In previous publications, we discussed Queen Baddo’s signature on the minutes of the Third Council of Toledo. We used Degrain’s painting “Conversión de Recaredo” (1888) to illustrate this. Today, we will examine how this relates to Empress Theodora.
To represent Queen Baddo, Degrain decided to use as a reference the 6th-century mosaic of the Byzantine Empress Theodora (527–548) in the Church of San Vitale in Ravenna, transferring the majestic elements of the mosaic to his painting (Rueda Bermejo, 2017).
Baddo, emulating Theodora, wears a clámide fastened with a fibula, a tiara of pearls and precious stones, and strands of pearls in her hair. Flanking her face, pearl catatheistae extend down to her chest, adorned with a double necklace and a pearl pectoral (Rueda Bermejo, 2017).
Degrain demonstrated a profound historical knowledge in his work and great attention to detail, choosing to depict Baddo in a piece from the same century in which the conversion took place. Baddo thus became once again equated with another of the great female figures in history.
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Alfonso García Sánchez
