver; but now it remains completely bare, so that anyone can count its stones and perceive that they are fire-stones, and recognize their joints. It has circular rings of white stone distributed along the length of the column at equal intervals, which number ten. From here there are other circular rings of white marble, but these are contiguous; in such a way that the second is placed upon the first, the third upon the second, and so on up to the ninth. However, they are not uniform in their structure, but are gradually wider, so as to provide a broader base for the order placed upon them, which, as the tenth, rests upon the other nine; so that this part also may not lack the perfection of the number.

The shape of this stone is square; but it exhibits a joint in the middle of its sides, so that the lines appear to be broken, and the fractures are marked by stones, and except for these alone, the entire stone is covered in bronze on all sides. ^C From here, however, the craftsman narrows the structure and places a thick stone, and upon it another, which is smaller in width on all sides, in order to provide a suitable base for the horse. For the pillar required not only breadth for the sake of stability for what was placed upon it, but also a narrowing at the summit, so that the structure placed above it might be clearly visible from every side.

The horse is of bronze, fashioned with wonderful art, and is not worthy to be neglected by passers-by, even if one should pass by that spot many times in the day. If you look at it, you would say that it is truly directing its course into the air and the wind, and toward the East

^A Thus, the shape of the head is formed in such a way that it seems to be tossed, and it inclines slightly toward the North. Just so, the mane and all the hairs growing on the head, shunning the well-ordered, are stirred up and play in the wind. If you should look at the left of the forelegs along with this, how it is arched at the knee, and while the others are pressed to the ground, it alone is held aloft, you would say that even inanimate things are moved. And if it were carrying a bit in its mouth—which one who rightly conjectures would think that it surely once had—you would certainly suspect one of two things: either that the horse is rearing up from the force of the reins tightened against its jowls, or that, with the reins slackened, it is being borne along at such a rapid pace that, as the front foot does not touch the ground, the back one anticipates it. Thus, indeed, from a certain internal and natural spirit, the chests of the creature are dilated, so that you may observe even the muscles; the tail, too, is seen to be full of vigor, so that it does not hang down limply, but as if it were raised up at first, then relaxed to fall toward the hooves and the ground. ^B Immediately, you should turn your eyes to the rider, who bears the form of a racing cavalier, and who extends his feet on either side. Even if he were provided with spurs, you would at once conjecture from the alacrity and ferocity of the horse that it could finish its intended course without a goad. The feet, however, seem so negligently positioned that they nevertheless keep themselves upright, and appear to be guided by the very motion of the heart, not supported by any stirrup in the customary manner. For a bold youth sits upon the horse, entirely aloft and appearing like someone looking into the distance; a man indeed, but beardless, whose hair is shorn from the forehead, though behind it does not reach even to the neck, so that you would think he delights in that style of hair. And what kind of helmet is this, which covers nothing and yet adorns the rider? For it neither possesses width nor does it encompass the head, but where it is attached to the head, it is like a crown, uniformly encircling the temples and the forehead; from here, however, it gradually extends in length upward, and rising significantly, it ends at the crest in gilded feathers, which have been preserved even until my time. But when a most violent wind blew, the two feathers collapsed, which at that time seemed much larger than when they adorned the head; and thus far they are seen stored away in the treasury of the Church. ^C The body is clothed in a tighter tunic, not one that is superfluous or overflowing, such as the more refined horsemen wear; it reaches barely to the elbow above, and below it extends to the knees. On the outside is attached a mantle, which they call an "Achillean" stole. This covers some parts of the body, and being gathered from thence onto the left shoulder, it reaches even to the loins of the horse, and, occupying a great part of the rear, it flows broadly. The hands of the statue, however, are not occupied with managing and steering the horse in the manner of riders; but indeed he raises his right hand, as if with a certain martial and generous sense and spirit he is gravely threatening the enemy. Yet this is not from a state of frenzy and some insane audacity, as one might suppose. ^D For the left hand encounters this suspicion and clearly defends and protects the man from it. Since indeed

it is stretched out, holding ^A a gilt bronze apple ^A a little distance from the body, upon which a cross of the same material is raised. And it seems to declare with what confidence he extends the other hand in movement and threatens gravely. For that apple signifies the world, which he, holding it in his hand, having obtained the empire of the whole world, has entrusted to the power of the cross.

OF THE PROTECDICUS AND NOMOPHYLAX

GEORGE PACHYMERES

AGAINST THOSE WHO SAY

THAT THE SPIRIT IS CALLED THE SPIRIT OF THE SON BECAUSE IT HAS THE SAME NATURE AS HE, OR BECAUSE IT IS SUPPLIED BY HIM TO THE WORTHY

If by natural power fire is adurent, because it would consume ^B (and it performs this often, and that which is suited to be consumed, it consumes), I ask which of these two is prior: performing and consuming, or the faculty itself naturally adurent; or the faculty of aduring itself, or the act of consuming? Clearly everyone will affirm the faculty. Unless someone wishes to assert that action is prior to nature itself. But when this is necessarily affirmed—that is, that fire possesses the natural faculty of being adurent, and that this is prior to the consuming, and not the reverse—I still ask concerning causes and effects: which of these is prior, either in being or in concept? The cause, entirely. For we do not say that the posterior is the cause of the prior. And indeed it is the law of the Dialecticians, concerning those who ask "why," to render the cause. And this