By Bogdanovic, Jelena

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Revel‐Neher, “On the Hypothetical Models of the Byzantine Iconography of the Ark of the Covenant” in ByzELatW (1995) 405‐414.  Princeton U, 1970) 98. 55 A canopy‐like architectural structure above chest‐like objects remained an essential microcosmic symbol. It is very difficult to verify whether any of the theologians and scholars who wrote on ciboria also considered other kibotia, presumably box‐like containers for the saintly relics as a means for salvation. Such kibotia potentially evoked canopy‐like objects and shrine installations in churches.

45 He uses the same sentence from the Septuagint. 46 The reference to “mikra kiboria” as small aediculae were relatively early spread in the West via Constantinople. 31). 18). According to: Lampe (1964‐68) 753. 43 44 23 The metaphoric and symbolic linguistic interpretation of the Scriptures denoted a ciborium in a sense of the words κιβ, κιβωτός meaning tabernacle or ark (cf.  25:10),48 and ώριον, meaning the effulgence, or Light of God.  560‐638), the patriarch of Jerusalem also provided a highly symbolic explanation for a ciborium.

The human body and divine grace were canopies’ activating vehicles. Visual and homologous elements attendant to saintly relics and to phenomena of Byzantine channels of communication with the Lord were often understood as accompanying apparitions. Nevertheless, the activated space of these channels of communication with an invisible and supra‐spatial God, framed by a canopy‐like structure, acted as a powerful vehicle for strengthening Byzantine beliefs. Focusing on the Marian concept of “Ark‐Virgin‐Church,” the epilogue, The Canopy within a Canopy, outlines the architectural phenomenon today recognizable in post‐modernist terminology as a “house within a house” and reconsiders the role of temple‐like canopies in denoting the spatial iconography of a Byzantine church.

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