Recent investigations on ninth-century Byzantine Psalters have focused mostly on the impact of the iconoclast controversy on the iconography of the marginal illustrations in these manuscripts. In fact this impact has been greatly exaggerated and the Psalter illustrations that can be connected to the debates on icon are less than a dozen out of a total of a few hundreds. The present article focuses on the iconography of figures illustrating social and moral types in the psalms. These figures cannot be considered as novel inventions of the ninth-century artists who painted our manuscripts. Their origin must be drawn back to late antique prototypes; in particular it is inferred that most of these figures represent characters that were originally modeled after the moral and social types acted on stage in late antique theater, mime and pantomime. A number of examples out of the miniatures in the Carolingian manuscripts of Terence and other media provides parallels to gestures, postures and features of the figures in the Psalter illustrations. The iconographical invention of these characters for the psalms must date from fourth to sixth century, a period during which theater was still very popular, notwithstanding the strong opposition of the Christian Fathers. Chroricius of Gaza' Apologia memoriam and other late antique writings witness the popularity of mime up to the middle sixth century and the ample variety of types that were acted on stage. The figures scissor out of marginal illustrations in the Byzantine Psalters are arranged in five plates collecting examples of, respectively, moral types, emotions caricatures, social types and professions, gods and devils.
