Tyrian purple (Greek, , porphyra, ), also known as royal purple, imperial purple or imperial dye, is a purple-red natural dye, which is extracted from sea snails, and which was possibly first produced by the ancient Phoenicians. This dye was greatly prized in antiquity because it did not fade, rather it became brighter and more intense with weathering and sunlight.
Tyrian purple was expensive: the 4th-century-BC historian Theopompus reported, "Purple for dyes fetched its weight in silver at Colophon" in Asia Minor. The expense rendered purple-dyed textiles status symbols, and early sumptuary laws dictated and forbade their use. The production of shellfish purple was tightly controlled in Byzantium and subsidized by the imperial court, which restricted its use for the coloring of silks for imperial use, so that a child born to a reigning emperor was porphyrogenitos, "born in the purple", although this may also have to do with the fact that the Imperial birthing apartment was walled in Porphyry.
The dye substance consists of a mucous secretion from the hypobranchial gland of one of several medium-sized predatory sea snails found in the eastern Mediterranean. These are the marine gastropods Bolinus brandaris the spiny dye-murex, (originally known as Murex brandaris (Linnaeus, 1758)), the banded dye-murex Hexaplex trunculus, and the rock-shell Stramonita haemastoma.
Many other species worldwide within the family Muricidae, for example Plicopurpura pansa (Gould, 1853), from the tropical eastern Pacific, and Plicopurpura patula (Linnaeus, 1758) from the Caribbean zone of the western Atlantic, can also produce a similar substance (which turns into an enduring purple dye when exposed to sunlight) and this ability has sometimes also been historically exploited by local inhabitants in the areas where these snails occur. (Some other predatory gastropods, such as some wentletraps in the family Epitoniidae, seem to also produce a similar substance, although this has not been studied or exploited commercially.) The dog whelk Nucella lapillus, from the North Atlantic, can also be used to produce red-purple and violet dyes.
In nature the snails use the secretion as part of their predatory behaviour and as an antimicrobial lining on egg masses. The snail also secretes this substance when it is poked or physically attacked by humans. Therefore the dye can be collected either by "milking" the snails, which is more labour intensive but is a renewable resource, or by collecting and then crushing the snails completely, which is destructive. David Jacoby remarks that "twelve thousand snails of Murex brandaris yield no more than 1.4 g of pure dye, enough to color only the trim of a single garment."
The Phoenicians established an ancillary production facility on the Iles Purpuraires at Mogador, in Morocco. The gastropod harvested at this western Moroccan dye production facility was Hexaplex trunculus (mentioned above) also known by the older name Murex trunculus (Linnaeus, 1758).
This second species of dye murex is found today on the Mediterranean and Atlantic coasts of Europe and Africa (Spain and Portugal, Morocco, and the Canary Islands). In his History of Animals, Aristotle described the shellfish from which Tyrian purple was obtained and the process of extracting the tissue that produced the dye. Pliny the Elder described the production of Tyrian purple in his Natural History:
Archaeological data from Tyre indicate that the snails were collected in large vats and left to decompose. This produced a hideous stench that was actually mentioned by ancient authors. Not much is known about the subsequent steps, and the actual ancient method for mass-producing the two murex dyes has not yet been successfully reconstructed; this special "blackish clotted blood" colour, which was prized above all others, is believed to be achieved by double-dipping the cloth, once in the indigo dye of H. trunculus and once in the purple-red dye of M. brandaris.
The Roman mythographer Julius Pollux, writing in the 2nd century BC, asserted (Onomasticon I, 45–49) that the purple dye was first discovered by Heracles, or rather, by his dog, whose mouth was stained purple from chewing on snails along the coast of the Levant. Recently, the archaeological discovery of substantial numbers of Murex shells on Crete suggests that the Minoans may have pioneered the extraction of Imperial purple centuries before the Tyrians. Dating from collocated pottery suggests the dye may have been produced during the Middle Minoan period in the 20th–18th century BC. Accumulations of crushed murex shells from a hut at the site of Coppa Nevigata in southern Italy may indicate production of purple dye there from at least the 18th century BC.
The production of Murex purple for the Byzantine court came to an abrupt end with the sack of Constantinople in 1204, the critical episode of the Fourth Crusade. David Jacoby concludes that "no Byzantine emperor nor any Latin ruler in former Byzantine territories could muster the financial resources required for the pursuit of murex purple production. On the other hand, murex fishing and dyeing with genuine purple are attested for Egypt in the tenth to thirteenth centuries." By contrast, Jacoby finds that there are no mentions of purple fishing or dyeing, nor trade in the colorant in any Western source, even in the Frankish Levant. The European West turned instead to vermilion provided by the insect Kermes vermilio, known as grana, or crimson.
In 1998, through a lengthy trial and error process, an English engineer named John Edmonds rediscovered the secret of how to dye Tyrian purple. He researched recipes and observations of dyers from the 15th century to the 18th century. He explored the biotechnology process behind woad fermentation. After collaborating with an Israeli chemist, Edmonds hypothesized that an alkaline fermenting vat was necessary. He studied an incomplete ancient recipe for Tyrian purple recorded by Pliny the Elder. By altering the percentage of sea salt in the dye vat and adding potash, he was able to successfully dye wool a deep purple colour.
The true colour Tyrian purple, like most high chroma pigments, cannot be accurately displayed on a computer display, nor are ancient reports entirely consistent, but these give an indication of the likely range in which it appeared:
_________ _________
This is the sRGB colour #990024, intended for viewing on an output device with a gamma of 2.2. It is a representation of RHS colour code 66A, which has been equated to "Tyrian red", a term which is often used as a synonym for Tyrian purple.
Category:Animal dyes Category:Organic pigments Category:Mollusc products Category:Organobromides Category:Halogen-containing natural products
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Coordinates | 44°25′57″N26°6′14″N |
---|---|
Name | Theodora |
Title | Empress of the Roman (Byzantine) Empire |
Imgw | 250px |
Caption | Theodora, detail of a Byzantine mosaic in Basilica of San Vitale, Ravenna |
Full name | Theodora |
Spouse | Justinian I |
Issue | John, Theodora |
Succession | Byzantine Empress |
Reign | 9 August 527 – 28 June 548() |
Predecessor | Euphemia |
Successor | Sophia |
Birth date | c. 500 |
Birth place | Cyprus |
Death date | 28 June 548 (aged 48) |
Death place | Constantinople |
Place of burial | Church of the Holy Apostles |
Dynasty | Justinian |
House-type | Imperial Dynasty |
Father | Acacius |
Mother | Theodora? |
Later he wrote the Secret History, which was not published at the time. The work revealed an author who had become deeply disillusioned with the emperor Justinian, the empress, and even his patron Belisarius. Justinian is depicted as cruel, venal, prodigal and incompetent; as for Theodora, the reader is treated to a detailed and titillating portrayal of vulgarity and insatiable lust, combined with shrewish and calculating mean-spiritedness; Procopius even claims both are demons whose heads were seen to leave their bodies and roam the palace at night. Yet much of the work covers the same time period as The Wars of Justinian.
The Buildings of Justinian, written about the same time as the Secret History, is a panegyric which paints Justinian and Theodora as a pious couple and presents particularly flattering portrayals of them. Besides her piety, her beauty is excessively praised. Although Theodora was dead when this work was published, Justinian was very much alive, and probably commissioned the work.
Her contemporary John of Ephesus writes about Theodora in his Lives of the Eastern Saints. He mentions an illegitimate daughter not named by Procopius.
Various other historians presented additional information on her life. Theophanes the Confessor mentions some familial relations of Theodora to figures not mentioned by Procopius. Victor Tonnennensis notes her familial relation to the next empress, Sophia. Nicephorus Callistus Xanthopoulos traces her origin to Cyprus. Patria, attributed to George Codinus, claims Theodora came from Paphlagonia.
Michael the Syrian, the Chronicle of 1234 and Bar-Hebraeus place her origin in the city of Daman, near Kallinikos, Syria. They contradict Procopius by making Theodora the daughter of a priest, trained in the pious practices of Monophysitism since birth. These are late Miaphysite sources and record her depiction among members of their creed. The Miaphysites have tended to regard Theodora as one of their own and the tradition may have been invented as a way to improve her reputation and are also in conflict with what is told by the contemporary Miaphysite historian John of Ephesus. There are several indications of her possible birthplace. According to Michael the Syrian her birthplace was in Syria; Nicephorus Callistus Xanthopoulos names Theodora a native of Cyprus, while the Patria claims Theodora came from Paphlagonia.
Her father, Acacius, was a bear trainer of the hippodrome's Blue faction in Constantinople. Her mother, whose name is not recorded, was a dancer and an actress. Her parents had two more daughters. After her father's death, her mother brought her children wearing garlands into the hippodrome and presented them as suppliants to the Blue faction. From then on Theodora would be their supporter. Lynda Garland in "Byzantine Empresses: Women and Power in Byzantium, AD 527-1204" notes that there seems to be little reason to believe she worked out of a brothel "managed by a pimp". Employment as an actress at the time would include both "indecent exhibitions on stage" and providing sexual services off stage. In what Garland calls the "sleazy entertainment business in the capital", Theodora would earn her living by a combination of her theatrical and sexual skills. Theodora made a name for herself with her portrayal of Leda and the Swan, where she stripped off her clothes as far as the law allowed, lying on her back while some attendants scattered barley on her groin and then some geese picked up the barley with their bills. She also entertained notables at banquets and accepted a multitude of lovers.
During this time she met Antonina, with whom she would remain lifelong friends.
Procopius mentions that during her time as a prostitute, Theodora was familiar with all the methods to induce an abortion. although sources disagree whether Justinian was the girl's father.
The imperial status of Theodora also proved profitable for her relatives. Her sister Comito became the wife of a rising young officer, Sittas, though he was to die young while campaigning in Armenia. Her niece Sophia married the nephew of Justinian, Justin II, who succeeded his uncle as emperor in 565.
Following the Nika revolt, Justinian and Theodora rebuilt and reformed Constantinople and made it the most splendid city the world had seen for centuries, building or rebuilding aqueducts, bridges and more than twenty five churches. The greatest of these is Hagia Sophia, considered the epitome of Byzantine architecture and one of the architectural wonders of the world.
Theodora was punctilious about court ceremony. According to Procopius, the Imperial couple made all senators, including patricians, prostrate themselves before them whenever they entered their presence, and made it clear that their relations with the civil militia were those of masters and slaves. They also carefully supervised the magistrates, much more so than previous emperors, possibly to reduce bureaucratic corruption. Theodora also created her own centers of power. The eunuch Narses, who in old age developed into a brilliant general, was her protege, and so was the praetorian prefect Peter Barsymes. John the Cappadocian, Justinian's chief tax collector, was identified as her enemy, because of his independent influence.
Theodora participated in Justinian's legal and spiritual reforms, and her involvement in the increase of the rights of women was substantial. She had laws passed that prohibited forced prostitution and closed brothels. She created a convent on the Asian side of the Dardanelles called the Metanoia (Repentance), where the ex-prostitutes could support themselves. She also expanded the rights of women in divorce and property ownership, instituted the death penalty for rape, forbade exposure of unwanted infants, gave mothers some guardianship rights over their children, and forbade the killing of a wife who committed adultery. Procopius wrote that she was naturally inclined to assist women in misfortune.
Both Theodora and Justinian are represented in mosaics that exist to this day in the Basilica of San Vitale of Ravenna, Italy, which was completed a year before her death.
Theodora is considered a great female figure of the Byzantine Empire, and a pioneer of feminism, because of the laws she passed, increasing the rights of women. As a result of Theodora's efforts, the status of women in the Byzantine Empire was elevated far above that of women in the Middle East and the rest of Europe.
Olbia in Cyrenaica renamed itself Theodorias after Theodora. (It was a common event that ancient cities renamed themselves to honor an emperor or empress.) The city, now called Qasr Libya, is known for its splendid sixth-century mosaics.
The 1910 silent film Justinian and Theodora was directed by Otis Turner and starred Betty Harte and Bebe Daniels.
The Italian silent films Teodora (1914) and Teodora (or "Theodora, the Slave Princess", 1919) were directed by Roberto Roberti and Leopoldo Carlucci, respectively. The 1954 Italian film Teodora, imperatrice di Bisanzio was directed by Riccardo Freda.
Category:500 births Category:548 deaths Category:Burials at the Church of the Holy Apostles, Constantinople Category:Byzantine empresses Category:Justinian Dynasty Category:6th-century Byzantine people Category:Courtesans of antiquity Category:6th-century women Category:Greek Cypriot people Category:Feminism and history Category:Greek and Roman dancers Category:Ancient actors Category:Justinian I Category:Deaths from cancer
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