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40 As rhetorical motifs they are found in Paul’s and Procopius’ ekphraseis of Hagia Silentiary verses 617–646. Bissera Pentcheva discussed similar sentiments in the context of Paul’s description of the solea. Pentcheva (2011), 95–6. 40 Sandrine Dubel, ‘Colour in Philostratus “Imagines”’, in Philostratus, ed. E. Bowie and Jaś Elsner (Cambridge: Cambridge University Press, 2009); Pentcheva (2011); Michael Roberts, The Jeweled Style: Poetry and Poetics in Late Antiquity (Ithaca, NY: Cornell University Press, 1989), 38–65.

109 Phantasia and the Perception of the Divine Phantasia in late antiquity had multi-layered meanings that contribute important moral and epistemological dimensions to the assessment of ekphraseis and by extension the work of art under consideration. 112 Phantasiai then are mental images that exploit the emotional and excitatory sensibilities of the audience in order to create enargeia. Here, Longinus’ distinction between the rhetorical and the poetical use of phantasia is important. Although both aim at emotion (pathos) and excitement (kinesis), poetry aims at astonishment (ekplexis), while the intended effect of phantasia in prose is vividness (enargeia).

Silentiary verses 388, 879. 43 Silentiary verse 620. 44 Paul the Silentiary explicitly compares the light from the gold mosaics to ‘the midday sun in spring’ (verses 668–672). 45 Dubel (2009); Liz James, Light and Colour in Byzantine Art (Oxford: Oxford University Press, 1996); Liz James, ‘Color and meaning in Byzantium’, Journal of Early Christian Studies 11 (2003). 27; Dubel (2009), 315–16. 47 Dubel (2009); Rico Franses, ‘When all that is gold does not glitter: On the strange history of looking at Byzantine art’, in Icon and Word: The Power of Images in Byzatnium, ed.

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