9th-century Byzantium has always been viewed as a mid-point between Iconoclasm and the so-called Macedonian revival; in scholarly terms it is often treated as a ’dead’ century. The object of these papers is to question such an assumption. They present a picture of political and military developments, legal and literary innovations, artisanal production, and religious and liturgical changes from the Anatolian plateau to the Greek-speaking areas of Italy that are only now gradually emerging as distinct. Investigation of how the 9th-century Byzantine world was perceived by outsiders also reveals much about Byzantine success and failure in promoting particular views of itself. The chapters here, by an international group of scholars, embody current research in this field; they recover many lost aspects of 9th-century Byzantium and shed new light on the Mediterranean world in a transitional century. The papers in this volume derive from the 30th Spring Symposium of Byzantine Studies, held for the Society for the Promotion of Byzantine Studies at the University of Birmingham in March 1996.

The Byzantines used imagery to communicate a wide range of issues. In the context of Iconoclasm - the debate about the legitimacy of religious art conducted between c. AD 730 and 843 - Byzantine authors themselves claimed that visual images could express certain ideas better than words. Vision and Meaning in Ninth-Century Byzantium deals with how such visual communication worked and examines the types of messages that pictures could convey in the aftermath of Iconoclasm. Its focus is on a deluxe manuscript commissioned around 880, a copy of the fourth-century sermons of the Cappadocian church father Gregory of Nazianzus which presented to the Emperor Basil I, founder of the Macedonian dynasty, by one of the greatest scholars Byzantium ever produced, the patriarch Photios. The manuscript was lavishly decorated with gilded initials, elaborate headpieces and a full-page miniature before each of Gregory's sermons. Forty-six of these, including over 200 distinct scenes, survive. Fewer than half however were directly inspired by the homily that they accompany. Instead most function as commentaries on the ninth-century court and carefully deconstructed both provide us with information not available from preserved written sources and perhaps more important show us how visual images communicate differently from words.

Byzantine Military Rhetoric in the Ninth Century is the first English translation of the ninth-century Anonymi Byzantini Rhetorica Militaris. This influential text offers a valuable insight into the warrior ethic of the period, the role of religion in the justification of war, and the view of other military cultures by the Byzantine elite. It also played a crucial role in the compilation of the tenth-century Taktika and Constantine VII’s harangues during a period of intense military activity for the Byzantine Empire on its eastern borders. Including a detailed commentary and critical introduction to the author and the structure of the text, this book will appeal to all those interested in Byzantine political ideology and military history.

The main themes of this volume are the identification of 'visions', 'messages', and 'meanings' in various facets of Byzantine culture and the possible differences in the perception of these visions, messages and meanings as seen by their original audience and by modern scholars. The volume addresses the methodological question of how far interpretations should go - whether there is a tendency to read too much into too little or whether not enough attention is paid to apparent minutiae that may have been important in their historical context. As the essays span a wide chronological era, they also present a means of assessing the relative degrees of continuity and change in Byzantine visions, messages and meanings over time. Thus, as highlighted in the concluding section, the book discusses the validity of existing notions regarding the fluidity of Byzantine culture: when continuity was a matter of a rigid adherence to traditional values and when a manifestation of the ability to adapt old conventions to new circumstances, and it shows that in some respects, Byzantine cultural history may have been less fragmented than is usually assumed. Similarly, by reflecting not just on new interpretations, but also on the process of interpreting itself, the contributors demonstrate how research within Byzantine studies has evolved over the past thirty years from a set of narrowly defined individual disciplines into a broader exploration of interconnected cultural phenomena.

Integrates the evidence for ninth-century Rome derived from standing remains and their decorations, objects in museum and library collections, contemporaneous documents, and recent archaeology in order to create an interdisciplinary space defined as 'history in art'. A sequel to the author's Rome in the Eighth Century (Cambridge, 2020).

Saints and Spectacle explains, for the first time, how the spectacurlar gold ground mosaics of the Middle Byzantine period were likely conceived. Through a recreation of the circumstances of this time, Saints and Spectacle brings the Middle Byzantine church to life as the witness to a compelling and fascinating drama.

Iconoclasm was the name given to the stance of that portion of Eastern Christianity that rejected worshipping God through images (eikones) representing Christ, the Virgin or the saints and was the official doctrine of the Byzantine Empire for most of the period between 726 and 843. It was a period marked by violent passions on either side. This is the first comprehensive account of the extant contemporary texts relating to this phenomenon and their impact on society, politics and identity. By examining the literary circles emerging both during the time of persecution and immediately after the restoration of icons in 843, the volume casts new light on the striking (re)construction of Byzantine society, whose iconophile identity was biasedly redefined by the political parties led by Theodoros Stoudites, Gregorios Dekapolites and Empress Theodora or the patriarchs Methodios, Ignatios and Photios. It thereby offers an innovative paradigm for approaching Byzantine literature.