Likeness and Presence

List of Illustrations
Foreword
1: Introduction
a: The Power of Images and the Limitations of Theologians
b: Portrait and Memory
c: The Images' Loss of Power and Their New Role as Art
2: The Icon from a Modern Perspective and in Light of Its History
a: The "Painter's Manual of Mount Athos" and Romanticism
b: The Rediscovery of the Icon in Russia
c: Italian Panel Painting as the Heir to the Icon
d: The Discoveries in Rome and at Mount Sinai
e: Problems with a History of the Icon: The Deficiency of a History of Styles
3: Why Images? Imagery and Religion in Late Antiquity
a: The Virgin's Icon; Icon Types and Their Meaning
b: The Virgin's Personality in the Making: The Mother of God and the Mother of the Gods
c: Pagan Images and Christian Icons
d: Why Images?
4: Heavenly Images and Earthly Portraits: St. Luke's Picture and "Unpainted" Originals in Rome and the Eastern Empire
a: Unpainted Images of Christ and Relics of Touch
b: St. Luke's Images of the Virgin and the Concept of the Portrait
c: Relic and Image in Private and Public Life
d: Early Icons in Papal Rome
e: The Image of the "Hodegetria" in Constantinople
5: Roman Funerary Portraits and Portraits of the Saints
a: Pagan and Christian Cults of Images
b: The Origin of Saint's Images
c: Cult Image and Votive Image
d: Funerary Portraits and Icons
e: Idealism and Realism in the Ancient Portrait
6: The Imperial Image in Antiquity and the Problem of the Christian Cult of Images
a: The Worship of the Imperial Image
b: The Emperor's Person and the Legal Status of His Image
c: The Military Standard and the Cross as Bearers of Images
d: Images of Christ in State Iconography
7: Image Devotion, Public Relations, and Theology at the End of Antiquity
a: Wall Icons in a Roman Church
b: Early Panels in Rome and the Problem of an Iconic Style
c: Image and Politics at the Papal Curia
d: Styles and Conventions of the Early Icon
e: Icons and Politics at the Imperial Court: The Christ Coin
f: Icons and Theological Argument
8: Church and Image: The Doctrine of the Church and Iconoclasm
a: The Image in Christendom
b: Byzantine Iconoclasm
c: The Theory of Images and Its Traditions
d: Image and Sign, Icon and Cross
9: The Holy Image in Church Decoration and a New Policy of Images
a: The Role of the Imperial Court in the Reintroduction of Images
b: Patriarch Photius in Hagia Sophia
c: New Pictorial Programs in Churches of the Court
d: Church Decoration: An Applied Theory of Images
e: Liturgy and Images in Church Interiors
10: Pilgrims, Emperors, and Confraternities: Veneration of Icons in Byzantium and Venice
a: The Emperors
b: Confraternities and Processions
c: Pilgrimages and the Program for Visitors to Hagia Sophia
d: San Marco in Venice and Its Icons
11: The "Holy Face": Legends and Images in Competition
a: The "Original" of the Abgar Image and Its Legend
b: The Abgar Image at Constantinople and a New Aesthetics of the Ideal Portrait
c: The Veronica in Rome
12: The Iconostasis and the Role of the Icon in the Liturgy and in Private Devotion
a: The Church Interior and the Site of the Images
b: Cross, Gospel Book, and Icon in Church Ritual
c: Votive Images as Instruments of Salvation and as Commemorations of the Donor
d: The Chancel Screen as Iconostasis
e: Calendar Icons and Biographical Icons
13: "Living Painting": Poetry and Rhetoric in a New Style of Icons in the Eleventh and Twelfth Centuries
a: "Icons in the New Style"
b: Aesthetics, Ethics, and Theology
c: Poetic Continuity in a Changin