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H IS E M I N E N C E A R C H B I S H O P M E T H O D I O S O F T tf Y A T l IK A A N D G R E A T B R I T A I N
T H E RT. H O N . T H E L O R D H A IL S H A M Ol S I
LORD CHANCELLOR
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P H A ID R A K A L A FA TIS
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JA S P E R JA C O B A SSO C IA T ES
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G r e e k M inistry o f C u ltu re
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P K a n e l l o p o u l o s ; I. Y a n n o u k o s ; P r i v a t e C o l l e c t i o n s . C R E T E 1 3 t h E p h o r a t e o f
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o f K l i o ili's . s i AKTA 5 t h E p h o r a t e o f B y z a n t i n e A n t i q u i t i e s . S Y R O S M e t r o p o l i s o f S y r o s ,
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flourish a g ain t h r o u g h o u t C h r is te n d o m .
T h e e x h ib itio n displays, first, the h ig h e s t a c h ie v e m e n ts o f B y z a n tin e artists an d
(lien sh o w s h o w , p a rtic u larly a fter th e fall o f C o n s ta n t in o p l e , th e legacy o f B y z a n
tium w as d e v e lo p e d a n d tr a n s f o r m e d , u n d e r W e s t e r n in flu e n c e , p a rtic u la rly in
C r e te . It c o n c lu d e s w ith a, possibly u n iq u e , sign ed w o r k o f E l G r e c o , re c e n tly d is
c o v e r e d on th e islan d o f Syros. T h u s we a re c o n sta n tly r e m i n d e d o f th e in te g ra l role
of B y z a n tin e a n d la te r G r e e k artists in th e d e v e lo p m e n t of E u r o p e a n p a in tin g .
T h a t w e s h o u l d b e p riv ile ged to h o ld this e x h ib itio n is d u e , first to th e g e n e r o
sity a n d c o - o p e r a ti o n o f th e G r e e k a u th o r itie s , a n d in p a r t ic u l a r o f t h e M in is te r of
C u lt u r e , M a d a m e M e lin a M e r c o u ri, a n d h e r Special A d v is o r fo r e x h ib itio n s , M r
S p y ro s M e r c o u r is , an d th e staff of th e M inistry a n d th e B y z a n tin e M u s e u m of
A th e n s : w e m u s t t h a n k th e m fo r brin g in g t o g e t h e r th e e x h ib itio n , f o r a rr a n g in g
the tr a n s p o r t o f th es e p re c io u s w o rk s fr o m A t h e n s to L o n d o n a n d fo r th e p r o d u c
tio n , at v e ry s h o r t no tice, of this m a g n ific e n t c ata lo g u e . W e h a v e also b e n e f i te d
Irom th e in v a lu a b le s u p p o r t of th e G r e e k A m b a s s a d o r in L o n d o n , H . E . M r S te
p h a n o s S t a t h a to s , a n d th e C u ltu ra l A t t a c h e , D r V ic to r ia S o lo m o n id is.
W e are d e e p ly in d e b t e d to the ecclesiastical a u th o r it ie s a n d to th e o t h e r public
an d p riv ate c o llectio n s th r o u g h o u t G r e e c e w h o h a v e a g r e e d to lend th e i r tr e a s u re s
I n this e x h ib itio n ; also to th o s e ind iv idu als a n d in s titu tio n s in L o n d o n w h o h av e
fa v o u red us w ith th e lo an o f m a j o r w o rk s. W e a re p a rtic u la rly p le a s e d to s h o w in
Mils co n te x t th r e e s u p e r b w o rk s re c e n tly a c q u ir e d by th e B ritish M u s e u m fo r th e
C U L T U R E
T h i s ex h ib itio n u n d e r t a k e s a j o u r n e y in
th e d azzling , m ystical w o rld o f th e art o f B y z a n tiu m , w hich su rv iv ed t h e fall o f th e
E m p i r e a n d c a m e d o w n to the g re a t C r e ta n p a in te r, D o m e n i k o s T h e o t o k o p o u l o s .
W all pain tin g s a n d icons fro m G r e e c e , giving fo r m to th e c ultu ra l a n d a e sth e tic
c o n c e p t io n s o f a p e o p le w ith a c e n tu r ie s old artistic tr a d itio n . A tr a d it io n th a t
c o m b i n e s th e classical love fo r b e a u ty , sy m m e try a n d h a r m o n y w ith th e ascetic
sp iritu ality of O r t h o d o x C h ris tian ity an d E a s t e r n ric h n ess o f co lo u r. T h e w o rk s o f
a p e o p le th a t c r e a t e d m a s te rp i e c e s d u rin g th e glo rio u s h o u r s of the B y za n tin e
E m p i r e ; w h o , in th e difficult tim es a fte r th e fall o f C o n s ta n t in o p l e , did n o t lose
h e a r t , b u t c o n ti n u e d to c r e a t e , p ro d u c in g w o rth y c o n ti n u e rs a n d r e n e w e r s o f the
t r a d i t i o n , an d o n o ccasio n c re a t o r s w h o left th e i r m a r k on th e d e v e l o p m e n t o f art:
a rtists o f th e s t a tu r e o f E l G r e c o .
T h e e x h ib itio n is o rg a n iz e d by th e B y zan tin e M u s e u m o f A t h e n s , in c o o p
e r a t i o n w ith th e e x p e rt s o f th e R o y a l A c a d e m y o f A r ts in L o n d o n . It has b e e n
e n r i c h c d by th e inclusion o f ite m s n o w h o u s e d in E n g la n d , in th e B ritish M u s e u m
o r in p riv a te collection s o w n e d by th e G r e e k re s id e n ts o f L o n d o n , w h o read ily
m a d e t h e m a vailab le in o r d e r to m a k e th e ex h ib itio n as c o m p l e te as p o ssible. This
is p a rtic u la rly w e lc o m e to m e , since it is m y belief th a t p a r t ic i p a ti o n in artistic
e v e n ts is of g re a t im p o r t a n c e in p r o m o ti n g c o o p e r a t io n , fr ie n d sh ip a n d m u tu a l
u n d e r s t a n d i n g b e t w e e n n a tio n s a n d b e tw e e n p e o p le .
M E L IN A M E R C O U R I
G r e e k Minister of Culluiv
O F
art o f B y z a n tiu m w as o n e o f th e
F R O M
........ unit y in I .o nd on .
ROGER DE GREY
President, Royal A cad e m y of Arts
I\
CONTENTS
IN T R O D U C TIO N S
19
M. C h a tz id a k is
22
25
R. C o r m a c k
ESSAYS
29
A . A v r a m c a / B y z a n tin e G r c e c e
31
R . B ro w n in g / B y z a n tiu m a n d A n c ie n t G r e e c e
35
C. M a n g o / T h e C u lt o f Icons
37
K. W a r e , B ish o p o f D io c le ia / T h e T h e o lo g y a n d Sp irituality o f th e Ic o n
40
M . C h a tz id a k is / B y z a n tin e W all P a in t in g in G r e e c e
43
M . A c h e i m a s t o u - P o t a m i a n o u / B y z a n tin e Ic ons
46
C h. M a l te z o u / T h e G r e e k W o r l d a n d th e L a ti n D o m in a t io n
48
51
M . C o n s t a n t o u d a k i- K i tr o m il id e s / T a s te a n d th e M a r k e t in C r e t a n Ic o n s in
th e 15th a n d 16th C e n tu rie s
54
L. B o u r a s / W o r k i n g D ra w in g s o f P a in t e r s in G r e e c e
afte r th e Fall o f C o n s t a n t in o p l e
57
PLATES
58
B y za n tin e W o o d -C a rv in g s
62
68
B y za n tin e Icon s
98
142
C a r to o n s
145
CATALOGUE
20(1
M a p of G r e e c e
201
201
A b b re v ia tio n s
206
Ic o n o g m p h ical Index
206
Index of N aim s
I *
G LO SSAR Y
C h rist b e tw e e n th e supplicant
in c lu d e s p o rtra its o f th e tw elve
D od ek aorton . A s e t o f t w e l v e i c o n s r e p r e s e n t i n g t h e m a j o r f e a s t s o f t h e O r t h o d o x C h u r c h ( A n
n u n c i a t i o n , N a tiv ity , P r e s e n t a t i o n in th e T e m p le , B a p ti s m , T r a s f i g u r a t i o n , R a is in g o f L a z a r u s ,
E n tr y in to J e ru s a le m , C ru cifix io n , R e s u r re c tio n , A s c e n sio n , P e n te c o s t, D o r m i ti o n o f th e V irg in ).
T h e s e ic o n s f o rm a frie z e o n t o p o f th e ico n o sta sis b e a m .
E leou sa. T h e V i r g i n o f M e r c y .
E m m an u el. V a r i a n t o f P a n t o c r a t o r , w h e r e C h r i s t is r e p r e s e n t e d y o u n g a n d b e a r d l e s s .
E p istyle. A r c h i t r a v e , t h e i c o n o s t a s i s b e a m .
G lyk op h ilou sa. T h e V i r g i n o f T e n d e r n e s s . A n i c o n o g r a p h i c t y p e in w h i c h t h e f a c e s o f t h e M o t h e r
a n d C h ild to u ch each o th er.
H im ation . O u t e r g a r m e n t .
H o d eg etria . T h e m o s t p o p u l a r t y p e o f V i r g i n M a r y h o l d i n g t h e C h r i s t C h i l d a n d p o i n t i n g t o H i m a s a
w a y t o s a l v a t i o n . I t is t h o u g h t t h a t t h e a r c h e t y p e w h i c h w a s p a i n t e d b y S t . L u k e , w a s k e p t in t h e
H o d e g o n M o n a s t e r y i n C o n s t a n t i n o p l e , a n d w a s i n v o k e d f o r t h e p r o t e c t i o n o f t h e city.
Icon ostasis. T h e s c r e e n s e p a r a t i n g t h e s a n c t u a r y f r o m t h e n a v e . F r o m t h e l a t e 1 1 t h c e n t u r y t h e
c e n t r a l d o o r s ( s a n c t u a r y d o o r s ) a r e f l a n k e d b y i c o n s o f C h r i s t a n d t h e V i r g i n . A b o v e t h e s e i c o n s is
th e e p is ty le , o fte n d e c o r a te d w ith icons o f th e G r e a t D e e s is a n d /o r o f th e tw elv e feasts. O n to p of
th e s c r e e n s ta n d s th e c r o s s b e t w e e n tw o sm a ll ico n s o f th e l a m e n t i n g V ir g in a n d St. J o h n ( th e
l y p i r a ).
K a rd iotissa. A n e p i t h e t o f t h e V i r g i n u s u a l l y r e f e r r i n g t o a v a r i a n t o f t h e V i r g i n G l y k o p h i l o u s a ,
p a r t i c u l a r l y p o p u l a r in C r e t e . I t is t h o u g h t t o d e r i v e f r o m a h i g h l y v e n e r a t e d i c o n k e p t in K a r y e s o f
M o u n t A th o s.
K a t h o l i k o n . T h e m a i n c h u r c h in a m o n a s t e r y .
K oim esis. T h e D o r m i t i o n o r f a l l i n g a s l e e p ' o f t h e V i r g i n , o r a n y o t h e r s a i n t , a t t h e m o i n e n l o f
d eath .
L yp ira. C f . I c o n o s t a s i s .
M ap h orion . W o m a n s c l o a k w i t h f r i n g e s l i f t e d a t t h e b a c k o f t h e n e c k a n d u s e d a s a h o o d .
M e l i s m o s . T h e r e p r e s e n t a t i o n o f C h r i s t C h i l d in a c h a l i c e , a c c o m p a n y i n g t h e o f f i c i a l inn b i s h o p s in
th e c h u r c h a p s e fro m th e 13th c e n t u r y o n w a rd s .
O m op h orion . T h e p r i n c i p a l c h a r a c t e r i s t i c o f t h e l i t u r g i c a l d r e s s o f b i s h o p s . b a n d ol e l o l h I
a r o u n d th e n e c k a n d m a r k e d w ith crosses.
lalaeologan . B y z a n t i n e d y n a s t y r e i g n i n g f r o m 1 2 59 t o 14 53 (fall o f ( ' o n s t a n t i n o p l i ).
P an tan assa. T h e q u e e n o f all. A n e p i t h e t o f t h e V i r g i n .
P an tocrator. T h e A l m i g h t y : t h e m o s t u s u a l t y p e o f C h r i s t h o l d i n g a g o s p e l in m u h u m I m i d III
w ith th e o th e r.
P e r i b l e p t o s . E p i t h e t o f t h e V i r g i n m e a n i n g l o o k e d at I r o m all sidi",, m l m m il
o b s e r v e r s .
-lonion. I t c o r r e s p o n d s t o t h e c h a s u b l e o f t h e W e s l i ' i n (
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di n m i l i i l w i t h
crosses.
Il a t y t e r a . R e p r e s e n t a t i o n o l t h e V i r g i n a n d t hiU.1 II o i v n p l c l l i r > Inn Ii in
11>
< n .v n ilio l o l tin
In c a rn a tio n .
P r o s k y n e t a r i o n . S t a n d f o r i c o n s e x p o s e d t o ptib lii in p i i v i i l r v ein m l l o n
P r o t h o s i s . T h e n o r t h e r n p a r t o l t h e s a n i li i M i y w liu fi tin o il iui)i I I In illv lni l l l n i | i y i u i >li poM li'il
S a n c t u a r y d o o r s . T h e c e n t r a ] d o o r s o l (In i i - o i n w h l i Ii glvi n n i
n i l o lln m iiiiIiimiv (iiImi
Iten ia d o o r s )
S l k l u i i i o n . A b i s h o p s u n d e r g a r m e n t . A l o n g lin n , i r l n l r d t o tin iillu l| llie Wi I i n < l i n n Ii
T r l p l y r l i . P o r t a b l e i c o n c o m p r i s i n g a i v n l i a l p a n i 'l nnil t w o l o l d t n i will)'
V i r g i n o f t h e P a s s i o n . R e p r e s e n t a t i o n ol t h e V n i ' i n n nil < III Ii I will) t w o nrtjhiinf.rl, i iuTylft|i llie
s y m b o ls o f Ihe P a ssio n .
/.ikkIiii'Iios Iigi. f l i c l i f e - g i v i n g s o m v i t y p e ol II V l i | t l n i nn ii 'i n p ' . l i n p r d f o n n l n i n
w hich w as in sp ired by B y/an lin i h ym ns,
I/
c o n q u e r e d by th e T u rk s . T h e im p ressive n u m b e r of p a in t e r s a t w o rk in C r e te in
th e fifte e n th a n d six te e n th c e n tu r ie s w as e v id e n tly a re s p o n s e to th e inc re ased
d e m a n d fo r th e ir p r o d u c t s , n o t on ly fro m th e ir O r t h o d o x c u s t o m e r s b u t also from
th e c o n s e r v a tiv e C a tho lics. T h e s a m e forces in d u c e d th e C r e t a n p a in te rs to m o v e
to o t h e r p a rts o f G r e e c e , s o m e o f th e m p e r m a n e n tl y ; T h e o p h a n e s Str elitzas
B a th a s , fo r e x a m p l e , s e ttle d in M o u n t A t h o s w h e r e , w ith th e assistan ce o f his
so n s , h e c re a t e d s o m e s u p e r b e n s e m b le s o f wall pa in tin g s , an d e n ti r e sets o f icons.
R e s e a r c h in th e arc hiv es o f V en ice in re c e n t y ears h a s i l lu m in a t e d m a n y
asp e c ts of th e p a in tin g a n d w o o d -c a rv in g o f this p e r i o d ; m o s t im p o r t a n tl y o f all, it
has e n a b l e d us to id entify w ith so m e accuracy th e m a j o r artists o f th e fiftee n th
c e n tu r y a n d th e ir w o rk ; m a n y of th e s e p a in te rs h a d e it h e r b e e n p re v io u sly u n
k n o w n , o r h a d b e e n e r r o n e o u s ly d a te d . T h e resu lting f r a m e w o r k h as in tu r n m a d e
it po ssib le to assign to this p e r i o d a large n u m b e r o f b o th k n o w n a n d , until
r e c e n t ly , u n k n o w n icons. T h is e x h ib itio n has th e privilege o f p r e s e n tin g a large
n u m b e r o f th es e icons, w hich h av e n o t yet fo u n d th e i r w ay in to th e h a n d b o o k s .
T h e flo w e rin g of icon p a in tin g in fifte e n th -c e n tu ry C r e te offers an e x p l a n a tio n of
th e in f lu e n c e a n d a c h ie v e m e n ts o f this a rt in the s ix teen th c e n t u r y , w h ich w e re
a lr e a d y k n o w n .
If ca lled u p o n to s u m m a r i z e th e c h a r a c t e r a n d qu ality o f C r e t a n a r t , o n e m igh t
say th a t it k e p t alive th e B y z a n tin e tr a d itio n , with g re a t success, a n d w as a b le to
re n e w it by r e c o u r s e to Italia n e le m e n ts , t h o u g h it is a s to n ish in g h o w few o f th e s e
t h e r e a r e at such a late p e r i o d , a n d a fter so m a n y c e n tu r ie s o f co e x is te n c e .
T h is w a s th e artistic b a c k g r o u n d fro m w hich T h e o t o k o p o u l o s ( E l G r e c o ) e m e r
g ed. L ik e o t h e r fine C r e t a n artists o f his d a y , h e le a r n e d in Ir a k lio n to p a in t in
b o th th e G r e e k a n d th e Italian m a n n e r ; it is clea r fro m th e D o r m i t i o n o f the
Virgin fr o m S yros th a t e v en b e f o r e he left C r e te (1567) h e w as a b le to h a n d l e b o th
styles with im p re ss iv e ea se. H e n e v e r e x p la in e d w hy h e u ltim a te ly c h o se th e r o a d
to the W est. His p a in tin g in Italy an d S p a in , h o w e v e r, w hich re v e a ls a c o m p l e te
b re a k w ith th e art o f his fellow C r e ta n s , p e r h a p s supplies th e a n s w e r.
M A N O LIS C H A T Z ID A K IS
of th e A th e n s Academy
o v e r th e c e n tu r ie s in th e artistic c e n tr e s o f C o n s ta n t in o p l e an d I h e ss a lo n ik e .ind,
fro m th e fifte e n th c e n tu r y o n w a r d s , o f C r e t e , th e s e ideas fell o n fertile soil, to ok
r o o t a n d b o r e fruit b o th in B y z a n tin e G r e e c e a n d later. In so m e eases, such as in
B y z a n ti n e T h e s s a l o n ik e a n d p o s t-B y z a n tin e C r e te , th e y f o r m e d l a n d m a r k s in the
d e v e l o p m e n t of a rt, influe ncing p a in tin g a n d supp lyin g il w ith now f a r m s anil
ideas in a n a r e a far w id e r th a n th a t of m o d e r n G re e c e .
O n e o f th e i m p o r t a n t g r o u p s in c lu d e d in th e e xh ibition consists o f i< o n s f r o m
n o r t h e r n G r e e c e . T h o u g h o n ly a small p r o p o r tio n o f th e m a n y surviving Uy/,in
tin e a n d p o s t-B y z a n tin e icons o f M a c e d o n i a , m o s t of th e m from k a s l o i i a , they a r e
i n t e re s t in g e x a m p le s o f th e d istinctive te c h n iq u e a n d style o f tin nil p i o d m i d in
T h e s s a l o n ik e , K a sto r ia a n d o t h e r M a c e d o n i a n w o rk s h o p s . O i k o f I lit in is a m a s
te r p ie c e : th e w o n d e rfu lly e x p res siv e d o u b le - s id e d icon with llu Virgin I lo d< )H iri*
a n d C h ris t in th e typ e o f the A k r a T a p e in o s is , o r M a n o f S o rro w s ( r a l . n o . K).
T h e m a j o r p a r t o f th e ex h ib itio n is d e v o te d to the C r e t a n irt of iIn n l i ' c u i l i
a n d , to a lesser e x te n t , the s ix te e n th c en tu ries . It includes signed w o rk s by
A n g e lo s a n d N ik o la o s T z a fo u ris , a n d by N ik o la o s l.a m b o u d is , an isnigmnln pauil
e r fr o m S p a r t a w h o p r o b a b l y w o r k e d in C r e te , un sig n e d icon n lliih m il to
A n g e lo s , A n d r e a s R itz o s a n d T z a fo u ris , an d s o n * excellent panel* IY a n o n y m o u s
artists. T h e s e are typical o f th e artistic qu ality an d the n pi n o i r e ol lilt eiilli and
early s i x te e n t h - c e n tu r y C r e t a n p a in tin g , which e o v e n 'd a will, , lim n i nti rin }..
fo r th e religio us a n d a e s th e tic r e q u i r e m e n ts of a d e m a n d i n g ami mix I < >i llimlox
a n d C a th o l ic c lie n te le, b o th in C r e t e an d fu rth e r ih eld sm all Iiul im|<mliml
g r o u p o f signed an d u n sig n ed icons by M id i lei I ' imasknio! p i o h i b l y by I m n
gios K lo n tz a s o r his circle, an d by o t h e r p a m l r r s , riv e s a p n i m <>l ninlufi < i r l a n
p a in tin g in th e seco n d hall' o f th e s ix teen th e e n l m y At lit mil it tu n s I In
artistic e n v ir o n m e n t that n u r l m e i l (he y o u n i O oniunlK ts II" 'I'lK op ou los, w ho
la ter b e c a m e fa m o u s as (il G r e c o w hen lie was lollowiui'. llu c.lniiou. p ath 111a I
led to th e lofty p e a k s of 1 u r o p e a n ait Ills icon ol th M o i m i n o n ol tli Virgin
fro m th e A e g e a n island of iyyrQs (eat no o ' ) which h sign ed At t 11N IK (><
1 ( , is the pfidi Ol tli i \liib ilio n willi n Hashes of
light a n d c o lo u r , it rev eals the lati nt u I M n genius ol the gri i| ( re la n , tin stMl
y o u n g m a s t e r fro m C a n d ia .
T h is s u p e r b icon by D o m e n i k o s wil d ise n v e ie d by ( i M iis lm o p o iilo s, ( in ilor
o f A n tiq u i ti e s , in 1983, w h ile se a rc h in g in llie c h u n In o( SvfOs for In n lo o m s left
by re f u g e e s fr o m th e island o f lsara. II was im nn dialely b i o n i hl to the B y /a n t in e
M u s e u m o f A t h e n s , w h e r e th e authentic, i Iy ol Ihi in I isl 's signal i was c o n firm e d
It was th e n c le a n e d a n d c o n s e r v e d willi great l.ill by \ Ita lto y en n is, w h o re
m o v e d th e later r e p a in tin g s an d u nd id llu damagi- c a u se d by lim e a n d th e
ig n o r a n c e of m e n . T h e clu m sy , m u c h later painting, I Iiul o b s c u r e d it, m ostly at th e
e d g e s, c a n still b e se e n h e r e a n d th e r e , no tab ly m llu g ro u p s o f a p o s tle s in th e
clouds.
T h e ico n by D o m e n i k o s T h e o t o k o p o u l o s is only o n e o f m a n y in th e e x h ib itio n
t h a t w e r e d is c o v e re d , id e n tifie d , re s c u e d an d co n se rv e d by th e a r c h a e o lo g is ts a n d
re s to re r s o f th e G r e e k A rc h a e o lo g ic a l Service. A few of th e s e icons m a y b e m e n
tio n e d h e re .
T h e d o u b le - s id e d icon o f th e V irgin H o d c g e tri a a n d St. N ic h o la s (cat. n o. 18),
an ex c e lle n t f o u r te e n t h - c e n tu r y w o r k , w as sele cted fro m t h o s e h o u s e d by the
23
A rc h b is h o p o f R h o d e s , S p y rid o n . T h e p ro c e s s of c o n se r v a tio n a n d c le a n in g in th e
B y zan tin e M u s e u m u n c o v e r e d th e orig inal r e p r e s e n ta t io n o f St. N ic h o la s on th e
re v e rse side. T h e icon w as th e n sto le n b u t, h ap pily, w as lo c a te d a n d r e t u r n e d to
G reece.
T h e icon w ith scenes fro m th e P assio n o f C h ris t, fr o m th e B y z a n tin e M o n a s
tery o f V l a t a d o n in T h e s s a l o n ik e (cat. n o. 22), w as se n t by th e E p h o r a t e o f A n t i
qu ities in T h e s s a lo n ik e in 1977 to th e C e n t r e for th e C o n s e r v a t io n of A n tiq u i ti e s ,
w h e re th e la t e r re p a in tin g w as r e m o v e d by the d istin g u ish e d c o n s e r v a t o r P h .
Z a c h a r i o u , re v ea lin g w h a t survives o f this m a s te rp ie c e o f m i n ia t u r e p a in tin g .
T h e w o r k of th e la b o r a to r y o f th e B y za n tin e M u s e u m o f A t h e n s in c lu d e s th e
r e m o v a l o f la te r re p a in tin g s, w h ich a re p re s e rv e d an d p la c e d o n s e p a r a t e w o o d e n
pa n e ls. T h is p ro c e s s has re c e n tly b r o u g h t to light tw o m o r e icon s fro m the
M u s e u m p r e s e n t e d h ere: in 1981, th e ex cellent C r e ta n s a n c tu a ry d o o r s (cat. n o.
53) w e r e c l e a n e d o f th e e i g h t e e n th - c e n tu r y p a in tin g w ith w h ich th e y w e r e c o v e r e d ;
a n d in 1984, th e icon o f th e T h r e e C h u r c h F a th e r s (cat. no. 17), an o u t s ta n d i n g
f o u r te e n t h - c e n tu r y w o rk , w as r e v e a l e d b e n e a t h a s e v e n t e e n th - c e n tu r y p ain tin g .
T h e difficult, delicate task was c a rr ie d o u t by th e r e s to re r s S. B a lt o y a n n is a n d A .
M a r g a rit o ff, w ith th e h e lp of th e M u s e u m c o n s e r v a tio n te am .
In c o n c lu s io n , we w o u ld like to e x te n d w a r m e s t th a n k s to th e v a rio u s E p h o ra te s o f B y z a n ti n e A n tiq u i ti e s , m o n a s te r i e s , c h u rc h e s , m u s e u m s a n d p u b lic an d
p riv a te c o llectio n s w h o h a v e b e e n kind e n o u g h to le n d item s for th e e x h ib itio n ,
a n d also to all th o s e w h o h a v e e x p e n d e d effo rt an d m o n e y to b rin g it a b o u t. W e
o w e a g re a t d e a l to th e ecclesiastical a u th o r itie s a n d th e p e o p le o f S y ro s, w h o
c o n s e n t e d to th e first a p p e a r a n c e o u ts id e G r e e c e o f th e p re c io u s icon o f D o m e n i kos T h e o t o k o p o u l o s ; a n d to th e n a tio n a l a n d ecclesiastical a u th o r it ie s o f C y p ru s ,
th r o u g h w h o s e g e n e ro s ity we a re p e r m i t t e d to show five of th e o u ts ta n d i n g t r e a
su res o f th a t is land, includ ing th e two g re a t tw e lfth -c e n tu ry icons o f th e N e o p h y t o s
M o n a s te r y . P a rtic u la r t h a n k s are d u e to th e G r e e k an d C y p rio t c o m m u n it ie s , an d
th e G r e e k E m b a s s y , in L o n d o n fo r th e i r m o r a l a n d m a te ria l s u p p o r t ; a n d ab o v e
all to t h e R o y a l A c a d e m y o f A r t s fo r t h e e n th u s ia s m w ith w hich it u n d e r t o o k th e
o r g a n i z a ti o n , w ith G r e e k c o o p e r a t i o n , a n d for its u n stin tin g effo rts to se c u r e a
p e rfe c t s e t ti n g fo r th e exh ib itio n.
MYRTALI ACH EIM A ST O U -PO T A M IA N O U
Director of the Byzantine M u seu m of Athens
- E / x h i b i t i o n s o f icons in G r e a t B rita in
h a v e b e e n few an d far b e tw e e n . W o r s e , th e y h a v e co n sp ic u o u sly l a c k e d a c o n c e p t
ual a im - th e y h av e w o r k e d o n th e principle th a t icons can s p e a k fo r th e m se lv e s.
O f c o u r s e icons c a n n o t s p e a k for th e m selv e s; n o a rt can. T h e a im o f this e x h i
b itio n is to d o m o r e th a n to s h o w an o u ts ta n d i n g set o f p ainting s: it d o c u m e n t s the
in te g ra l ro le o f B y z a n tin e a n d la te r G r e e k artists in th e d e v e l o p m e n t o f E u r o p e a n
art. Y e t th e s e icons c o m e fr o m th e p e rio d w hich saw the d e c lin e o f th e B y z a n tin e
E m p i r e a n d th e re a l ig n m e n t o f political c o n tro l in th e E a s t e r n M e d i t e r r a n e a n
b e t w e e n th e Islam ic a n d C r u s a d e r p o w e rs. W e s t e r n p o w e rs , p a rtic u la rly V e n ic e ,
d o m i n a t e d in G r e e c e o v e r m o s t o f th e tim e , a lth o u g h u ltim a te ly T u r k is h ru le was
i m p o s e d . W ith o n e e x c e p t io n , th e artists of this p e r i o d a re little k n o w n in B rita in .
T h e e x c e p t io n is El G re c o .
O n e fu n d a m e n ta l is sue o f th e p e r i o d is w h a t is an i c o n . T h is m a y be an
e v e r y d a y w o rd b u t h o w m a n y p e o p l e really k n o w w h a t an icon w as in th e M id d le
A g e s o r w h a t p a rt icons h a v e p la y e d in the d e v e lo p in g histo ry o f E u r o p e a n a rt,
p a rtic u la rly in the R e n a is s a n c e a n d a fte r? T h e c o m m o n e s t a n s w e r will p r o b a b l y be
in t e r m s w h ich im ply th a t this fo r m o f a rt was r e p e titiv e an d stylistically u n c h a n g
ing, m o s t s u itab le fo r s u p p ly in g th e im ag es on C h ris tm a s card s . T h is ex h ib itio n
c o n ta i n s e n o u g h v ariety a n d r a n g e o f e x p re s sio n to c h allen g e su ch an a n s w e r. II
i n te n d s to tu r n ic o n f r o m an e v e ry d a y w o rd in to an e v e r y d a y concept.
A d ic tio n a r y d e fin itio n o f th e G r e e k e i k o n is lik ene ss, im age o r p i c t u r e , and
th e w o r d has th e r e f o r e b e e n u s e d - q u ite justifiably - as a b la n k e t te r m to re f e r lo
a n y w o r k of a rt p r o d u c e d in th e G r e e k w orld. B u t s o m e ti m e s it is m o r e useful to
limit its u se to p a n e l p a in tin g s p r o d u c e d for m e m b e r s o f th e O r t h o d o x c o m m u n it y
for c h u r c h o r h o m e d e v o ti o n s a n d w o rsh ip . T his o p e n s up th e possibility ol' a
d e e p e r analysis o f th e m e a n i n g s o f ico n ic an d of th e roles in religion a n d s o u e t y
ol I his k ind o f im ag e. T h e fa ilu re o f Ico n o clasm in the eig h th a n d n in th c enliiiii s
lo d e n y th e use o f figu rative im ag es in B y zan tiu m led to th e e s t a b li s h m e n t ol n
h eo lo g y in c o lo u r . Icons to o k on an integral p art in e v e r y o n e 's th ink ing llu v
C.naranleed (he historicity ot C h ris t an d die saints an d lliey s u p p lie d visytil pm
(rails w hich h e lp e d society in g e n e ra l anil m o n k s in p artic u la r to n< hii-ve llu mn
25
w o r k in g in th e G r e e k E a s t in th e m id d le o f th e th i r t e e n th c e n tu r y , it fo rm s part ol
a g ro w in g d o ss ie r o f e v id e n c e th a t in this p e r i o d W e s t e r n E u r o p e a n artists had
d ir e c t o p p o r t u n it ie s to stud y B y z a n tin e icons at first h a n d a n d th a t th e ir artistic
p r o d u c t i o n w as a lte re d by th e e x p e rie n c e . T h e C r u s a d e r e x p e r i e n c e w as only o n e
c a ta ly st in the p ro c e s s th r o u g h w hich th e B y za n tin e w o rld , itself in a c o m p lic a te d
r e l a ti o n s h ip w ith its G r e c o - R o m a n p ast, w as assim ila ted in to th e E u r o p e a n
R e n a is s a n c e .
W it h th e fall o f C o n s t a n t i n o p l e in 1453, th e c e n tr e of th e B y z a n ti n e w o rld
d is a p p e a r e d an d th e e m p i r e w as split b e tw e e n the m a j o r p o w e rs of th e M e d i t e r
r a n e a n . O r t h o d o x C h ris tia n s n o w h a d to live u n d e r th e n e w re g im e s o f th e O t t o
m a n s a n d W e s t e r n e r s . T h e s e c o n d a n d third g alleries o f th e e x h ib itio n s h o w th e
e ffects on a rt in G r e e c e . G e o g ra p h ic a lly th e largest a r e a still u n d e r C h ris tia n rule
w as C r e te . T h e V e n e tia n s h a d t a k e n o v e r th e island as p a r t o f th e i r colo nial
e m p i r e in th e a f t e r m a th o f th e F o u r t h C ru s a d e o f 1204 a n d th e y m a n a g e d to k e e p
c o n tr o l until th e fall o f C a n d i a (I ra k lio n ) to th e O t t o m a n s in 1669. C r e t e w as an
island o f to w n s a n d villages w h e r e O r t h o d o x m o n a s te r i e s a n d c h u r c h e s m in gled
w ith V e n e tia n pa la z z o s a n d C a th o lic ch u rc h e s . R e g u la r c o n ta c t w a s easily po ssib le
by b o a t w ith V en ice ; it w as th e ideal p lace fo r th e artistic a s s im ilatio n o f e a s t e rn
a n d w e s te r n E u r o p e a n tr a d itio n s. O n e o f th e m ost o b v io u s W e s t e r n f e a t u r e s w as
th e o rg a n i z a ti o n o f a rtists into a S c u o la di San L u ca . C re te w as n o t u n i q u e in its
e n c o u r a g e m e n t of the p r o d u c t io n of a rt in this p e rio d . T h e O r t h o d o x m o n a s te r i e s
o f n o r t h e r n G r e e c e , as at M e t e o r a a n d o n M o u n t A t h o s , a n d o t h e r p a t r o n s c o m
m is s io n e d m u c h w o r k t o o , a n d t h e r e w as a th rivin g c o m m u n it y o n R h o d e s ( p a r tic
u larly fr o m 1306 w h e n t h e K n ig h ts o f St. J o h n of J e r u s a l e m g a in e d c o n tr o l until
1522 w h e n th e is land fell to th e T u rk s ) . B u t th e artists o f C r e t e e s ta b lis h e d the
c h a r a c t e r o f th e p e r i o d th r o u g h o u t G re e c e .
T h e n a m e s o f m a n y o f th e s e artists are k n o w n a n d sev eral sig n e d o r a tt r i b u te d
w o r k s a re in th e e x h ib itio n , n o ta b l y by A n g e lo s fro m th e fifte e n th c e n tu r y an d
M ic h a e l D a m a s k i n o s f r o m th e six te e n th , w h o w as th e c o n t e m p o r a r y o f El G r e c o .
A fin e e x a m p le o f th e f i fte e n th -c e n tu ry p ro d u c t io n a f t e r 1453 is an icon o f the
E n t r y into J e r u s a le m ( f ro m th e K a n e llo p o u lo s C o lle c tio n ), w h ich sh o w s h ow
m u c h o f the B y z a n tin e is r e t a i n e d in C r e ta n a rt, yet su b tly a lte re d . T h e s c en e is
id e n tif ie d by a G r e e k in s c rip tio n in th e sk y , a n d m a n y stylistic a n d ico n o g ra p h ic
e l e m e n t s are fam iliar fr o m e a r l ie r icons. Y e t th e r e a r e su rp ris in g fe a tu re s : th e boy
re m o v in g a th o r n in o n e o f th e tr e e s , w hich refers visually to th e fa m o u s classical
s t a tu e o f ju s t this t h e m e ( t h e sp in a rio ), th e spatial r e n d e r in g o f th e city o f J e r u
s alem w hich re m in d s u s o f th e circle o f M a n t e g n a , o r th e re c e d in g landscape
w hich m ig h t e v o k e T u s c a n y . T h e tr a n s f o r m a t io n o f th e B y z a n tin e ico n ic ten
tierin g o f Biblical n a rr a ti v e in to this exotic w e s te r n iz e d n a r r a ti v e p a in t in g n eed s
v ery care fu l a ss e ssm e n t. W a s it d e e p ly offensive to th e o u t l o o k of th e O r t h o d o x
C h ris tia n o f th e fiftee n th c e n tu r y ? D id the G r e e k p o p u la t io n o f C r e te feel that
th e ir religio us faith w as b e in g u n d e r m i n e d by this v e n e e r o f R e n a is s a n c e nxpiVs
sio n ? O r did th e y w e lc o m e this tr a n s f o r m a t io n o f the p ast? I low did the V e n e tia n
p a t r o n s o f this typ e o f a rt rea ct to this kind o f O r i e n t a l i s m in sty le? f h # s c and
o t h e r such q u e s tio n s still n e e d to be a n s w e re d . It is on ly in recent yeai that Ih
q u a litie s o f C r e ta n p a in tin g h ave b e e n a c c e p te d by art h is to rian s an d ill tl> III to
rical in f o rm a tio n in th e a rc h iv e s a n d e ls e w h e re has yet to be IbJJv e x p lo ite d
7
B Y Z A N T IN E
G R E E C E
D u r i n g its o n e t h o u s a n d y e a rs ' h is to ry ,
th e B y z a n tin e E m p i r e , th e C h ris tia n s tate of th e R o m a n E a s t, e m b r a c e d a v a rie ty
of d if fe re n t civilizations a n d f o r m e d an a m a lg a m of d iverse c re e d s a n d c u ltu res.
B y z a n ti u m , a s ta te of h u m a n n a ti o n s h a d its capital at C o n s ta n t in o p l e , th e m e e t
ing p o in t o f E u r o p e a n d A sia. T h o u g h firmly a tt a c h e d to th e p olitical a n d social
in s titu tio n s o f th e L a t e r R o m a n E m p i r e , it ev o lv ed th e n e w e c u m e n ic a l religio n,
C h ris tia n ity , s p o k e th e G r e e k la n g u a g e , and a d o p t e d G r e e k e d u c a t io n .
In o r d e r to trace th e b o u n d a r i e s of G r e e c e u n d e r th e B y z a n tin e E m p i r e , we
h av e to b e a r in m in d th a t th e w o r d H e l l a s is a historical t e r m , w ith o u t any
specific g e o g ra p h ic a l c o n te n t . T h e g e o g ra p h y o f B y z a n tin e H e lle n i s m c oin cid es
n e i t h e r w ith th e w id e r b o r d e r s o f the E m p i r e , n o r w ith th e n a r r o w e r b o r d e r s of
m o d e r n G r e e c e . W ith in th e c o n sta n tly cha n g in g b o r d e r s an d th e v aried eth n ic
c o m p o s it io n o f the E m p i r e , th e f o r m a ti o n of G r e e c e as an in d e p e n d e n t regio n was
in f lu e n c e d by th e a d m in is tra tiv e o rg a n iz a tio n , the military o rg a n iz a tio n an d the,
n a t u r e o f c o m m u n ic a tio n s .
D u r i n g the E a rly B y zan tin e p e ri o d , th e G r e e k lands, wlueh l o r m t d pari ul the
b r o a d e r a d m in is tra tiv e fr a m e w o rk o f the stale, w e re assiiiu d in tin p m e f i t u r a
o f Illyricum a n d div id ed b e tw e e n the p m v i n t i s o f ' M a c e d o n i a ' an d 'A i h.ica' m
H e l l a s th ey w ere far r e m o v e d from the c e n tr e , w h ere tin dec isio n s ul great
m o m e n t w e re ta k e n . W ith the e x c ep tio n ol M a c e d o n ia and Us cap ital I hessalo
n ik e , w h ich o c c u p ie d an im p o r t a n t position o n the m a j o r u n s r i e s ol t o m n iu m
ca tio n b e tw e e n E a s t a n d W e s t, the G r e e k lands o c cu p ie d a p o sitio n ol sia O ftdify
im p o r t a n c e . D u r in g this tr a n sitio n a l p e ri o d , e v e n ts o f great im p o rt m o h a s te n e d
th e e n d o f th e a n c ie n t w o rld . T h e p ro c l a m a t io n ol C h ii s li a m t v as tin- official
relig ion o f th e state m a r k e d th e b e g in n in g o f the E arly C h ris tia n civili/aLion I h it
fl o u ris h e d in the fifth a n d sixth c en tu rie s . T h e G r e e k m a in la n d an d islands a n lull
o f brillia nt, richly d e c o r a t e d m o n u m e n t s . T h is build in g activity sug gcsls e c o n o m ic
p ro s p e rity . T h e E a rly C h ris tia n basilicas are s o m e tim e s built o v e r p ag an te m p le s ,
s o m e ti m e s close to f a m o u s p a g a n sh rines, an d s o m e tim e s on the to m b s ol m a r ty rs ,
as in th e case of the large basilica o f St. D e m e tr iu s in I h e s s a lo m k e , the basilica ol
the Ilissos in A t h e n s a n d th e basilica at L e c h a e u m n e a r C o r in t h .
29
ANNA AVRAMEA
Professor at the University of Crete
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B Y Z A N T IU M
A N D
A N C IE N T
G R E E C E
s c h o o l b o y s p r a c t i s e d c o m p o s i n g s p e e c h e s t o p u t in t h e m o u t h o f P e r i c l e s o r A l e x
E l e m e n t s o f b o t h a r e c o n s t a n t l y f o u n d sid e by s i d e , as a k i n d o f c li c h e o f B y z a n
t i n e t h o u g h t . A n e l e v e n t h - c e n t u r y a r c h b i s h o p m a k e s a triv ia l m o r a l p o i n t by l i m i t
t o t h e B y z a n t i n e s t h a n w a s c la s sica l A t h e n s , b o t h in t i m e a n d in e m p a t h y . L u c i a n
in g f r o m H o m e r a n d t h e P s a l m s . T h e e m p e r o r A l e x i u s C o m n e n u s j u s t i f i e s th e
s e i z u r e o f c h u r c h p l a t e a t a m o m e n t o f crisis t o p a y his t r o o p s b y c it in g th e c \ a m
t h a n w e r e A e s c h y l u s o r H e r o d o t u s . It w a s in la r g e m e a s u r e t h r o u g h H e l l e n i s t i c
p ie s o f D a v i d , w h o g a v e t h e c o n s e c r a t e d b r e a d f r o m t h e t e m p l e o f t h e I o u t to Ins
e y e s t h a t t h e y p e r c e i v e d C la s s ic a l a n t i q u i t y .
T h i s w a s t h e w o r l d in w h i c h t h e C h r i s t i a n C h u r c h g r e w a n d s p r e a d . It w a s t h e
s o l d i e r s , a n d P e r i c l e s , w h o t o o k t e n t a l e n t s o f s ilv e r f r o m t h e t e m p l e o f A t h e n a
'f o r a s e c re t p u r p o s e d u rin g th e rev o lt o f th e E u b o e a n s .
w o r l d in w h i c h t h a t s y n t h e s i s o f H e l l e n i c a n d J u d a e o - C h r i s t i a n c u l t u r e w a s w o r k e d
D u r i n g t h e i r l o n g m e m b e r s h i p o f t h e R o m a n E m p i r e t h e G r e e k s l e a r n e d to
o u t , w h i c h h a s m a r k e d t h e c iv i li z a ti o n o f E u r o p e t h r o u g h t h e c e n t u r i e s . T h i s
t r a n s c e n d t h e n a r r o w local p a t r i o t i s m w h ic h o f t e n m a r k e d t h e m in th e C lassic il
f u s io n t o o k p l a c e in a s o c i e ty o f G r e e k c u l t u r e , t h r o u g h t h e m e d i u m o f t h e G r e e k
p e r i o d . A s o n e o f t h e m r e m a r k e d in a s o m e w h a t id e a lis tic p a n e g y r i c o f K o m i
l a n g u a g e , f r o m S t. P a u l t h r o u g h C l e m e n t o f A l e x a n d r i a t o t h e g r e a t F a t h e r s o f t h e
R o m a n c i t i z e n s h i p d i d n o t b e l o n g t o a sin g le c ity b u t w a s a c o m m o n n a t i o n a l i t y
f o u r t h a n d e a r l y fifth c e n t u r i c s : A t h a n a s i u s , G r e g o r y o f N a z i a n z u s , B a s il o f C a e
f o r t h e w h o l e civ ilize d w o r l d . T h i s s e n s e o f t h e i m p o r t a n c e o f b e l o n g i n g lo a
s a r e a , G r e g o r y o f N y s s a , J o h n C h r y s o s t o m , C y ril o f A l e x a n d r i a .
A r e s u l t o f th is c r e a t i v e f u s io n o f t w o o r i g i n a l l y d i s ti n c t t r a d i t i o n s w a s t h a t v e ry
g r e a t e r p o li ti c a l u n i t y t h a n a m a n ' s n a t i v e city w a s s t r e n g t h e n e d w h e n th e U n m a n
E m p i r e b e c a m e t h e C h r i s t i a n R o m a n E m p i r e , t h e u n i q u e m s t r u m e i i i ot a ilivnn
m a n y e l e m e n t s o f cla ssic a l G r e e k c u l t u r e b e c a m e in t e g r a l p a r t s o f C h r i s t i a n B y
p l a n f o r t h e s a l v a t i o n o f m a n k i n d . W h i l e W e s t e r n E u r o p e d i s s o l v e d m i o a k a lc i
v ie w o f t h e w o r l d t o w h ic h P l a t o a n d A r i s t o t l e , t h e S to ic s a n d t h e S c e p t i c s , a n d
t h e N e o p l a t o n i s t s o f l a t e a n t i q u i t y h a d all m a d e s u b s t a n t i a l c o n t r i b u t i o n s . T h e s e
c la s sic a l e l e m e n t s , o f c o u r s e , i n c l u d e d m u c h t h a t w a s o n ly s u p e r f i c i a l l y , if a t all,
b r a t i o n s . In 6 9 2 a C h u r c h C o u n c i l f u l m i n a t e d a g a in s t t h o s e w h o c o n s u l t e d f o r t u n e
R o m a n p o li ti c a l t r a d i t i o n . T h e g r e a t e s t o f t h e s e w a s law
t e l l e r s , c l a i r v o y a n t s a n d s o r c e r e r s , o r w h o t o o k p a r t in p e a s a n t m u m m e r y in w h ic h
t h e false g o d s o f t h e H e l l e n e s w e r e
s o u r c e s o t s u b s t a n t i v e law to tin
in voked.
F iv e c e n t u r i e s l a t e r a l e a r n e d
end
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I <>,/, anil
W e sl R o m a n law h a d to In
c h u r c h m a n o b s e r v e d s a d l y t h a t s u c h p r a c t i c e s w e r e still p r e v a l e n t . A t t h e e n d o f
llu
I'ourlh c e n t u r y J o h n C h r y s o s t o m d e n o u n c e d f r o m t h e p u l p i t t h o s e m o t h e r s
w h o h u n g c o i n s o f A l e x a n d e r t h e G r e a t f r o m t h e i r c h i l d r e n ' s n e c k s as a m u l e t s . A
In tin
irdi
s c o v e r e d by (lie D o c t o r s ol B o l o p i a in Hi e l e v e n t h l e n l u n
d i r e c t h e r i t a g e fr o m tlie classical w o r ld
p a g a n N c o p l a t o m s t P r o c l u s , willi its v ie w o f t h e u n i v e r s e as a n u n c r e a t e d a n d
w o r l d , a c o n t i n u i t y th a t m v o l v i d civajTv
I m u less i i n a n i t i o n f r o m the p r i m a l O n e , w a s p r e s e r v e d , c o p i e d a n d r e a d f o r a
li m n
d e e p f r e e z e , u n til th e W e s t h a d n e e d ol n
used for th eir ow n ends.
in d y ea r
ifti-r h ri s ti a n il y h u d b c c o n u
th e s o le p e r m i t t e d r e l ig i o n . In th e
t well I h c c u l u l V a ftih o la r b i s h o p w r o ti a r e f u t a t i o n ol it b e c a u s e ol t h e g r o w i n g
m t c r ,t it ai <<nsi (I anio n ; Ins e o n ti m p o i a n e s . In tin last y e a r s ol t h e B y z a n t i n e
T h e s e a r e s o m e ol
th e e l e m e n t * ol r n n l m m l s
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H i s t o r i a n s will e x p l a i n in m o r e d e t a i l in d waili d i s t i i i i i n g e \ p
th sc how
B y z a n t i n e a r t i s t s t r e a t e d t h e leg a c y o f a n t i q u i t y it dill n ut - n o d s
( In istiaflily i o n n d n o pi
I hi l e c l u i e s w h ic h P l e t h o n g a v e in I l o r e n c e in 1438
I m d thi i m a g i n a t i o n ol th e i u l y I t a l i a n h u m a n i s t s , an il le d e v e n t u a l l y , t e n y e a r s
lifter ( o n s i m t m o p l r h a d lalli n to th e ( M to m a n 1 u r k s , lo M a r s il io F i c i n o s t r a n s l a
B y z a n t i n e to b u il d a r e p l i c a o f t h e P a r t h e n o n
I will c o n f i n e
I h it w as l Ii to th e < il iz c n s o f
a n d o f N a s h v i l l e , T e n n e s s e e in 1920. B ut th e y h a d
K e n a is s i net
p le s o f C l a s s ic a l a n d H e l l e n i s t i c art t h a n we p o ss e ss. I h e n w iy o f l o o k i n g a t t h e m
IM i l o m s m
I u m o ' s p o r t r a i t b u s t b y A n d r e a F e r r u c c i d a F i e s o l e still
s t a n d s in F l o r e n c e c a t h e d r a l
in t h e l Y l o p o n n e s e bv S i g i s m o iu l o M a l a t e s l a in 1464 a n d r e b u r i e d in a s a r c o
p h a g u s in t h e o u t e r wall ol tin
ill i o n n d il ic m lar m o r e e x a m
h i
cultu re e n d o w e d
I In. s t a t u e s in t h e H i p
h n i p i o M a l a t e s t i a n o in R i m i n i . T h e s e t w o R e
p o d r o m e a t C o n s t a n t i n o p l e w e r e b e li e v e d in lie i n h a b i t e d by p o t e n t i a l l y d a n
n a i s s a n c e m o n u m e n t s a r c a t e s t i m o n y to t h e p e r s i s t e n c e w ith w h i c h t h e B y z a n t i n e s
g e r o u s s p i r it s . In t h e c o u r s e o f t i m e , h o w e v e r , ai lists t u r n e d to c o p y i n g , b o t h in
p r e s e r v e d th e p h i l o s o p h i c a l li c ii ta g e ol t h e i r a n c e s t o r s .
B y z a n t i n e s w e r e a lw a y s c o n s c i o u s t h a t t h e i r c iv i li z a ti o n h a d t w o r o o t s , H e l l e n i c
i c o n o g r a p h y a n d in s t y le , t h e n a t u r a l i s t i c art o f a n t i q u i t y , w h ic h t h e y g r a d u a l l y
a n d C h r i s t i a n , a n d o f t e n r e f e r r e d to t h e m . A m a n o r a n e p o c h m i g h t lay m o r e
o n l y l o o k a t t h e s i x t h - c e n t u r y litu r g ic a l v e s s e ls fr o m R ilia a n d S t u m a in S y r i a ( n o w
e m p h a s i s o n t h e o n e o r t h e o t h e r , b u t n e i t h e r c o u l d b e to t a l l y r e j e c t e d o r d e n i e d .
d i v i d e d b e t w e e n t h e A r c h a e o l o g i c a l M u s e u m in I s t a n b u l a n d D u m b a r t o n O a k s in
33
W a s h i n g to n ) , o r th e s u p e r b s e v e n t h -c e n t u ry D a v id p la te s fr o m C y p r u s (n o w
d iv id e d b e t w e e n th e N a tio n a l M u s e u m o f C y p ru s a n d the M e t r o p o l i t a n M u s e u m
of A r t in N e w Y o r k ) to see h o w early a n d w ith w h at distin ctio n this a d a p t a t i o n o f
Classical a rt to C h ris tia n p u rp o s e s b e g a n . T h e classicizing illu s tratio n s in th e
m a n u s c rip t o f G r e g o r y o f N a z ia n z u s e x e c u t e d fo r th e e m p e r o r Basil I c. 880 (P aris
gr. 510), o r th e t e n t h - c e n t u r y P aris P sa lte r (P aris gr. 139), o r th e c o n t e m p o r a r y
B ible o f L e o th e P a tric ia n (V a t. R eg. gr. 1) sh o w h o w p r o f o u n d th e in f lu e n c e of
a n ti q u e m o d e l s on B y z a n tin e art h a d b e c o m e by th e age o f th e M a c e d o n i a n e m
p e ro r s. E v e n such co n se rv a tiv e a rt fo rm s as th e m u r a l d e c o r a t io n o f c h u r c h e s a n d
th e p a in tin g o f icons w ere n o t im m u n e to th e artistic c u r r e n ts o f th e i r tim e.
A less o b v io u s c h a n n e l of classical in flu e n c e , w hich has only re c e n tly b e g u n to
b e e x p lo r e d , is th e use m a d e by B y z a n tin e artists o f e a rlie r lite ra ry d e sc r ip tio n s.
T h is ap p lies in p a rtic u la r to th e g ra p h ic a n d vivid d esc rip tio n s o f Biblical scenes
a n d e v e n ts by th e f o u r th -c e n t u ry F a th e r s , w h o h a d all b e e n tr a i n e d in th e s o p h is ti
c a te d t e c h n i q u e s o f rh e to ric a l d esc r ip tio n . B u t it m ay well go m u c h fu r th e r : th e
de sc r ip tio n o f a n a tu r a l o b je c t , a l a n d s c a p e , o r a w o rk o f a rt w as o n e o f th e
ex ercises p r e s c rib e d on th e s c h o o l -b o o k s fr o m w hich th e B y z a n tin e s l e a r n e d th e
art o f self-e x p re ssio n , a n d for w h ich th e y l o o k e d to classical m o d e ls . W h e t h e r
artists th e m s e lv e s re a d b o o k s - w hich w e re costly o b je c ts in th e M id d le A g e s - or
w h e t h e r literary in fluen ces w e re m ain ly tr a n s m i tt e d via th e i r p a t r o n s , is an i n t e r
estin g q u e s t io n , to w hich we d o n o t yet k n o w th e a n sw e r.
T h e th ird c h a n n e l of in flue nce is a m o r e a b s tra c t o n e . P la to w a s d e e p ly m o v e d
by a rt , a n d at th e s a m e tim e fe a r e d it for its p o w e r. H e b a n is h e d ft f r o m his ideal
s ta te b e c a u s e it w as at tw o re m o v e s fr o m th e tru e reality, th e w o rld o f id e a s , of
w h ich physical o b je c t s w e re b u t im p e rfe c t copies. T h e p r o b l e m of th e n a t u r e o f
artistic r e p r e s e n t a t i o n p r e o c c u p i e d his la ter follo w ers, w h o m w e call N e o p la to nists. T h e g re a te s t o f th e se, Plo tinu s (th ird c e n tu r y A D ) , v e n t u r e d to c o rr e c t his
m a s te r a n d to suggest th a t an a rtist m ig h t well see b e y o n d th e phy sical o b je c t
w hich w a s his m o d e l to its ideal n a tu r e . In o th e r w o rd s h e r e c o g n i z e d th a t art
co u ld b e a c re a tiv e activity a n d n o t a m e r e m a n u f a c tu r e o f facsim iles. T h is view of
th e sta tu s a n d activity o f th e artist c o n t r ib u t e d to th e a r g u m e n ts u s e d by th e
d e f e n d e r s o f icons d u rin g th e g re a t icon oclast disp u te w hich r e n t B y z a n tin e society
in th e eig h th a n d early n in th c e n tu rie s . In this way th e a tt it u d e of th e O r t h o d o x
C h u r c h a n d O r t h o d o x society to w a rd s th e artist a n d his w o r k w as in p a r t d e
te r m i n e d by a p h ilo so p h ical d is c o u rse w hich o ri g in a t e d in classical G r e e c e . In no
d o m a i n o f B y z a n tin e a rt was this m o r e im p o r t a n t th a n in th a t of icon p a in tin g .
R O B E R T B R O W N IN G
Emeritus Professor, University of Lo n do n
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. ^ ^ . n O r t h o d o x c h u rc h is u n th i n k a b le
w ith o u t its icons in fr o n t o f w hich c a n d le s are lit, in cense b u r n t a n d o t h e r acts of
d e v o tio n p e r f o r m e d . In this r e s p e c t th e O r t h o d o x differ fro m C h ris tia n s of o t h e r
d e n o m i n a ti o n s : R o m a n C a th o lics a d m it in th e ir c h u rc h e s b o th s t a tu e s a n d p a in t e d
im a g e s, b u t d o n o t, on th e w h o le , a d d re s s to th e m m u c h in th e w ay of v e n e r a t io n ;
P r o t e s t a n t s o f the m o r e fu n d a m e n ta l is t v ariety e sch ew all im ag es; w hile Syrian
J a c o b i te s a r e e q u a lly c o n t e n t to w o rsh ip with or w ith o u t th e m .
W h e n w e e n q u ir e why it is th a t th e O r t h o d o x a re so a tt a c h e d to th e i r ic on s, we
d is c o v e r th a t this practice h as n o fo u n d a t io n e it h e r in H o ly S c rip tu re o r in th e
th e o lo g y o f th e e a rly F a th e r s . Its origins m u s t be so u g h t in h istorical tr a d it io n a n d
its d e ta i le d ju stification is c o n ta i n e d in the A c ts o f the S e v e n th C o u n cil h e ld at
N ic a e a in 787 as well as in th e so-called S y n o d ik o n o f O r t h o d o x y o f 843. T h e s e
e n a c t m e n t s r e p r e s e n t th e re a c tio n o f the E a s te r n C h u r c h ag a in st Ic o n o c la s m ,
i n t r o d u c e d by th e E m p e r o r L e o III in 730; a n d Ic o n o c la sm , in tu r n , w a s a re a c tio n
to w h a t w'as r e g a r d e d in so m e q u a r t e r s as an id o la tr o u s v e n e r a t io n o f im ag es for
w hich th e A lm i g h ty h ad d e liv e re d th e C h ris tia n s to c h a s t is e m e n t at th e h a n d s of
th e i r e n e m i e s . In o t h e r w o rd s , th e E a s te r n C h u rc h in 843 r e s to r e d w h a t h a d b e e n
g e n e ra l p ra c tic e b e fo re 730; an d since th e w h ole q u e s tio n w as d efin itely se ttle d
th e r e a n d th e n , th a t is still w h e re it r e m a in s to d a y . T h e O r t h o d o x C h u r c h is a
C h u r c h o f tra d itio n .
W e try , th e r e f o r e , to cast o u r m in d s b ack to 730 (a n d e a rlier) a n d w h a t d o we
find? R e lig io u s im a g e s a re e v e r y w h e r e , in c h u rc h e s , in p riv a te h o u s e s , on p u b lic
m o n u m e n t s , in b o o k s , o n utensils. S o m e are ' n a r r a t i v e im a g e s in th e sen se th at
th e y r e p r e s e n t an in c id e n t, an d th e s e m a y be a r r a n g e d in a s e q u e n c e to tell a sto ry
e it h e r fr o m th e Bible o r fr o m th e life o f a saint. T h e y serv e to in s tru c t the illiterate
in th e tr u th s o f C h ris tia n ity o r act as r e m in d e r s o f sa c re d e v e n ts . O t h e r im ag es,
h o w e v e r, a r e simply p o rt ra it s an d d o n o t c on vey any action o r m e s sa g e o t h e r th a n
a p r e s e n c e . T h e y m ay, if s e ld o m , r e p r e s e n t a saint w h o is still alive, m o r e o ft e n a
saint o f th e p a s t - a m a r ty r , an a p o stle , th e Virgin M a r y , J e s u s C h ris t him self. It is
the p o r t r a it icons th a t a ttra c t v e n e r a t io n . T h e y a re p r a y e d to a n d w o rk m iracles.
O c c a sio n a lly th e y s p e a k o r w e e p . T h e y b leed if s t a b b e d by an u n b e lie v e r. They
float acro ss th e sea w ith o u t g ettin g w et. L ik e pa llad ia th e y are c a rr ie d into b attle
by a rm ie s. T h e y serv e as g u a r a n t o r s o f co ntracts. A particle o f paint or plaster
t a k e n fr o m an icon m a y be in g es ted an d cure a disease. In s h o r t, an icon is
p e rc e iv e d n o t m e re ly as a lik eness, b u t as a vehicle o f s u p e r n a tu r a l p o w e i. as tli
d o u b le o f the saint r e p r e s e n t e d on it o r the s h e ll in w hich lie dwells.
There can be no d o u b t th a t such p ractices w e re e x tr e m e ly w i d c s p u ad in 1 1
sixth an d s e v e n t h cen tu ries . A t th e tim e it was a ffirm e d th at i r o n p a n n in g w as a,
old as C h ris tia n ity itself a n d w as an unw ritten tra d itio n that St. I u k r , paiiii
Is
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T H E
A N D
T H E O L O G Y
SP IR IT U A L IT Y
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- i i - n icon m a y b e a p p r o a c h e d as a w o r k o f
a rt , to be a p p r e c i a te d for its a e s th e tic qualities. B u t th o s e w h o orig in ally p a in t e d
th e icons th a t w e see in th e p r e s e n t ex h ib itio n , w hile th e y stro v e to m a k e th e ir
w o rk as b e a u tifu l as p o ss ib le , n e v e r lo o k e d o n this as th e ir sole o r p r i m a r y aim .
T o B y z a n tin e ic o n o g r a p h e r s , an d equ ally to th e ir p a t r o n s , th e icon w as m u c h
m o r e t h a n a p iece o f d e c o r a t i o n , d e sig n ed to fulfil an a e s th e tic fu n ctio n . T h e y saw
th e icon as p a r t o f an act o f p r a y e r a n d w o rship . T h e art o f th e icon is essen tially a
liturgical art. D iv o rc e d fr o m its co n te x t w ithin th e liturgy, th e icon cea ses to be
tru ly itself.
It is o f c o u rs e im p o r t a n t th a t th e icon p a in t e r sh o u ld b e artistically g ifted , a n d
sh o u ld u se his o r h e r a e s th e tic skills to th e full. B u t it is no less i m p o r t a n t th a t the
icon p a i n t e r sh o u ld p r e p a r e him self for th e ta s k th r o u g h p r a y e r a n d fasting , an d
th r o u g h th e s a c r a m e n t s o f con fession a n d H o ly C o m m u n i o n . A s h e p a in ts , the
ic o n o g r a p h e r also prays. A n d w h e n th e icon is c o m p l e t e d , in c o n t e m p o r a r y O r
th o d o x p rac tice it is b r o u g h t into th e ch u rc h a n d b le s se d - o nly t h e n d o e s it
b e c o m e in th e full sense a h o ly icon.
T h e spiritual an d th eolog ical m e a n i n g of th e icon w as fo r m u la t e d at th e
se v e n t h E c u m e n i c a l C o u n c il, a s s e m b le d exactly tw elv e h u n d r e d y e a rs a go in 787
at N ic a e a , w h e n it re c e iv e d sanctification . T h e ico n, as th e y sa w it, d o e s no t
sim p ly act as a visual a i d , b u t has a sa c r a m e n ta l c h a r a c t e r , serv in g as a c h a n n e l o f
div in e g race. A t th e s a m e tim e th ey w e re m o s t ca refu l to m a k e a distinctio n
b e t w e e n tim S , the re lativ e h o n o u r o r v e n e r a t io n ' th a t m a y leg itim ately be given
to icons, a n d latreia , the a b s o lu te w o rsh ip ' o r 'a d o r a t i o n ' th a t is a sc rib e d to G o d
the T rin i ty alon e.
F o llo w in g th e te a c h in g o f th e s e v e n th C ou nc il, O r t h o d o x C h ris tia n s c o n ti n u e
u p to th e p r e s e n t da y to m a k e p ro s tra t io n s b efo re icons, to kiss t h e m an d to carry
th e m in p ro c e s s io n , to b u rn in ce n se a n d to light c a n d le s a n d la m p s in fro n t ol
th e m . Y e t in all this th e y a re n o t w o rsh ip p in g w o o d a n d p a in t. In th e w o r d s o f tin
c h ie f d e f e n d e r o f icons at th e start of th e icon oclast c o n tr o v e r s y , St. J o h n ol
D a m a s c u s (d ie d c. 749), W h e n we v e n e r a t e ico n s, w e d o n o t o ff e r v e n e r a t i o n lo
m a t t e r , b u t th r o u g h th e icons w e v e n e r a t e th e p e rs o n s d e p ic te d . F o r, as St. Basil
says, th e h o n o u r given to th e icon passes to th e p r o t o t y p e . C e rta in ly in th e m i l
o f icons th e r e h a v e o fte n b e e n su p e r stitio n s, e x a g g e ra tio n s , b u t th e a v e ra g e ( >i
th o d o x la y - p e rs o n is fully a w a re th a t th e icon is in n o sen s e an idol.
A t first, h o w e v e r, this vital d istinctio n b e tw e e n re lativ e 'h o n o u r ' an d ab so lu te
a d o r a t i o n w as no t fully g ra s p e d by th e W est. A l th o u g h the p a p a c y e o n s e . l e n lIv
u p h e ld th e te a c h in g o f th e s e v e n th C ou nc il, n o rt h o f the A lps tin I m p e i o i
C h a r l e m a g n e m i s u n d e r s to o d its s t a n d p o in t , im agining th at llu- ( . r e e k s d ele m le il
th e id o l a tr o u s w o rs h ip o f icons. H e an d th e th e o lo g ia n s in hi* ciiftli i j u p i e d
p o sitio n sim ilar to th a t o f th e m o r e m o d e r a te iconoclasts ifl llie I asl i mi
n
th ey m a i n t a i n e d , m a y be d isp la y ed in c h u rc h e s lor the p u ip u s e s ul il D falm n hm
'7
s h o u l d n o t b e s h o w n li tu r g ic a l h o n o u r . S u c h w a s t h e p o s i t i o n t a k e n b y th e
W e s t e r n s y n o d s o f F r a n k f u r t ( 7 9 4 ) a n d P a r i s (8 2 5 ). N o t u n ti l t h e e l e v e n t h c c n t u r y
w a s t h e 7 87 C o u n c i l g e n e r a l l y a c c e p t e d t h r o u g h o u t W e s t e r n C h r i s t e n d o m .
' T h r o u g h t h e i c o n s , sa y s S t. J o h n o f D a m a s c u s , a n d his w o r d s p r o v i d e a v a l u a
b le c lu e to t h e O r t h o d o x p o i n t o f v ie w . T o q u o t e t h e L if e o f S t. S te p h e n th e
Y o u n g e r ( d i e d c. 7 6 4 ), t h e i c o n is t e r m e d a d o o r . It is a w a y in , a p o i n t o f
m e e t i n g , a p l a c e o f e n c o u n t e r . T h e ic o n fu lfils a m e d i a t o r i a l r o l e . B y m e a n s o f t h e
i c o n , t h e w o r s h i p p e r e n t e r s t h e d i m e n s i o n s o f s a c r e d s p a c c a n d s a c r e d t i m e , a n d is
b r o u g h t i n t o a li v in g , e f f e c t u a l c o n t a c t w i t h t h e p e r s o n o r t h e m y s t e r y d e p i c t e d .
S t a n d i n g b e f o r e t h e i c o n o f t h e S a v i o u r , h e o r s h e fe e l s f a c e t o f a c e w i t h C h r i s t
h im s e l f . P r e s e n t t h r o u g h t h e i r ic o n s , C h r i s t , t h e m o t h e r o f G o d , t h e a n g e l s a n d
t h e s a i n ts s h a r e in t h e w o r s h i p o f t h e livin g. T h e m e m b e r s o f t h e v is ib l e c o n g r e
g a t i o n a r e m a d e t h r o u g h t h e i c o n s c o n c e l e b r a n t s at t h e t i m e l e s s li t u r g y o f h e a v e n ;
i c o n s a r e o u r m e a n s o f e n t r y i n t o t h e c o m m u n i o n o f s a i n ts . T h e i c o n - s c r e e n a n d
t h e w a lls b e c o m e w i n d o w s in t o e t e r n i t y , a n d t h e c h u r c h b u i l d i n g as a w h o l e is
m a d e i n t o h e a v e n o n e a r t h ' . In t h e w o r d s o f St. G e r m a n u s , P a t r i a r c h o f C o n s t a n
t i n o p l e ( d i e d c. 7 3 3 ) , t h e c h u r c h is a n e a r t h l y h e a v e n , in w h i c h t h e h e a v e n l y G o d
d w e lls a n d m o v e s ' .
T o a p p r e c i a t e th is s e n s e o f h e a v e n o n e a r t h ' , w e s h o u l d b e a r in m i n d t h a t an
ic o n n e e d n o t n e c e s s a r i l y b e a p a i n t i n g o n a s e p a r a t e p a n e l o f w o o d . M o s a i c s a n d
f r e s c o e s o n t h e c h u r c h w all a r c a ls o ic o n s . T h e i c o n s t h a t in th is w a y fill e v e r y p a r t
o f a L a te B y z a n tin e o r a P o st-B y z a n tin e ch u rch - on th e d o m e , th e a p se , th e ro o f,
t h e w a ll a n d p i l la r s - t r a n s f o r m t h e e n t i r e b u i l d i n g i n t o a s i n g le , a l l - e m b r a c i n g ic o n
o f t h e h e a v e n l y k i n g d o m . ( W h i l e m o s t i c o n s a r e t w o - d i m e n s i o n a l , i m a g e s in r e l i e f
a n d e v e n f r e e s t a n d i n g s t a t u e s a r e n o t u n k n o w n in t h e C h r i s t i a n E a s t , a n d t h e s e
t o o h a v e a r i g h t t o b e r e g a r d e d as ic o n s . D u r i n g t h e i c o n o c l a s t c o n t r o v e r s y o f t h e
e i g h t h a n d n i n t h c e n t u r i e s , n o d o c t r i n a l s ig n if i c a n c e w a s a t t a c h e d t o t h e d i s t i n c t i o n
b e t w e e n t w o - d i m e n s i o n a l a n d t h r e e - d i m e n s i o n a l r e l ig i o u s a r t . ) .
O r t h o d o x C h r i s t i a n s a r e a c c u s t o m e d to h a v e ic o n s n o t o n ly in c h u r c h b u t a ls o
in t h e i r o w n h o m e s . In e a c h h o u s e h o l d t h e r e is t r a d i t i o n a l l y a n ic o n c o r n e r o r
s h e l f , b e f o r e w h ic h l a m p s a r e lit, i n c e n s e is o f f e r e d , a n d f a m il y p r a y e r s a r e s a i d .
T h i s t o o is fe l t as h e a v e n o n e a r t h , a p l a c e o f m e e t i n g w i t h t h e c o m m u n i o n o f
s a i n ts .
B e s i d e s s e r v i n g in th is w a y as a m e a n s o f s a n c t i f i c a t i o n a n d a d o o r , t h e ic o n is
i m p o r t a n t m o r e p a r t i c u l a r l y in f o u r r e l a t e d w a y s. F i r s t , it a c ts a s a m e a n s o f
t e a c h i n g . ' I c o n s a r e o p e n b o o k s t o r e m i n d us o f G o d , s a y s S t. L e o n t i u s o f C y p r u s
( s e v e n t h c e n t u r y ) . A s S t. J o h n o f D a m a s c u s p u t s it, w h a t t h e w r i t t e n w o r d is to
t h o s e w h o k n o w l e t t e r s , t h e ic o n is t o t h e il li te r a te . W h a t s p e e c h is t o t h e e a r , t h e
ic o n is t o t h e e y e . S o t h e i c o n is o f t e n t e r m e d ' t h e o l o g y in c o l o u r ' , a n d a c o m p a r i
s o n is m a d e b e t w e e n i c o n s a n d t h e b o o k o f t h e G o s p e l s ; t h e ic o n is t h e G o s p e l in
i m a g e s , j u s t as t h e G o s p e l is a v e r b a l ic o n , a n d b o t h a l i k e d is c lo s e G o d t o us.
S i g n i f i c a n t l y , w e s p e a k o f ' i c o n o g r a p h y ' - n o t t h e p a i n t i n g b u t t h e w r itin g o f ic o n s .
ic o n f o r m s in th is w a y p a r t o f C h u r c h t r a d i t i o n . I n a n i m p o r t a n t s e n s e i c o n s
nil- n o t i n v e n t e d b u t r e v e a l e d . T h i s m e a n s t h a t t h e i c o n o g r a p h e r is n o t f r e e to
a d a p t o r i n n o v a t e as h e p l e a s e s , f o r h is w o r k s h o u l d r e f l e c t , n o t his o w n s u b j e c t i v e
v is io n b u t t h e m i n d o f t h e C h u r c h . A r t i s t i c c r e a t iv i ty is b y n o m e a n s e x c l u d e d ,
Inn il is e x e r c i s e d w ith i n p r e s c r i b e d r u l e s . W h e r e a s in n o n - i c o n o g r a p h i c a r t ,
s p i l e s I >i P h ilip S h e r r a r d , ' t h e p i c t u r e is g e n e r a l l y c o n c e i v e d as e x p r e s s i n g t h e
. t r u s t 's o w n r e s p o n s e to o r o b s e r v a t i o n o f his s u b j e c t , it is m o r e t r u e in t h e c a s e o f
I I I I oil iii th i n k o f t h e s u b j e c t itse lf p r o j e c t i n g o r r e f l e c t i n g it s e l f o n to t h e m a t e r i IX
al o f t h e i c o n . . . t h e a r t i s t h a s to b e c o m e o n e w ith w h a t h e is to r e p r e s e n t , in o t h e r
w o r d s , t h e r e is n o d i s t i n c t i o n b e t w e e n a r t a n d c o n t e m p l a t i o n .
S e c o n d l y , t h e i c o n s e r v e s t o s a f e g u a r d t h e t r u e r e a l i t y o f C h r i s t s i n c a r n a t i o n .
T h e w o r d w a s m a d e f l e s h ( J o h n 1 .1 4); G o d d id n o t s i m p l y a p p e a r u p o n e a r t h ,
b u t t o o k a r e a l h u m a n b o d y , f o r m e d o f p h y s ic a l m a t t e r as o u r b o d i e s a r e . T h e
i c o n o c l a s t s , in r e f u s i n g t o m a k e a n ic o n o f C h r i s t , i m p l i e d t h a t H i s b o d y , a n d so
H i s h u m a n i t y , is s o m e h o w u n r e a l . I c o n s , as t h e C o u n c i l o f 7 8 7 p u t s it, a r e a
g u a r a n t e e t h a t t h e i n c a r n a t i o n o f t h e w o r d o f G o d is g e n u i n e a n d n o t i l l u s o r y .
T h e I s r a e l i t e s in t h e O l d T e s t a m e n t w e r e rig h tly p r o h i b i t e d f r o m m a k i n g a n y
v is u a l r e p r e s e n t a t i o n o f t h e u n s e e n d e it y . B u t C h r i s t , w h o is t h e i m a g e o r i c o n
o f t h e in v is ib le G o d ( C o l o s s i a n s 1 .1 5 ) , h a s t h r o u g h H i s i n c a r n a t i o n m a d e p o s s i b l e
a r e p r e s e n t a t i o n a l r e l i g i o u s a r t . O f o l d , s t a t e s S t. J o h n o f D a m a s c u s , G o d , w h o
is w i t h o u t f o r m a n d b o d y , w a s n o t d e p i c t e d a t all. B u t n o w , s i n c e H e h a s a p p e a r e d
in t h e fl e s h a n d d w e l t a m o n g h u m a n s , I m a k e a n ic o n o f G o d in so f a r a s h a s
b e c o m e v i s i b l e .
T h i r d l y , t h e ic o n h e l p s t o e n s u r e a n a f f i r m a t i v e a t t i t u d e t o w a r d s t h e m a t e r i a l
w o r l d . G o d saw- e v e r y t h i n g t h a t H e h a d m a d e , a n d , b e h o l d , it w a s a l t o g e t h e r
g o o d a n d b e a u t i f u l ( G e n e s i s 1 .3 1 ). I c o n s s a f e g u a r d n o t o n l y t h e a u t h e n t i c i t y o f
C h r i s t ' s p h y s i c a l b o d y b u t a ls o t h e s p i r i t - b e a r i n g p o t e n t i a l i t i e s o f all m a t e r i a l
th i n g s . T h e i c o n o c l a s t s , so t h e i r o p p o n e n t s f e l t, s o u g h t to r e s t r i c t t h e w o r s h i p o f
G o d t o t h e m i n d a l o n e , a n d f a ile d t o a llo w s u f f ic i e n tl y f o r t h e m a t e r i a l i s m o f
C h r i s t i a n i t y . I s h a ll n o t c e a s e t o h o n o u r m a t t e r , St. J o h n o f D a m a s c u s p r o t e s t s ,
f o r it w a s t h r o u g h m a t t e r t h a t m y s a l v a t i o n c a m e to p a s s . . . D o n o t d e s p i s e m a t t e r ,
f o r it is n o t d e s p i c a b l e ; n o t h i n g is d e s p i c a b l e t h a t G o d h a s m a d e . T o t h i n k s u c h
t h i n g s is M a n i c h a e i s m ' .
In t h e f o u r t h p l a c e , t h e t h e o l o g y o f t h e ic o n h a s i m p l i c a t i o n s f o r t h e C h r i s t i a n
u n d e rs ta n d in g of th e h u m a n p e rs o n . T h e ic o n o g r a p h e r ta k e s c u b es o f s to n e , or
e ls e p a i n t a n d a p a n e l o f w o o d - th i n g s t h a t a r e p a r t o f t h e m a t e r i a l w o r l d a n d
t h a t , a s G o d s c r e a t i o n , a r e a l r e a d y c h a r g e d w ith t h e d iv i n e g lo r y - a n d t h e n by
m e a n s o f his a r t is t ic skill h e r e n d e r s t h e d iv i n e g lo r y e x p li c it in a n e w a n d d y n a m i c
w a y . I n th is m a n n e r h e a c ts as p r i e s t o f th e c r e a t i o n , g iv i n g m a t e r i a l th i n g s a v o ic e
a n d r e n d e r i n g t h e m a r t i c u l a t e in p r a i s e o f G o d . T h e c r e a t i o n d o e s n o t v e n e r a t e
t h e m a k e r d ir e c t l y a n d b y it s e l f , s a y s St. L e o n t i u s o f C y p r u s , b u t it is t h r o u g h m e
th a t th e h e a v e n s d e c la re th e g lory o f G o d , th r o u g h m e th e m o o n w o rsh ip s G o d ,
t h r o u g h m e t h e s t a r s g lo r ify H i m , t h r o u g h m e t h e w a t e r s a n d s h o w e r s o f r a i n , th e
d e w a n d all c r e a t i o n , v e n e r a t e G o d a n d give H i m g l o r y . S o i c o n s r e v e a l to us tin
p o s s i b i l i t i e s o f o u r h u m a n p e r s o n h o o d . T h e ic o n p a i n t e r s h o w s u s h o w , mack in
G o d s i m a g e ' o r i c o n ' ( G e n e s i s 1 .2 6 ), w e h u m a n s c a n a c t as s u b - c r e a t o r s a l t e r
th e likeness of G o d th e c re a to r.
S u c h a r e a m o n g t h e r e a s o n s w h y t h e s e v e n t h E c u m e n i c a l C o u n c i l , t w e l v e cvn
t u r i e s a g o , u p h e l d t h e m a k i n g a n d t h e v e n e r a t i o n o f ic o n s , a n d w h y ic o n s ;i u still
h o n o u r e d in t h e O r t h o d o x C h u r c h t o d a y . In th e w o r d s o f a c o n t e m p o r a r y R u s s i a n
i c o n o g r a p h e r , L e o n i d O u s p e n s k y , it is a b s o l u t e l y i m p o s s i b l e to i m a g i n e a n y liiui
gical r i t e in t h e O r t h o d o x C h u r c h w i t h o u t t h e i c o n . A s t h e l e a d i n g G r e e k ienn
p a i n t e r o f th i s c e n t u r y , P h o t i o s K o n t o g l o u , h a s s a i d , 't h i s a rt is u m v e i s a l j f l j
e t e r n a l - n o o t h e r a r t h a s u s e d s u c h s i m p l e m e a n s , a n d n o o t h e r art has g i a s p -I
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b e l o n g e d a n d t h e lo cal e c o n o m i c c o n d i t i o n s . D r a s t i c i n t e r v e n t i o n b y t h e p o li ti c a l
W A L L
IN
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a u t h o r i t i e s , as in t h e c a s e o f I c o n o c l a s m , w a s r a r e . A t t h e a r t i s t i c le v e l, in e x p l a i n
in g t h e v a r i e t y o f e x p r e s s i o n w e a ls o h a v e to t a k e in t o a c c o u n t t h e lo c a l t r a d i t i o n
G R E E C E
a n d t h e p e r s o n a l c o n t r i b u t i o n o f t h e a r t is t , w h i c h w a s n o t as in s ig n i f i c a n t as it
m ight seem .
G i v e n th is b a c k g r o u n d , w e a r e in a p o s i t i o n b e t t e r t o u n d e r s t a n d t h e d if fi
c u lt ie s i n v o l v e d in d e t e r m i n i n g t h e c o m m o n c h a r a c t e r i s t i c s o f t h e p a i n t i n g o f a
p a r t i c u l a r r e g i o n in t h e B y z a n t i n e p e r i o d , su c h as t h e r e g i o n n o w o c c u p i e d b y t h e
R e p u b l i c o f G r e e c e . T h e first d if fic u lty is t h a t th is r e g i o n f o r m e d o n l y p a r t o f a
w i d e r a r e a in w h ic h G r e e k s li v e d a n d w o r k e d d u r i n g t h e B y z a n t i n e p e r i o d , a n d
m a y n o t t h e r e f o r e b e r e g a r d e d as a s e p a r a t e g e o g r a p h i c a l e n t i t y . S e c o n d l y , t h e
m a i n b o d y o f G r e e c e is d i v i d e d b y h ig h m o u n t a i n s , a n d f r a g m e n t e d in t o n u m e r o u s
i s l a n d s , l a r g e a n d s m a l l , s c a t t e r e d a r o u n d t h e m a i n l a n d : t h i s p r o d u c e s d is tin c t
r e g i o n s b e t w e e n w h ic h c o m m u n i c a t i o n is n o t e a s y a n d w h i c h , m o r e o v e r , in differ
e n t p e r i o d s , d e p e n d e d t o d i f f e r i n g d e g r e e s o n t h e m a i n B y / a n t i n e c e n t r e s of ( o n
s t a n t i n o p l e a n d T h e s s a l o n i k e . In th is c o n t e x t it w *s no t p o s s ib le fo r p a i n t i n g , e v e n
]3 y z a n tin e
p ain tin g ,
e sp ecially
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p a i n t i n g , t h o u g h p r e - e m i n e n t l y a c o n s e r v a t i v e a r t f o r m , is n o n e t h e l e s s a liv in g a r t ,
w h i c h r e s p o n d s to t h e c h a n g i n g d e m a n d s o f official c h u r c h d o c t r i n e a n d o f p o p u l a r
b e li e f . T o u n d e r s t a n d th is m o r e fu lly , it s h o u l d b e r e m e m b e r e d t h a t t h e d y n a m i c
ri v in g f r o m p r e c i s e l y t h o s e n o n - a r t i s t i c f a c t o rs l i n t w e h a v e n o t e d
o f p a i n t i n g is t h e r e s u l t o f t w o c o u n t e r b a l a n c e d t e n d e n c i e s . O n t h e o n e h a n d s t a n d
m o s t in d i c a t i v e is t h e c o m p a r a t i v e n u m b e r s ol w all p a i n t i n g s d c c o i . i t i n g m o n u
O n e ol tin-
all t h e e l e m e n t s t h a t le a d t o u n it y o f p l a c e a n d c o n t i n u i t y in t i m e , a n d o n t h e o t h e r
m e n t s . T h r o u g h o u t G r e e c e n o less t h a n tw o t h o u s a n d c y c le s o f w all p a i n t i n g s ,
t h o s e t h a t l e a d t o d i f f e r e n t i a t i o n a n d e v o l u t i o n . T h e first t e n d e n c y e m b r a c e s th e
d a t i n g f r o m t h e s e v e n t h to t h e f i f t e e n t h c e n t u r i e s , h a v e s u r v i v e d , o f t e n s u p e r i m
c o n s t a n t , u n c h a n g i n g i d e o l o g ic a l v a l u e s t h a t fin d t h e i r e x p r e s s i o n t h r o u g h t h e
p o s e d o n e u p o n a n o t h e r . T h i s is n o t th e fin a l c o u n t b u t it is g r e a t e r t h a n t h a t fo r
i c o n o g r a p h y o f a n O r t h o d o x c h u r c h a n d b e l o n g t o t h e lev el o f d o c t r i n e , h i s t o r y ,
all t h e s u r v i v i n g c y c le s in all t h e o t h e r B y z a n t i n e r e g i o n s in E u r o p e a n d A s i a
d e v o t i o n a n d r i t u a l . T h e s e v a l u e s u n d e r g o v e r y fe w f l u c t u a t i o n s t h r o u g h t i m e ,
M i n o r , o r in t h e n e i g h b o u r i n g O r t h o d o x s t a t e s . M o r e o v e r , d i f f e r e n c e s c a n b e
w i t h o n l y t h e o c c a s i o n a l shift o f e m p h a s i s . T h e y a r e c o n s t a n t s , f i r m l y l i n k e d w ith
d i s t i n g u i s h e d in t h e d e n s i t y o f m o n u m e n t s in d i f f e r e n t p a r t s o f G r e e c e . T h e y a r e
t h e n o t i o n o f a c c u r a c y in m a t t e r s o f h i s t o r y a n d d o c t r i n e , a n d w i t h t h e d e m a n d
m u c h m o r e d e n s e l y c o n c e n t r a t e d in G r e e c e s o u t h o f O l y m p u s o n e o f t h e r e a s o n s
f o r l i k e n e s s , n o t o n l y in t h e p o r t r a y a l o f t h e s a i n ts , b u t a ls o in a m o r e g e n e r a l
f o r th i s d i f f e r e n c e b e i n g t h a t in t h e a r e a n o r t h o f O l y m p u s t h e m a j o r i t y o f m o n u
se n s e : t h e y c o n s t i t u t e a n e s s e n t i a l p r e c o n d i t i o n if t h e d e c o r a t i o n o f a c h u r c h is t o
m e n t s a r e t o b e f o u n d in t h e r e l a t i v e l y la r g e t o w n s . I n T h e s s a l o n i k e a l o n e w e
f i n d a c c e p t a n c e as a u t h e n t i c f r o m t h e p o i n t o f v ie w o f O r t h o d o x i c o n o g r a p h y .
T h o s e w h o d r e w u p i c o n o g r a p h i c p r o g r a m m e s a n d th e p a i n t e r s t h e m s e l v e s n a t u
a n d m o n a s t e r i e s , a n d t h e l a y e r s o f p a i n t i n g t h a t will h a v e c o v e r e d t h e w a lls o f
ra lly s o l v e d t h e p r o b l e m s w ith w h ic h t h e y w e r e f a c e d by c o n c e n t r a t i n g s t r ic t ly o n
t h e s e s a c r e d b u i l d i n g s will h a v e b e e n m u c h g r e a t e r in n u m b e r . M o s t o f t h e m
m o d e l s w h o s e a u t h e n t i c i t y w a s i n d i s p u t a b l e : m i r a c u l o u s ic o n s , e a r l i e r w a ll p a i n t
d i s a p p e a r e d , h o w e v e r , d u r i n g t h e l o n g c e n t u r i e s o f O t t o m a n o c c u p a t i o n . In t h e
in g s , i l l u s t r a t e d m a n u s c r i p t s , s k e t c h b o o k s , d e s c r i p t i o n s a n d so o n . A m o n g s t th e
s o u t h o f G r e e c e , b y c o n t r a s t , w i t h t h e e x c e p t i o n o f a f e w t o w n s li k e M i s t r a a n d
Y e r a k i , m o s t o f t h e k n o w n B y z a n t i n e m o n u m e n t s a r e t o b e f o u n d in t h e c o u n
w h e t h e r w e a r e ta l k i n g o f m o s a i c s , o r f r e s c o e s , o r o f a m i x t u r e o f f r e s c o a n d
t r y s i d e , o u t s i d e t h e r e l a t i v e l y s m a ll f o r t i f i e d t o w n s t h a t w e r e l o c a t e d in t h e s a f e r
m o u n ta in regions.
t e m p e r a t h a t d e r i v e d f r o m G r e c o - R o m a n p a i n t i n g . T h e sty le s o f p a i n t i n g , t o o ,
c o n t i n u e d t o t h e e n d to e x h i b i t t h e b a s i c v a r i a t i o n s w i t h i n t h e m a i n t r e n d s t h a t h a d
T h e c o n s e q u e n c e f o r a r t o f th is d i s t i n c t i o n is t h a t t h e a r t o f t h e n o r t h e r n r e g i o n
a l i c . i d y e m e r g e d in la te a n t i q u i t y . It s h o u l d b e a d d e d h e r e t h a t o n e o f t h e c o n s t a n t
h a s a n u r b a n c h a r a c t e r , s i n c e it w a s f o s t e r e d w i t h i n t h e r e l a t i v e l y s o p h i s t i c a t e d
p i c c o m l i t io n s m a k i n g f o r t h e u n i t y o f a r t is t ic e x p r e s s i o n w a s its a n t i - r e a l i s t i c a n d
c u l t u r a l e n v i r o n m e n t o f t h e city. T h i s d o e s n o t m e a n t h a t all t h e m o n u m e n t s in t h e
n m s c e n d c n t n l c h a r a c t e r , t h o u g h it n o n e t h e l e s s r e s p e c t e d t h e h u m a n f i g u r e a n d
s o u t h w e r e n o n - u r b a n in c h a r a c t e r . F i r s t , t h e r e w e r e l a r g e m o n a s t i c f o u n d a t i o n s ,
d ie Iiimc s h a p e s o f o b j e c t s .
W i( 11111 th is c o n s t a n t f r a m e w o r k , p r e s e n t e d h e r e in a v e r y s i m p l i f i e d f o r m ,
b u il t a n d d e d i c a t e d b y t h e E m p e r o r s , o r b y s e c u l a r a n d r e l i g i o u s r u l e r s , w h o
I l i n e w e i e c o u n t l e s s v a r i a t i o n s d u r i n g t h e t h o u s a n d y e a r s , o r m o r e , o f v ita l c r e a -
l e v e l , if n o t o f t h e le v e l o f l u x u r y r e p r e s e n t e d b y m a r b l e r e v e t m e n t s a n d m o s a ic s .
ii\i
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s o n n Him s t h e s e w e r e d e t e r m i n e d by n o n - a r t i s t i c f a c t o r s , s u c h as t h e
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b r o u g h t t o t h e p e r i p h e r a l a r e a s t h e m e a n s to c o n s t r u c t w o r k s o f a high artisfic
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e n c e t h e lo c a l p r o d u c t i o n , w h ic h ( t o u s e a m o d e r n G r e e k i m a g e ) a l w a y s s t o o d t o
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t h e m in t h e r e l a t i o n s h i p o f a v is u a l d e m o t i c , o r p o p u l a r l a n g u a g e , to t h e p u r e
l i t e r a r y l a n g u a g e , o r k a th a r e v o u s a .
O t h e r lo c a l p e c u l i a r i t i e s i n c l u d e i c o n o g r a p h i c a l a r c h a i s m s , s u c h as t h e r e p r e
s e n t a t i o n o f t h e f o u n d e r s o r o f t h e p r o p h e t s in t h e S a n c t u a r y a p s e , o r t h e m a n n e r
o f p a i n t i n g t h e P a n t o c r a t o r , in t h e d o m e , w i t h o t h e r w i s e u n k n o w n v a r i a t i o n s , b o t h
in t h e o v e r a l l c o m p o s i t i o n a n d in t h e s e c o n d a r y f i g u r e s i n c l u d e d . A p r e f e r e n c e f o r
n o n - f i g u r a t i v e d e c o r a t i o n c a n a ls o b e o b s e r v e d in G r e e c e , e s p e c i a l l y in t h e i s l a n d s ,
f r o m t h e p e r i o d o f I c o n o c l a s m o n w a r d s . T h i s is a v e r y i n t e r e s t i n g p h e n o m e n o n ,
w h o s e full e x t e n t h a s y e t t o b e d e t e r m i n e d .
T h e s e p h e n o m e n a , h o w e v e r , a r e n o t u n i q u e , o r e x c lu s iv e , a n d w e r e n o t p a r t o f
an a u to n o m o u s e v o lu tio n . T o d iffe re n t d e g re e s , ac c o rd in g to p lace a n d to p e r io d ,
t h e y a r e r e l a t e d to d e v e l o p m e n t s in t h e m a j o r c e n t r e s a n d in t h e n e i g h b o u r i n g
r e g i o n s s u c h a s A s i a M i n o r a n d Ita ly .
T h e li n k s w i t h t h e W e s t , f o r w h i c h B y z a n t i n e p a i n t i n g a lw a y s s e r v e d as a
m o d e l a n d a t e a c h e r , b e c a m e c l o s e r a f t e r t h e F o u r t h C r u s a d e , w h ic h r e s u l t e d in
t h e d i s s o l u t i o n o f t h e B y z a n t i n e E m p i r e ( 1 2 0 4 ) . A la r g e p a r t o f s o u t h e r n G r e e c e ,
i n c l u d i n g C r e t e , t h e is la n d s o f t h e A e g e a n a n d s o m e p a r t s o f t h e P e l o p o n n e s e ,
T h e
r e m a i n e d u n d e r L a t i n d o m i n a t i o n u n ti l t h e O t t o m a n c o n q u e s t . W h a t is r e m a r k
p l a c e in t h e p a i n t i n g p r e d o m i n a n t l y o f a re l ig i o u s n a t u r e , w h i c h w a s a n o t a b l e
a b l e is t h a t t h r o u g h o u t t h e s e c e n t u r i e s t h e O r t h o d o x p o p u l a t i o n c o n t i n u e d t o ' s e e '
f e a t u r e o f B y z a n t i n e c u l t u r e . W h i l e its o ri g in s w e r e in G r e c o - R o m a n p o r t r a i t u r e
a m i lo p a in t in a p u r e l y B y z a n t i n e m o d e . T h e in e v i t a b l e f o r e i g n i n f l u e n c e s w e r e
t h e ic o n w a s a n a u t h e n t i c p r o d u c t o f B y z a n t i n e c iv i li z a ti o n a n d c a m e t o p l a y a
v e r y l e w , a f f e c t i n g m linly t h e s u b j e c t m a t t e r a n d to a m u c h le s s e r e x t e n t t h e sty le .
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p h e n o m e n o n c a n b e d e t e c t e d in th is r e g i o n at
l e a d i n g r o l e in r e l i g i o u s r i t u a l , b e c o m i n g t h e s u p r e m e c u lt o b j e c t o f t h e O r t h o d o x
C h u r c h . T h e rich d e c o r a t i o n o f t h e B y z a n t i n e c h u r c h w i t h m o s a i c s a n d w a ll p a i n t
a b o u t 9 0 0 in
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w h ic h v a ry g r e a t l y in q u a l i t y , w e r e p a i n t e d in t h e f o u r t e e n t h a n d f i f t e e n t h
tic, t h r o u g h t h e h i e r a r c h i c a l l y o r g a n i z e d s p a c e i n t o a m i c r o c o s m o f t h e r e l i g i o u s
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un iv erse.
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o b s e r v e d in th e o t h e r re g i o n s o c c u p i e d by t h e 1 r a n k s . It c a n b e e x p l a i n e d t o s o m e
c o m m u n i o n b e t w e e n t h e f a i th fu l a n d t h e w o r l d o f t h e t r a n s c e d e n t a l . T h e ico n w a s
e x t e n t by th e c h a n g e in t h e so cial r a n k o f t h e p a t r o n s , a n d a ls o b y c o m p a r i s o n
t h e i m m e d i a t e r e c i p i e n t o f t h e p r a y e r s d i r e c t e d to t h e s u b j e c t o f t h e p o r t i a i t
w ith w h a t w a s h a p p e n i n g in t h e B y z a n t i n e a r e a .
F o r , in t h e s a m e p e r i o d , at t h e e n d o f t h e B y z a n t i n e E m p i r e , t h e r e w a s a
t h r o u g h p r a y e r , it s e r v e d as th e c h a n n e l ol s p i rit u a l e x a l t a l i o n
g e n e r a l f l o w e r i n g o f a r t , w ith i m p o r t a n t c e n t r e s in T h e s s a l o n i k e , M i s t r a , A r t a a n d
in d ol ic o n s ol tin
M o u n t A t h o s p r o d u c i n g w o r k o f a h ig h q u a l i t y w h o s e i n f l u e n c e w a s w i d e l y felt.
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C h u r c h o n t h e q u e s t i o n ol tin. r e l a t i o n s h i p b t w e e n n o n a n d p f o i o t y p i
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o u s r e l i g i o u s , so c ia l a n d p o litic a l d i s p u t e s p r o m p t e d I m m
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le m s o f t h e p e r i o d . T h i s p a i n t i n g w a s d i s t i n g u i s h e d by its m a s t e r y o f t h e full r a n g e
d e m o n s t r a t e t h e v a l u e a n d p o w e r o f ico n s in Ihe l l v / m l n n
a m o n g s t t h e l o w e r c la s s e s o f t h e p o p u l a t i o n
o f t r a d i t i o n a l t e c h n i q u e s , u s i n g t h e ric h r e p e r t o i r e o f O r t h o d o x i c o n o g r a p h y . B y
t h e s e m e a n s it c r e a t e d a n e w s ty le t h a t w a s t o h a v e its i n f l u e n c e o n t h e W e s t .
ti o n s , b u t e v e r y w h e r e , in p u b l i c b u il d in g s , in p r i v a t e h o u s e s u n i in III- Ia lu c e
q u e n t l y g iv e e x p r e s s i o n t o c o m p l e x t h e o l o g i c a l id e a s r e l a t i n g to t h e b u r n i n g p r o b
T h i s fin a l f l o w e r i n g o f t h e s p i r i t u a l w o r l d o f B y z a n t i u m w a s to live o n in t h e a r t
w o flll. (s p e c ia lly
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t h e o t h e r t r e a s u r e s in t h e s u m p t u o u s l l a ll o f tin
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o fficia l a u d i e n c e s w e r e h e l d f o r f o r e i g n e r s , I a li s n i a n a n d o b j e c t ol w o i s l u p ol Un
f a i t h f u l , t h e ic o n w a s an i n t e g r a l p a r t o f th e p u b lii
mil p r i v a t e hli ol th e B y / a n
ti n e s . I c o n s a c c o m p a n i e d m i li ta r y e x p e d i t i o n s a n d m y a l e m b a s s i e s . T h e y f o r m e d
p a r t o f t h e t r i u m p h a l e n t r y o f t h e e m p e r o r in to C o n s t a n t i n o p l e o n Ins r e t u r n fr o m
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of th e A t h e n s A c a d e m y
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v i c t o r i o u s w a r s . T h e y w e r e u s e d to c o n s e c r a t e l o i t r e s s e s a n d p r o t e c t c itie s .
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w e r e c a r r i e d in p r o c e s s i o n , w i t h g r e a t p o m p , o n feast d a y s , a l t e r n a t u r a l d i s a s t e r s ,
43
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c h a n g e s a n d sh ifts in p r e f e r e n c e s a n d t e n d e n c i e s b r o u g h t a b o u t b y t h e o c c a s i o n a l
m u ;u lr w in k m ; , ic o n s is c a p t u r e d in a la t e t h i r t e e n t h - c e n t u r y w a ll p a i n t i n g , u n i q u e
>111 tin s pi m u nl v ie w , p r e s e r v e d in t h e M o n a s t e r y o f V l a c h e r n a a t A r t a , t h e
r e n e w a l s a n d o t h e r c u r r e n t s in a r t , r u n n i n g f r o m t h e c e n t r e t o t h e p e r i p h e r y a n d
vic e v e r s a .
cap fu l I 01 I lu D e s p o t a t e o f E p i r u s . T h i s d e p i c t s in d e ta i l t h e p r o c e s s i o n in w h i c h
tin- f a m o u s m m o f t h e V i r g i n H o d e g e t r i a w a s c a r r i e d in a c c o r d a n c e w i t h a p r e -
d i f f ic u l t, s i n c e , s a v e in a v e r y few i n s t a n c e s , t h e w r i t t e n e v i d e n c e d o e s n o t e x is t,
111
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T h e t a s k o f l o c a t i n g t h e a r t is t ic w o r k s h o p s in w h ic h th e i c o n s w e r e p r o d u c e d is
si i lin d i itu a l e v e r y T u e s d a y in C o n s t a n t i n o p l e , b e f o r e h o s t s o f w o r s h i p p e r s , a n d
a n d t h e ic o n w a s a n e a s ily t r a n s p o r t e d i t e m . T h e e x c e p t i o n a l l y h ig h q u a l i t y a n d
i 'spoilt Is w i t h d e s c r i p t i o n s g iv e n b y f o r e i g n tr a v e l l e r s .
Iro n s w e re m a d e fro m a w ide v a rie ty o f m a te ria ls , d e p e n d in g o n th e p u r p o s e
s e n s iti v it y o f m a n y o f t h e m s u g g e s ts t h a t t h e y s h o u l d b e a t t r i b u t e d t o w o r k s h o p s in
lo r w h ic h t h e y w e r e d e s i g n e d ; s o m e t o o k t h e f o r m o f m o s a i c s , o r w e r e p a i n t e d o r
a p o s i t i o n t h a t e n a b l e d it to d i r e c t t h e p r o c e s s e s r e g u l a t i n g t h e p r o d u c t i o n a n d
I a r v e d in w o o d o r m a r b l e ; o t h e r w e r e m a d e o f p r e c i o u s m e t a l , e n a m e l , a n d s o o n .
d i s t r i b u t i o n o f ico ns.
W a ll p a i n t i n g s s o m e t i m e s t o o k t h e p l a c e o f p o r t a b l e i c o n s o n t h e i c o n o s t a s i s
w h e r e th is w a s b u il t in m a s o n r y . I c o n s m i g h t b e a d o r n e d w i t h d e l i c a t c s i lv e r a n d
w h i c h h a d M o u n t A t h o s c lo s e b y , p l a y e d an i m p o r t a n t r o l e in t h e d e v e l o p m e n t o f
t h e C a p i t a l , w h ic h w a s t h e l e a d e r a n d focal p o i n t o f t h e d i f f e r e n t a r t is t ic c u r r e n t s ,
I h e s s a l o n i k e t o o , t h e s e c o n d la r g e s t c ity in t h e B y z a n t i n e
g o l d le a f , w i t h e l a b o r a t e f r a m e s , w i t h e n a m e l s , iv o r y , p e a r l s a n d p r e c i o u s s t o n e s .
t h e a r t . H e r e t h e r e w e r e s o m e u n d o u b t e d l y i m p o r t a n t w o r k s h o p s p r o d u c i n g ic o n s
m a j o r i t y o f t h o s e t h a t h a v e s u r v i v e d - a n d t h e s e will h a v e b e e n t h e g r e a t e r
a n d d i r e c t i n g t h e p r o d u c t i o n o f o i l i e r local w o r k s h o p s in t h e w i d e r a r e a i n f l u e n c e d
n u m b e r - a r e p a i n t e d o n w o o d in a c c o r d a n c e w i t h t r a d i t i o n a l t e c h n i q u e s : w ith
b y t h e city ( K a s t o r i a , M o u n t A t h o s a n d O c h n d ) . C y p r u s , f r o m w h i c h i m p o r t a n t
e n c a u s t i c p a i n t i n g , a t e c h n i q u e f o u n d m a i n l y in t h e E a r l y B y z a n t i n e p e r i o d , in
e x a m p l e s ol local p r o d u c t i o n a r e k n o w n , w as p r o b a b l y a c e n t r e f o r t h e p r o d u c t i o n
w h i c h t h e p i g m e n t s w e r e m i x e d w ith t h e m e l t e d w a x , o r m o r e u s u a l l y w i t h e g g
o f t h e s o - c a lle d C r u s a d e r ic o n s o f th e t h i r t e e n t h c e n t u r y , m a n y o f w h i c h s u r v iv e
o n t h e is la n d a n d in t h e M o n a s t e r y o f St. C a t h e r i n e o n M o u n t S in a i.
w i t h p a r c h m e n t i n s t e a d o f c a n v a s . A s f o r t h e d i f f e r e n t k i n d s o f ic o n a n d t h e i r u s e ,
T h e M o n a s t e r y o f S in a i p o s s e s s e s t h e la r g e s t c o l l e c t i o n of B y z a n t i n e i c o n s n o w
in e x i s t e n c e . M a n y i c o n s h a v e a ls o s u r v i v e d in G r e e c e , in K a s t o r i a , V e r i a , T h e s s a
t h e D o d e k a o r t o n a n d t h e G r e a t D e e s i s , a n d o t h e r , d o u b l e - s i d e d ic o n s , w h i c h
lo n ik e , M o u n t A th o s , th e B y z a n tin e M u s e u m of A th e n s , a n d e ls e w h e re . L arge
w e r e u s u a l ly i n t e n d e d t o b e c a r r i e d in p r o c e s s i o n , r e l i q u a r i e s , d i p t y c h s a n d tr ip -
n u m b e r s o f B y z a n t i n e i c o n s h a v e , o f c o u r s e , b e e n lost as a r e s u l t o f n a t u r a l d i s a s
ty c h s . In t e r m s o f t h e i r s u b j e c t m a t t e r , t h e y c a n b e d i v i d e d in t o c u lt i c o n s o f
te r s a n d lo o t i n g . O t h e r s still a w a i t d i s c o v e r y , a n d m a n y t h a t h a v e b e e n d a m a g e d
C h r i s t , t h e V i r g i n a n d t h e s a i n ts , a n d t h o s e , m a i n l y o f a d i d a c t i c c h a r a c t e r , d e p i c
h a v e r e t a i n e d t h e i r r e l i g i o u s f u n c t i o n , sin ce t h e y w e r e p a i n t e d o v e r in t h e P o s t - B y
z a n t i n e p e r i o d . It is a l w a y s a g r e a t s o u r c e o f d e l i g h t w h e n a h i t h e r t o u n k n o w n
a n d m a r t y r d o m s o f t h e s a i n ts , a n d o t h e r c o m p l e x s u b j e c t s li k e t h e L a s t J u d g m e n t .
B y z a n t i n e ic o n is d i s c o v e r e d o r , as h a p p e n s n o t i n f r e q u e n t l y , is r e v e a l e d in t h e
M a n y i c o n s te ll t h e s t o r y o f t h e D o d e k a o r t o n ; t h a t is, t h e y r e p r e s e n t t h e t w e l v e
c o n s e r v a t i o n l a b o r a t o r y u n d e r n e a t h t h e m o r e r e c e n t p a i n t i n g c o v e r i n g it. F o r
e v e r y n e w d i s c o v e r y , w h e t h e r t h e p a i n t i n g o n it is o f a h i g h q u a l i t y o r m e r e l y o f
w h i c h a d o r n e d t h e e p is ty l e o f t h e i c o n o s t a s i s f r o m t h e M i d d l e B y z a n t i n e p e r i o d
r o u t i n e c r a f t s m a n s h i p , n o t o n l y f u r n i s h e s n e w e v i d e n c e f o r s c h o l a r s h i p b u t a ls o
onw ards.
T h e p r o c e s s e s t h a t g o v e r n e d t h e p r o d u c t i o n o f ic o n s in B y z a n t i u m a r e n o t
p r e s e r v e s t h e m e m o r y o f B y z a n t i u m , w h ic h k e p t t h e G r e e k i d e a a liv e in E u r o p e
k n o w n in a n y d e t a i l . T h e y w e r e n o r m a l l y a n o n y m o u s w o r k s o f p i e t y , a n d t h e i r
t i n e a r t . F o r th is w a s a n a r t d r e s s e d in o fficia l r e l i g i o u s a t t i r e w h i c h , t h a n k s to its
d u rin g th e M id d le A g e s, a n d co n v ey s so m e th in g of th e sp iritu al o d o u r o f B y z a n
th e o b j e c t o r p e r s o n d e p i c t e d , w h i c h g u a r a n t e e d t h e a u t h e n t i c i t y o f t h e r e l i g i o u s
e a s t e r n d e c o r a t i v e sk ills, a n d t h e w a y in w h ic h it r e f l e c t e d t h e v e r y s t r u c t u r e a n d
w o rk . T h e u n c h a n g in g ic o n o g ra p h ic fe a tu re s o f h oly p e rs o n s a n d s a c r e d e v e n ts
f o r t u n e s o f t h e B y z a n t i n e E m p i r e , s u s t a i n e d a h ig h le v e l o f p o e t i c p o w e r , v itality
and relevan ce.
w e r e i n s u r e d b y r e f e r e n c e to m o d e l s s u p p l i e d b y m i r a c u l o u s , c u lt a n d o t h e r ic o n s ,
b y s k e t c h b o o k s , a n d b y w r i t t e n d e s c r i p t i o n s s u c h as t h o s e o f U l p i u s t h e R o m a n
fr o m t h e n i n t h - t e n t h c e n t u r i e s , o r t h e p o s t - B y z a n t i n e P a in te r 's M a n u a l b y D i o n y
sius o f 1 'o u r n a .
S ty lis tic a lly i c o n - p a i n t i n g w a s i n f l u e n c e d b y , a n d i n f l u n c e , m u r a l p a i n t i n g a n d
m i n i a t u r e p a i n t i n g , b u t w ith c e r t a i n d e c i s i v e d if f e r e n c e s : t h e m o s t o b v i o u s a r e
Iliosc s t e m m i n g f r o m t h e n o r m s o f t h e m o r e d e t a i l e d , p r e c i s e a n d d i s c i p l i n e d a r t
ol tin- e a s e l ; f r o m t h e li m i te d size a n d s h a p e o f t h e ic o n s ; f r o m t h e g o l d b a c k p o i m i l w h ic h w a s a n e s s e n tia l f a c t o r in t h e a b s t r a c t - t r a n s c e n d e n t a l c h a r a c t e r a n d
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in o f l u x u r y o f t h e p o r t a b l e ic o n ; a n d f r o m t h e i r c o m p a r a t i v e l y c o n s e r v a t i v e ,
hit i kite l o n e
p a r t i c u l a r l y in t h e c a s e o f c u lt ic o n s . T h e s e , w i t h t h e i r o r d a i n e d
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h o s t il e w o r l d s c o n s t i t u t e s o n e o f t h e m o s t i m p o r t a n t c h a p t e r s in t h e h i s t o r y o f
E u r o p e , t h e e v e n t s f o l lo w in g t h e F o u r t h C r u s a d e w e r e as d e c is iv e as t h e fall o f
C o n s t a n t i n o p l e f o r t h e h is t o r y o f H e l l e n i s m . T h e c a p t u r e o f C o n s t a n t i n o p l e b y t h e
C r u s a d e r s in 1204 a n d t h e e s t a b l i s h m e n t o f L a t i n d o m i n a t i o n o v e r t h e t e r r i t o r i e s
o f t h e d i s m e m b e r e d B y z a n t i n e s t a t e m a r k e d t h e e n d o f t h e B y z a n t i n e E m p i r e as
a n e n t i t y ; a t t h e s a m e t i m e , w h a t N i c e t a s C h o n i a t e s d e s c r i b e d a s t h e
' ( g r e a t c h a s m ) w a s fin a lly c r e a t e d b e t w e e n t h e C h r i s t i a n E a s t
a n d th e C h ristia n W est.
T h e h isto ry o f th e p o p u la tio n o f th e E a s te r n E m p ire a fte r th e W e s te r n w o rld
h a d p r e v a i l e d p a s s e d t h r o u g h t h r e e p h a s e s ; first, t h e r e w a s r e s i s t a n c e t o L a t i n
i n f l u e n c e , t h e n a d j u s t m e n t to t h e n e w s i t u a t i o n a n d c o n t a c t w ith W e s t e r n c iv ili
z a t i o n a n d t h e m o r e d e v e l o p e d W e s t e r n e c o n o m i e s , a n d , fin a lly , a c c e p t a n c e o f t h e
in stitu tio n a l f r a m e w o rk o f fo reig n so v e re ig n ty . T h is th r e e fo ld r e a c tio n , th e
e x p r e s s i o n o f a c u l t u r e w h o s e m a i n h a l l m a r k w a s t h e v ita lity s t e m m i n g f r o m its
p o w e r s o f a s s i m i l a t i o n , e n a b l e d t h e G r e e k e l e m e n t t o t a k e a d v a n t a g e ol t h e
f a v o u r a b l e c o n d i t i o n s c r e a t e d b y W e s t e r n r u l e , a n d at t h e s a m e t i m e le d it to
d e l i n c ils soc ial a n d id e o lo g ic a l o i i i il la t io n
i o r c l c r lo th e l e i r i l o i i c s o f ih c B y / a n l m c E m p i r e , Ihe I a t i n s u s e d t h e t e r m
' R o m a n i a ' , a w o r d o f p o p u l a r o r i g i n , s y n o n y m o u s in th e B y z a n t i n e s o u r c e s w ith
Ih e ( ( < tciv ( K i n g d o m ol t h e R o m a n s ). T h e L a t i n e m p i r e o f
( on l a m i n o p l c w a s th u s c a ll e d I m p e r i u m R o m a n i a e , t h e D o g e o f V e n i c e a d d e d
lo liis lilie s t h a t o f d o m i n u s q u a r t a e p a r t i s e t d i m i d i a e t o t i u s I m p e r i i R o m a n i a e ' ,
t h e c o d i f i c a t i o n o f f e u d a l i n s t i t u t i o n s in G r e e c e w a s g iv e n t h e n a m e o f A s s i s e s d e
R o m a n i c ' , a n d N a u p l i o n is r e f e r r e d to t h r o u g h o u t t h e p e r i o d o f L a t i n d o m i n a t i o n
a s N a p o l i d i R o m a n i a . T h e V e n e t i a n s d i s t i n g u i s h e d b e t w e e n R o m a n i a b a s s a '
( t h e P e l o p o n n e s e , E u b o e a , C r e t e , a n d t h e i s la n d s ) a n d ' R o m a n i a a l t a ( M a c e d o
n ia , T h r a c e , a n d t h e B o s p h o r u s ) . F o r t h e c h r o n o g r a p h e r S a l i m b e n e , t h i r t e e n t h c e n t u r y G r e e c e w a s a p r o v i n c e o f R o m a n i a ( G r e c i a ... e s t p r o v i n c i a R o m a n i a e ).
A n d th e v e ry d o c u m e n t by w h ich th e te r rito rie s o f th e B y z a n tin e E m p i r e w e re
d i s t r i b u t e d a m o n g s t t h e C r u s a d e r s is k n o w n as t h e P a r t i t i o t e r r a r u m I m p e r i i
R o m a n i e .
D i v i d e d in t o F r a n k i s h a n d V e n e t i a n p o s s e s s i o n s , t h e G r e e k r e g i o n s e x p e
rie n c e d d ifferin g fo r tu n e s fro m th e th ir te e n th to th e e n d of th e e ig h te e n th c e n tu
rie s , in v o l v in g v a r y i n g p e r i o d s o f L a t i n s o v e r e i g n t y , a n d o n e o r m o r e f o r e i g n
l o r d s . S o m e a r e a s p a s s e d d ir e c tl y f r o m t h e B y z a n t i n e a d m i n i s t r a t i o n t o V e n e t i a n
s o v e r e i g n t y , o t h e r s b e c a m e fiefs, in a c c o r d a n c e w ith W e s t e r n p r a c t i c e , a n d y e t
o th e r s p a ss e d th r o u g h a feu d al p h a s e b e fo re b e c o m in g V e n e tia n p o sse ssio n s. T h e
h is to r i c a l c l i m a t e a f f e c t i n g t h e p o p u l a t i o n o f e a c h r e g i o n t h u s v a r i e d a c c o r d i n g to
th e s p e c ific lo c a l c o n d i t i o n s . E v e n b e f o r e t h e F o u r t h C r u s a d e C y p r u s h a d c o m e
u n d e r Ih c d o m i n a t i o n o f t h e F r e n c h L u s i g n a n s , w h o r u l e d o v e r t h e i s l a n d f o r
a b o u t t h r e e h u n d r e d y e a r s , u n ti l t h e e s t a b l i s h m e n t in 1489 o f V e n e t i a n a u t h o r i t y ,
- - 46
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. ^ ^ . f t e r th e fall of C o n s t a n t i n o p l e in 1453,
C r e t e , w hich h a d b e e n u n d e r V e n e tia n o c c u p a t io n since 1204, t o o k its p la c e as th e
m o st i m p o r t a n t c e n tr e o f a rt in th e G r e e k w o rld .
T h e c o n c e n t r a t i o n in C a n d ia (I ra k lio n ) o f a g ro u p o f artists o f o u t s t a n d i n g
ta le n t e s ta b lis h e d th e a u th o r it y o f C r e t a n a rt, w hich s p r e a d t h r o u g h o u t th e G r e e k
w o rld , th e in flu en ce o f C r e ta n p a in t e r s b ein g partic ula rly p r o n o u n c e d in th e m a j o r
c e n tr e s o f O r t h o d o x y , on M o u n t A tlio s, at M e t e o r a , on the is land o f P a t m o s an d
at llie M o n a s te r y o f Sinai. 1 he C r e t a n p a in t e rs , w h o fr e q u e n tly v isited V e n ic e ,
n atu ra lly d e v e lo p e d close ties with the G r e e k c o m m u n it y th e r e , w h ich w as 5,000
s tr o n g in th e s ix te e n th centu ry .
T h e r e is d o c u m e n t a r y e v id en c e for th e m o v e m e n t o f p a in te rs fr o m C o n s t a n t i
n o p le to C r e t e e v e n b e fo r e th e fall o f th e city, an d d u rin g this sa m e p e r i o d C r e ta n
p a in t e r s such as A n g e lo s A k o t a n t o s tr a v e lle d to th e capital fro m C r e te . T h e e s t a b
lis h m e n t in C r e t e o f p a in te rs fr o m C o n s t a n t in o p l e th a t s e e m s likely to h a v e t a k e n
p lace a f t e r 1453 w as t h e r e f o r e a c o n ti n u a ti o n o f ea rlie r links b e t w e e n th e island
a n d th e cap ital.
W all p a in tin g s in c h u rc h e s o f the first half o f th e fifte e n th c c n tu r y , like th ose
p a i n t e d by m e m b e r s o f th e P h o k a s fam ily, d isplay stro n g affinities w ith w o rk s
fro m a C o n s t a n t i n o p o l i t a n a te lie r, such as th o s e in th e C h u r c h ol th e P e r i b le p t o s
at M istra (s e c o n d h alf o f th e f o u r te e n t h c e n tu r y ) . T h e art in th es e p a in tin g s is o f a
very high q u a lity , a n d has n o n e o f the prov in cial c h a r a c t e r to be f o u n d in o t h e r
churclxts from (his p e rio d o n the island. O n ly a lew icons no w d a t e d to th e early
pari o f th e fiftee n th c e n tu r y arc inclu ded in this e x h ib itio n . D e s p ite the d if fe re n c e s
o f style b e tw e e n -, they w ere all prpilueoiJ in a highly c u lt u r e d e n v i r o n m e n t .
T h e D o r m i l i o n from the K a n e llo p o u lo s M u s e u m (cat. no. 23 ), w ith its e ru d i te
ic o n o g r a p h y , r e l in e d d ra w in g an d s u b d u e d c o lo u rs, can only be th e w o r k o f a
p a i n t e r w h o h a d le a r n e d his art in th e B y z an tin e cap ital. 1 h e N a tiv ity in th e
P e ra t ik o s C o lle c tio n (fo rm e rly Volpi C o lle c tio n , cat. no. 30) is clo ser to th e s u p
e r b e n s e m b l e s o f wall p ain tin gs at M istra. T h e icon d e p ic tin g St. M a r i n a f r o m th e
B v z a n tin e M u s e u m o f A t h e n s (cat. no. 31) is an e x a m p le o f th e a d o p t i o n o f the
P a la e o l o g a n style in C re te .
- 48
C r e t a n ic o n s o f t h e f i f t e e n t h a n d e a r l y s i x t e e n t h c e n t u r i e s w ill a ls o h a v e
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I h e o p h a n e s , a C r e t a n p a i n t e r a c ti v e a t M e t e o r a a n d o n M o u n t A t h o s
( 1 52 7-i55 X ) f o l l o w e d t h e e a r l i e r t r a d i t i o n a n d e n r i c h e d it w i t h m o r e r e c e n t I t a l i a n
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f e a t u r e s . In 1542, t h e p a i n t e r - p r i e s t E u p h r o s y n o s p r o d u c e d i c o n s in C r e t e f o r t h e
M o n a s t e r y o f D i o n y s i o s o n M o u n t A t h o s , f o l l o w i n g t h e p r e c e p t s o f t h e s t ric tly
t r a d i t i o n a l a r t o f A n g e l o s a n d R it z o s .
In t h e m i d d l e a n d l a t t e r h a l f o f t h e c e n t u r y , t h e p e r s o n a l i t i e s o f M i c h a e l
D a m a s k i n o s a n d G e o r g i o s K l o n t z a s h e l p e d t o m o d e r n i z e C r e t a n p a i n t i n g . T h e i r
w o r k is o f t e n d o m i n a t e d b y M a n n e r i s m , a s in t h e ic o n o f S t. J u s t i n a a n d t w o o t h e r
s a i n ts f r o m
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V e r o n e s e . It s h o u l d b e n o t e d , h o w e v e r , t h a t in s o m e o f t h e i r o t h e r w o r k s , t h e s e
p a i n t e r s f o l l o w e d t h e c o n s e r v a t i v e s ty le t h a t d r e w u p o n t h e a u s t e r e B y z a n t i n e
trad itio n .
T h e i r a b il it y to h a n d l e d i f f e r e n t sty le s m u s t h a v e b e e n a c o n s e q u e n c e o f t h e
w a y in w h i c h t h e f i f t e e n t h - c e n t u r y p a i n t e r s w o r k e d . T h i s d u a l a b ility is d i s c e r n i b l e
In
in t h e e a r l y w o r k s o f D o m e n i k o s T h e o t o k o p o u l o s , w h o s e r v e d his a p p r e n t i c e s h i p
C r e t e d u r i n g t h e last t w o i v n i m i e s o f
in C r e t e in a m i l i e u a t o n c e r o o t e d in t r a d i t i o n , y e t o p e n to t h e a r t is t ic a s p i r a t i o n s
V e n e t i a n r u l e ( f r o m t h e m i d - f i f t e e n t h to t h e m i d - s e v e n t e e n t h c e n t u r y ) tin m o s t
o f t h e t i m e . T h e d e g r e e o f a s s i m i l a t i o n o f, o r r e s i s t a n c e t o , d i f f e r e n t a r t i s t i c s ty le s
i m p o r t a n t c o m m e r c i a l a c ti v it ie s w e r e c o n c e n t r a t e d in t h e m a j o r e o i i n n i m i c n t i e s
c o r r e s p o n d e d to th e s ta te o f th e re la tio n sh ip b e tw e e n th e tw o w o rld s th a t c o e x
o f t h e i s la n d : t h e c a p i t a l , C a n d i a ( n o w I r a k l i o n ) , a n d o t h e r c it ie s , s u c h as I h a m i
is te d o n t h e is l a n d . T h i s d ir e c t c o n t a c t o f t h e C r e t a n p a i n t e r s w ith t h e w o r l d o f
a n d R e t h y m n o n . In t h e s e c e n t r e s t h e u r b a n m i d d l e a n d u p p e r c la s s e s b e c a m e ilu
t h e i r d a y is p e r h a p s o n e o f th e m o s t v a l u a b l e a s p e c t s o f t h e i r a rt .
m a i n b e a r e r s o f c u l t u r e . T h e d e v e l o p m e n t o f i n t e l l e c t u a l life f o l l o w e d
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s a n c e p o e t r y a n d d r a m a ) , a n d in t h e v is u a l a r t s , p a r t i c u l a r l y p a i n t i n g , lm w h ic h
t h e i s l a n d r e m a i n e d t h e m o s t i m p o r t a n t c e n t r e a f t e r t h e fall o f C o n s t m u n o p l t
T h e c h a r a c t e r o f th is p e r i o d is w e ll d o c u m e n t e d b y t h e s u r v i v i n g n> hiv al sOuf
c e s . F o r p a i n t i n g , a w e a l t h o f i n f o r m a t i o n is f u r n i s h e d b y t h e A rchives i c U i i n g lo
t h e V e n e t i a n a d m i n i s t r a t i o n in C r e t e ( n o w p r e s e r v e d in t h e S ta l l A n h iv e s in
V e n i c e ) . N o t a r i a l d o c u m e n t s , in p a r t i c u l a r , y ie ld v a lu a b l i
info rm ation on
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s o u r c e s o f d e m a n d f o r a n d s u p p l y o f C r e t a n ic o n s , t h e c o n d i t i o n s ot n o n p r o d u c
t i o n , t h e o r g a n i z e d m a r k e t in C r e t a n i c o n s a n d t h e i r i l i s s e m m a i i o n in
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A m o n g t h e s o u r c e s o f d e m a n d fo r ( ' r e t a i l ic o n s , m e r c h a n t s
b o th ( n e c k a n d
I t a l i a n , h e l d a s i g n ifi c a n t p o s i t i o n . Ilie m e r c h a n t s , a sp e c ia l p n u p o f c u s t o m e r s o f
C r e t a n p a i n t e r s , a c t e d as i n t e r m e d i a r i e s b e t w e e n C r e t a n
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k e t s , a n d o f t e n e x p r e s s e d c o l l e c t i v e a e s l h e t i c p i e l e i c n c e v 1 h e ir w r i t t e n c o n t r a c t s
co n stitu te a considerable p ro p o rtio n (about
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p l a c e d w i t h p a i n t e r s a c tiv e in C r e t e .
D o c u m e n t s i n v o l v in g c o m m e r c i a l o r d e r s l o r la r g e q u a n t i t i e s o f C r e t a n i c o n s
re v e a l th a t th e s e w o rk s w e re m ass p ro d u c e d lo r e x p o rt. vast n u m b e r o f icons
w e r e c o m m i s s i o n e d in 1497 b y a V e n e t i a n d e a l e r f r o m a C r e t a n p a i n t e r . T h e
p a i n t i n g s w e r e t o b e p u t u p f o r s a le in E u r o p e , n o t a b l y in F l a n d e r s . H a l f o f t h e m
h a d a l r e a d y b e e n d i s p o s e d o f, w ith g r e a t s u c c e s s , in t h e W e s t e r n m a r k e t s b y M a y
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t h e d r a w i n g s p r e s u m a b l y e n d e d in h is b r o t h e r s h a n d s . I n 1477, w h e n h e w a s
e l d e r l y a n d s ic k , t h e b r o t h e r , J o h n A k o t a n t o s , is k n o w n t o h a v e s o l d 5 4 d r a w i n g s
o f v a r i o u s s a i n t s (e x e m p lo r u m fi g u r a r u m d iv e r s o r u m s a n c to r u m , g re c e d ic ta sq ia sinarit) lo a n o t h e r m a j o r i c o n - p a i n t e r , A n d r e a s R i t z o s , f o r t h e c o n s i d e r a b l e s u m o f
l l ir e e g o l d d n e a t s . T h e t r a n s a c t i o n t o o k p l a c e o n t h e c o n d i t i o n t h a t t h e d r a w i n g s
w e r e to b e e x c lu s iv e l y u s e d b y R i t z o s h i m s e l f a n d w e r e n o t to b e s o l d t o o t h e r
p .m ilt is.
A n g i los w a s a m a j o r f i g u r e in t h e f o r m a t i o n o f t h e C r e t a n S c h o o l , a n d a t le a s t
I(9 w o r k s by h im a r e k n o w n t o d a y . H e a p p e a r s t o h a v e e s t a b l i s h e d s e v e r a l ic o n o g r a p h i c f o r m u l a s b a s e d o n L a t e B y z a n t i n e t r a d i t i o n s , a n d a ls o o n a l i m i t e d n u m b i i ol I c i t u r e s d e r i v i n g f r o m I t a l i a n p a i n t i n g s o f t h e I n t e r n a t i o n a l G o t h i c s t y le ,
It>i i n s t a n c e , llie d r a g o n - s l a y i n g s a i n t s m o u n t e d o n r e a r i n g h o r s e s ( c a t . n o . 59 ).
I In f e a r o l lo lu t A k o t a n t o s t h a t h is d r a w i n g s m i g h t fall i n t o t h e h a n d s o f le s s e r
ai lists s u g g e s ts t h a t h e w a s fu lly a w a r e o f t h e i r i m p o r t a n c e . U n f o r t u n a t e l y , w e
kn o w nollim g a b o u t th eir precise n a tu r e - w h e th e r, for e x a m p le , th e y w e re fr e e
h inet t h a w i n g s Or p r i c k e d c a r t o o n s . A m o n g t h e s i g n e d w o r k s o f A n g e l o s t h e r e is
o n lv
llu c li n s t 1 n t h r o n e d o n Z a k y n t h o s ( c a t . n o . 33) o f w h ic h a n e x a c t c o p y
is I o n n d in tin
slight
B y z a n tin e M u s e u m o f A th e n s . T h e e x isten ce o f th e tw o p a n e ls
Is lh a l prickti tl c a r t o o n s m a y a l r e a d y h a v e b e e n in u se in t h e firs t h a l f o f t h e
li l l e e n t l i e e i i t m v
In a n y e a s e , a r t h i s t o r i a n s h a v e r e p e a t e d l y o b s e r v e d c e r t a i n
fo r m a l ii u n o g r iphit
m i i l a r m e s in th e w o r k s o f A n g e l o s a n d R i t z o s ( s u c h a s t h o s e
PLATES
I
C urved w ood en door*
V>
l2Wor I Mis
C a r v e d w o o d e n d o o rs . D etail
C a rv e d w o o d e n d o o rs. D etail
C a rv e d w o o d e n d o o rs. D etail
Ml
2
C h r i s t E m m a n u e l , SS C o s m a s , D a m i a n a n d 1 l i e o d o t c ,
E n d o f t h e 12th c e n t u r v
'
5
T h e A s c e n s i o n . M i d d l e o f th e 15th c e n t u r y
",Mu , P -4
6
W;ill p a i n t i n g s fr o m th e C 'h u rc h o t A y i o s N i k o l a o s , in V e r i a , l . a k o n i a . I5J7
8
D o u b le - s id e d Icon. A . T h e V i r g i n H o d e g e t r i a . S ec o n d half o f th e 12th c e n tu r y
-
70
10
St. G e o r g e . M i d d l e o f t h e 13th c e n t u r y
T h e D o r m i t i o n . F ir s t h a l f o f t h e 13th c e n t u r y
72
II
12
A n n u n c i a t i o n , Nativity, B ap tism .uni I i a n s t lg u r a l io n . E arly 14th centurv
75
13
V i r g i n a n d (
L a t e 13 t h - E a r l y 1 4 th c e n t u r y
14
C h r i s t P a n t o c r a t o r . L a t e 13th - h a r l y 1 4 th c e n t u r y
15
D o u b l e - s i d e d I c o n . B . T h e V i r g i n H o d e g c t r i a . T h i r d q u a r t e r o f t h e 16 th c e n t u r y
7S
IS
D o u b l e sid e d Icon.
I l i t V i r g i n I l o d c g c l r i u . B e g i n n i n g o f t h e 14th c e n t u r y
7 )
>
16
S t. P e t e r . 14th c e n t u r v
--
ko -
18
Double-sided Icon. . T he Virgin H odegetria. Second q uarte r of the 14th century
82
IS
19
20
21
21
Double-sided Icon with smaller icon inlaid. A. Christ with Angels, Apostles and Saints.
I lit* ( niulixiiMi
Kith iv nlui v
22
23
88
N*>
27
26
C h r i s t P a n t o c r a t o r . c. 1400
-
92
I Ik
A k i ,i I ipi-nidsis. I 100
<1 I
2)
I In I 1111y m io I-1iis ii l c n <
v*
I 100
100
34
St. A nn e with the Virgin. Middle of the 15th century
35
Angelos: T he Virgin Kardiotissa. Middle of the 15th century
102
103
36
Si. Anne with the Virgin~15th century
lot
38
S a n c t u a r y D o o r s . SS G e o r g e a n d D e m e t r i u s .
S e c o n d h a l f o f t h e 15 th c e n t u r y
-
106
39
__________________________________________________________________________ ------------
--------------------------------- '
40
T he Virgin Glykophilousa. Second half of the 15th century
108
44
N ikolaos Tzafouris (?): The A kra Tapeinosis. Second half of the 15th century
47
' D onnition of St. Sahbas. 15th ccntury
48
Sanctuary D oors, right leaf. Virgin of the A nnunciation, SS Basil and Nicholas.
Second half of the 15th century
48
Sanctuary D oors, right leaf. Detail
49
Christ iiiul I lie Saimirium Woman. L.isi quarter ol the 15th century
51
T he Miracle at C hon ae. End of the 15th century
52
T h e S e v e n S le e p e r s o l I p lie s o s
IMKi
53
125
58
Noli Mo T a n g e re . 16th century
127
59
Si (icorge mi llorschiick. Beginning (if the 16th century
60
St. D e m e t r i u s . 16th c e n t u r y
I2X
rf'>
61
T he A kra Tapeinosis. Beginning of the 16th century
130
62a
D o m e n i k o s ( T h e o to k o p o u lo s ) : T h e A d o r a tio n of th e M agi. c\ 1565-1575
(>3
I > m m n ik o s
I'h c o lo k o p o iilo s :
I h i I )o i m iliO ii.
I u
Im ll ol Ih r
K illi i
H im
64
65
E m m a n u e l L am bardos: T h e A d o r a t i o n o f th e M a g i. 16th c e n t u r y
69
Triptych. End of the 16th century
138
71
Silvestros Thcocharis: Triptych in a portable altar.
Altar: second half of the 15th century. Triptych: first half of the 17th century
- 140
71
S i l v e s t r o s I l i e o c h a r i s : T r i p t y c h . F irs t h a l f o f t h e 17t h c e n t u r y
141
7 2
C a r t o o n of the R es u r r e c t i o n. I7lh c e nt u r y
CATALOGUE
73
C a rto o n o f th e B aptism o f C hrist. 17th cen tu ry
1
C arved w ood en doors
1 2 9 6 or 1305
237X 140 cm
E lasson, L a ris sa . M o n a ste ry o f the
O ly m p io tissa, Sacristy
e n c lo s e d w ithin
d iffe re n t
b o rd ers, each
d esig n .
The
in laid
of a
A n o n y m o u s D e a c o n (E u p lo s)
ivory
F ir st h a lf o f th e 13th c e n tu r y
d e c o r a t i o n is p r e s e r v e d a t a n u m b e r
o f poin ts.
d elicate
T he w ork
and
as a w h o le
refin ed .
T here
is
are
in sc rip tio n s c a rv e d o n th e to p , o u t
er
corners
of
each
leaf:
L eft:
[ A N ] E K A 1 / [ N I C ] 0 H C A N ' [AI ] .
R i g h t : E T O Y C 5 / E N ( o r Y ) .
P rovenance. M onastery o f the O lym pioiissa.
F orm erly in corporated into the m;iin, west
en tran ce o f the katholikon.
B ibliography. S otiriou 1927. pp. 327ff. Byzanlinc A rt 1964, no. 127, p. 203. Skouvaras
1967. pp. 23ff. Byzantine A rt 1986, no. 20,
pp. 32-35. Affrcschi e icone 1986. no. 1, pp.
40-41
E. M . C h,
2
C h r ist E m m a n u e l, SS C o s m a s,
D a m ia n a n d T h e o d o te
E n d o f th e 12th c e n tu r y
157X105 cm
Z akynthos. M useum
1 9 6 X 5 8 cm
A t h e n s . B y z a n t i n e M u s e u m , T . 2227
M. C II
C h u rc h F ath er
14th c e n t u r y
200X 77 cm
C r e t e , l r a k l i i m . ('ulli-ctim i of I lit C h u r c h
o f S t. C a t h e r i n e S iniiiton
5
T h e A s c e n sio n
M id d le o f th e 15th c en tu r y
2 5 0 X 160 cm
A thens. B y z an tin e M u s e u m
148 -
W a ll p a in tin g s fr o m th e C h u r ch
o f A y io s N ik o la o s in V e r ia , L a k o n ia
1597
343X 217 cm
Y e ra k i, L a k o n ia . L a b o r a to r y of the 5th
E p h o r a te o f B yz antine Antiquities
( t e m p o r a r y locatio n)
fil ttZ
Ai
T h e R a isin g o f L a z a r u s
F ir st h a lf o f th e 12th c e n tu r y
* \
2 1 . 5 X 2 4 cm
A t h e n s . P r i v a t e C o llectio n
8
D o u b le -s id e d Icon
A.
T h e V ir g in H o d e g e tr ia
B . T h e A k r a T a p e in o s is
S e c o n d h a lf o f th e 12th c e n tu r y
115X 77.5 cm
K astoria. Cathedral
M. Ch.
10
SI. G e o r g e
M id d le o f th e 13th c e n tu r y
2 6 .8 X 1 8 .8 cm
L o ndon. B ritish M u seu m , M a n d LA
1984, 6-1, 1
T h e D o r m itio n
F ir st h a lf o f th e 13th c e n tu r y
9 4 X 7 5 cm
Kastoria. Archaeological Collection
11
S t . J o h n th e B a p tis t
12
A n n u n c ia tio n , N a tiv ity , B a p tism
an d T r a n sfig u r a tio n
E a r ly 14th c e n tu r y
3 8 . 8 X (a p p ro x .) 25.6 cm
L ondon. B ritish M u seu m , M a n d M L 52,
1- 2 , 1-2
13
pp. 359ff., pi. X L V I, 22. H aderm ann-M isguich 1983, pp. 10ff.. pi. 1,
106.8X 67.2 cm
1-2) contain in g allusions to the fu
A thens. J .C . C a r r a s C ollection
ture Passion of Christ. T he c o m p o
sition has closer ic onographic affi
P re p aratio n with gesso on canvas.
nities with 13th- and 14th-century
T he w oo den panel has a b road raised
icons in the M onastery of C helandari
fram e. T he large icon, which will o ri
on M o u n t A th o s (Pelekanidis 1977,
ginally have a d o r n e d the iconostasis
pp. 17ff., fig. 1. Tatic - D juric - D orof a church, is quite extensively d a m
devic 1984, no. 5), in the B yzantine
aged. T h e left an d right sides of the
M u s e u m , A th e n s (Chatzidakis 1965
panel and sections of the to p and
(2), pp. X X X f f ., pi. 58) and in Ochb o tto m edges are cut away, and
rid (R ad o jcic 1965, p. L X V , pis. 159,
som e parts of the painting are miss
171).
ing; fortunately these are not crucial
A
limited n u m b e r of colours are h a r
areas of the figures p o rtra y ed , which
m
oniously
co m bin ed in the c o m p o
are in a good state of preservation.
sition. A w arm ochre colour is used
T h e b u rnt reverse side of the panel
to suggest gold on the b ackg ro und
and som e d am ag e d areas of polish
and for the highlights in C h rists
show that the icon was at some stage
him ation; the V irgins m ap h o rio n is
exposed to serious risk of fire. New
a blue-m auve colour, the childs
pieces of w ood have been ad ded to
him ation a dull o range, and there is
the panel to restore it to its probable
som e light green in the V irgins
original dimensions.
h e a d b a n d and C h rists belt. T he
T he rep rese n tatio n is an interesting
m odelling of the faces is soft, even
variation of the type of the Virgin
I lodegetria. T he Virgin, w ho is lo o k and painterly, only the area around
the V irgin s eyes being re n d e re d in a
ing directly at the viewer, is turned
m ore linear m a n n er; the lighting is
slightly to w ards the baby Christ,
allusive,
with broad bright surfaces
w hom she is holding tenderly in both
and brow n shadows that assum e a
arms. H er right arm passes b eneath
greenish colour at the edges, and the
the child's legs to supp ort him, and is
highlights at the p rom ine nt points
bent at the elbow in such a way as to
are r e n d e re d by 'disguised' b rush
fram e the com position. T he child,
strokes; all these are features of the
sitting com fortably in his m o th e r's
painting of the late 13th and early
arm s, is looking to w ards the Virgin
14th centuries. T he lack of gold in
and leaning slightly backw ards, in a
the b ack g ro u n d and in the gold w e b
position not unlike that of the
bing in C h rists garm ents, the limited
A n a p e s o n (Pallas 1965, pp. 1S l f f .).
range o f colours, and the dull light
H e is blessing with his right hand and
ing in the faces probably point to
with his left he holds a closed upright
scroll, s u p p o rted on his leg. T he p o s the no rth of G re ec e, to a good
w o rkshop. T h e facial characteristics
tures and gesture o f the Virgin and
of the ra th e r tall Virgin are in te n tio n
Christ are very different from the
ally lacking in beauty. T he a s y m m e t
severe type of the H o d eg e tria,
rical features, the large sloping eyes,
recalling rath e r the L ate C om n enia n
with their intense gaze, the long
type of the Virgin of the Passion
thick eyeb row s, the aquiline nose
(Sotiriou 1953-54, pp. 87ff., pi. 1.
and
the small full m ou th, are further
Belting 1980-81, pp. 10ff., fig. 16.
indications of a n o rth ern G reek
Stylianou 1985, p. 159, fig. 85), and
origin.
C o m n en ia n rep rese n tatio n s of the
Virgin
G lykophilo usa
(Sotiriou
Conservation. Ph. Z achariou
1956, 1958, pp. 73ff., pis. 54-55, pp.
Bibliography. U npublished.
119ff., pi. 135. C hatzidakis 1979 (1),
M. A .-I.
V ir g in a n d C h ild
L a te 13th - E a r ly 14th c e n tu r y
154
14
C h r ist P a n to c r a to r
L a te 13th - E a r ly 14th c e n tu r y
87X 55 cm
K a sto ria . A rchaeological C ollection
15
D o u b le -s id e d Icon
A . T h e V ir g in H o d e g e tr ia
B e g in n in g o f th e 14th c e n tu r y
B. T h e V ir g in H o d e g e tr ia
T h ir d q u a r te r o f th e 16th c e n tu r y
1 1 5 x 8 5
cm
V e r i a . A r c h a e o l o g i c a l M u s e u m , n o.
1 1 7
S t. P ete r
R. C.
17
T h e T h re e C h u rc h F a th e rs
16
1 4 th c e n tu r y
6 8 .7 X 5 0 .6 cm
L o n d o n . B ritish M u seu m , M a n d LA
1983, 4-1, 1
1 4 th c e n t u r y
126X90 cm
A thens. B yzantine M u seu m , T . 1031
157
r o p o u s , B is h o p o f E u c h a it a i ( D r a n d a k is 1969, pp . 13 ff.). T h e y w e re
r a r e ly p o r t r a y e d in p o r t a b l e icons in
th e B y z a n ti n e p e r i o d . T h e o r d e r in
w h ich t h e fig u re s w e r e a r r a n g e d was
n o t c le a rly d e f i n e d . T h e m o d e l fo r
th e ico n , in t e r m s o f p o s t u r e a n d g e s
tu r e s , is to b e s o u g h t in w o rk s like
th e 1 2 th - c e n tu r y m o s a ic in th e
C a p e l l a P a l a t i n a in P a l e r m o ( D e m u s
1949, pi. 2 3B ).
T h e ico n is a n e x c e p t io n a ll y fine
w o r k o f a r t , p r o b a b l y by a C o n s ta n t in o p o l i t a n p a i n t e r , p e r h a p s o f th e
s e c o n d d e c a d e o f t h e 14th c e n tu r y ,
j u d g i n g by its q u a li ty a n d its close
affin ity w ith th e w all p a in t in g s in th e
c h a p e l o f t h e M o n a s t e r y o f C h o r a in
C o n s t a n t i n o p l e ( U n d e r w o o d 1966,
pis. 429, 433, 4 7 8 -4 85 ), a n d w ith th e
m o s a ic s in t h e C h u r c h o f th e H o ly
A p o s t l e s in T h e s s a l o n i k e (X y n g o p o u lo s 1953, pis. 2-7, 30, 33, 1 a n d
42, 1. D e m u s 1975, p. 150. S t e p h a n
1986, p a s s im ). F e a t u r e s o f th e
p r e s e n t icon t h a t can b e d e t e c t e d in
all t h r e e w o r k s a re th e o rg a n i c
c o m p o s i t i o n o f th e fig u res, a n d th e
r a n g e o f c o lo u r s u sed : d a r k r e d , p u r
p le , b l u e , light g r e e n , p in k ; the
m o d e l li n g , t h e p r o p o r t i o n s o f th e
b o d ie s , a n d r e n d e r i n g o f t h e in d iv id
u al facial c h a ra c te ris tic s ; th e n ob ility
a n d sp iritu a lity , a n d th e s t r e n g t h ,
v ig o u r a n d p a s s io n in th e i r e x p r e s
sion s. S im ila rly , th e m a in artistic
c o n c e r n in this ico n , as in th e o t h e r
t w o m o n u m e n t s , is in th e e l a b o r a t e
r e l ie f o f t h e fig u re s ( D e m u s 1975, p.
149), a c h ie v e d h e re by th e sensitive
a n d s p o n t a n e o u s b a la n c e o f lin e ar
a n d p a i n t e r l y e le m e n ts .
Provenance. T hessalonike.
Conservation. A. M argaritoff. S. Papageorgiou. T h.
(1984).
Papageorgiou,
A.
Sim andoni
B.
D e c o r a tiv e m o tif
F irst h a lf o f th e 14th c e n tu r y
104X69 cm
Egion. Church of Zoodochos Pigi (Panagia Trypiti)
T h e p a n e l h a s a raised b o r d e r , to
w h ich w a s n aile d a n a d d it io n a l g ild
e d w o o d e n s trip , on ly a sm all p ie c e
o f w h ich surviv es. E g g t e m p e r a o n
g ess o o v e r c a n v a s . T h e re v e r s e side
has a d e c o r a t iv e design c o n sistin g of
th r e e c ro s se s a n d a flo ral m o tif. T h e
sain t is d e p i c t e d fr o n ta lly , h o ld in g a
s p e a r a n d sh ie ld . T h e h e a d o f curly
h a ir , a n d th e y o u th f u l, h a n d s o m e
f e a t u r e s , w h ich a re n o t p e rfe c tly
s y m m e t r ic a l , since his h e a d is t u r n e d
slightly to th e left, a re r a t h e r l o o s e
ly d r a w n . T h e d e lic a te flo ral dec-
Provenance. P ro k o n isia . T u rk e y (o ra l re p o t l)
Conservation N . K ailas
Bibliography. Byzanlinc A rt I9M . no. 2.,
pp. 272ff. C hatzidakis 1965 (2). p. X X X . |>ls
74-75. Byzantine A rt 1986. no. 78, pp. 757
A ffrcschi c icone 1986. no. 35, p. 74.
M <i
20
D o u b le -s id e d Icon
A . T h e V ir g in H o d e g e tr ia
B.
S t. N ic h o la s
S e c o n d q u a r te r o f th e 14th c e n tu r y
1 1 5 X 6 9 cm
KIkiiIcs. Church of the Eisodia at
Niochori
I Ik i con is d a m a g e d . It is p a in t e d o n
g e ss o on c a n v a s willi a g o ld g r o u n d .
A b rilliant w o r k o f a r t , p r o b a b l y e x
e c u t e d in C o n s t a n l i n n p l c , it e m b o
d ie s t h e b e st tr a d it io n ol Ia la e o lo g a n
p a in tin g .
B o t h s id e s a r e p r o b a b l y to be a t
t r i b u t e d to th e s a m e p a in t e r . D a r k ,
vivid c o lo u r s a r e u s e d . The e v o c a tiv e
lig h tin g a n d t h e m o n u m e n t a l g r a n
d e u r o f th e fig u re s a re p a rtic u la rly
s t r ik i n g f e a t u r e s ; t h e la t te r d e riv e s
f r o m th e size a n d f r o n ta l p o s t u r e of
th e fig u res, a n d su g g ests th a t this
w a s o rigin ally a d e v o t i o n a l , p r o c e s
sio n al ico n , u s e d in a la rg e , im p o r t a n t
c h u r c h , th a t w as possibly d e d ic a te d
to St. N ic h o las .
158
D o u b le -s id e d Icon
A . S t. G eo r g e
M. A.-P.
18
19
M. A.-P.
C h r ist th e W isd o m o f G od
E n d o f th e 14th c e n tu r y
154 X 100 cm
A t h e n s . B y z a n t i n e M u s e u m , T . 185
A b u s t o f C h ris t in th e ty pe of th e
P a n t o c r a t o r . H e is blessing w ith his
left h a n d , a n d in his right h o ld s an
o p e n G o s p e l b o o k w ith a text.
T h e im p o s i n g figure o f C h ris t is
t r e a t e d in t e r m s o f c o n t r a s ti n g light
a n d d a r k s u r f a c e s , w ith w h ite h ig h
lights o n th e p r o m i n e n t c h e e k - b o n e s ,
a n d o n t h e f o r e h e a d , o v e r th e e y e
b ro w s. T h e b e a r d a n d th e h a ir a re
w o r k e d w ith fine p a ra lle l lines. T h e
v o lu m e s of t h e face s e e m to s t a n d
o u t a lm o s t as t h o u g h in re lie f, d r a w
ing a t t e n t i o n to a n u n a t t r a c t i v e n e s s
t h a t is c o m p l e m e n t e d b y t h e a n x io u s
e x p r e s s io n o f th e face.
T h e s e f e a t u r e s a r e k n o w n in a se rie s
o f P a l a e o l o g a n p a in tin g s o f a s t r o n g
ly an ti-classical c h a r a c t e r w hich a r e
f o u n d at t h e e n d o f th e 14th c e n tu r y
in v a rio u s p a r t s o f th e e m p i r e .
I5>)
a lo n g s id e th e m o r e classical p a i n t m n
o f t h e p e r i o d r e p r e s e n t e d in th e
r i b l e p t o s at M i s tr a ( C h a tz i d a k is I*>7 I
(4). A c h a ra c t e ri s ti c o f w o r k s in tin
style is th e h a lo , p a i n t e d as th o u g h
in relief, as in th e A k r a T a p e in o s i '
(c a t. n o . 27 ), to r e n d e r th e t r u e I f ile I
h a lo e s in 1 4 th -cen tu ry M a c e d o n i a n
ic o n s like th e icon o f ( 'l u isl in I lit
B y z a n ti n e M u s e u m .
C h r is t's a n x io u s e x p re s s io n
mid
p r o m i n e n t f e a t u r e s a r e timilul in
t h o s e in a g r o u p o f ico ns d
th e s a m e su b je c t d a t e d lo the
q u a r t e r o f th e 14th e e n t m y , will* li
in c lu d e s th e icon ol < Iiii m In III
N a t i o n a l M u s e u m ol S i r
( B y z a n ti n e A rt I'Uv n o I I 1) uni
esp ec ially th e icon ol t Ii i KI . n n d n
tis (I i f c - g iv e i) m S k o p je p u ln i e d l<\
th e a r c h b i s h o p J o h n (
M l ) I Mill
k o v ic - le p e k *(, p p 1/ MM f(
8; cl a h o ( h a l/ id u k m ll-diir
lig. |>. I'> ),
T h e laig e s l/e nl llil
ailiM n ijijtlilv m u 1
I mi lit
II IlllJlSj
d e c o r a t i o n o f th e ic o n o s ta sis o f th e
C h u r c h o f A y i a S o p h ia in T h e s s a l o n ik e , f r o m w h ic h it c o m e s .
Provenance. T he C hurch o f Ayia Sophia,
T hessalonikc.
Conservation. Ph. K ontoglou (1930), A. M arg aritoff (1959).
N. Ch.
23
T h e D o r m itio n
B e g in n in g o f th e 15th c e n tu r y
5 4 . 5 X 3 9 . 5 cm
Athens. K anellopoulos M useum
21
D o u b le -s id e d Icon
w ith sm a lle r ico n in la id
A . C h r ist w ith A n g e ls , A p o stle s a n d
sio n a n d G lo r y o f C hrist. A p o r t r a i t
o f t h e m o n k w h o d e d ic a te d it is p r e
s e r v e d o n th e re v e rse o f th e icon.
S a in ts
B.
T h e C r u c ifix io n
14th a n d 1 6th c e n tu r ie s
9 8 X 7 1 cm
T hessalonike.
M onastery of Vlatadon,
Sacristy
A . T.
T h is inlaid ico n h a s tw o ro w s o f
d e c o r a t i o n . T h e r a r e c o m p o s it io n is
an a lleg o rical a llu sio n to th e I n c a r
n a t i o n . P a ss io n a n d H e a v e n l y G lo r y
o f C h ris t, a n d re f le c ts th e ic o n o g r a p hic p r e f e r e n c e s o f 1 4 th -ce n tu ry
p a in tin g . T h e p a i n t e r l y m o d e llin g o f
th e fig u re s, w ith soft c h i a r o s c u r o a n d
a few h ig h lig h ts, is typical o f a n u m
b e r o f w o rk s fr o m th e m id d le o f the
c e n l u r y , a n d t h u s p o in t s to th e s a m e
p e ri o d . I'he s c e n e s o n b o th : .ties o f
I hi- large K ith -c e n tu ry p ro c e s sio n a l
li on a re a ls o c o n n e c t e d with th e P a s
22
S ix sc e n e s fr o m the P a ssio n
14th c e n tu r y
Thessalonike.
5 1 X 4 1 cm
M onastery of Vlatadon,
Sacristy
160
T h e c h o ic e a n d a r r a n g e m e n t o f the
sc e n e s , th e ic o n o g r a p h y , a n d th eir
e x e c u t i o n o n a sm all scale a r e all
r e m i n i s c e n t o f m i n ia t u r e s , a n d p r o b
a b ly in d ic a te th e so u rc e s o f insp i
ra t io n o f th e w o rk .
Provenance. T he M onastery of V latadon.
T hessalonike.
Conservation. Ph. Z achariou (1977).
B ibliography. T o u rta 1982, pp. 154-179. By
zantine A rt 1986, no. 85. pp. 8(1-81. 83. Arfrc
schi e icone 1986. no. 38. pp. 76-77.
A . T.
T h e c e n tr a l s c e n e o f th e icon d ep ic ts
th e D o r m i t i o n o f th e V irgin . O n the
b r o a d , slightly raise d f r a m e a re r e p
resen tatio n s o f four hym n o g rap h ers
w h o w r o te h y m n s o n th e th e m e o f
th e D o r m i t i o n , a l t e r n a t i n g w ith fo u r
sc e n e s fr o m th e V irg in 's c h il d h o o d .
T h e fo u r p a n e ls at th e c o r n e r s d ep ict
th e M e e t in g o f J o a c h i m a n d A n n e ,
th e B irth o f th e V irg in , th e V irgin
B le ss e d by th e P rie sts , a n d P r e s e n t a
tion o f th e V irg in in th e T e m p l e . T h e
v e rtic a ls o f th e f r a m e h a v e th e fig
u re s o f K o s m a s M a i o u m a on th e left,
a n d J o h n D a m a s k i n o s o n th e rig h t,
t u r n e d to face th e c e n tr a l sc e n e ;
D a m a s k i n o s is w e a r in g th e c h a r
a cte ris tic t u r b a n . B u sts o f J o s e p h
a n d T h e o p h a n e s a r e set a b o v e a n d
b e lo w th e c e n tr a l sc e n e . T h e y are
w e a r in g m o n k ' s h a b its a n d h o ld in g
o p e n scrolls w ith texts.
T h e m a in s c e n e follow s the i c o n o g r a
p h y o f th e M o n a s t e r y o f C h o r a
( U n d e r w o o d 1966, pi. 320). T h e
m a i n ax e s o f th e c o m p o s it io n are
f o r m e d by th e tall s l e n d e r figure o f
C h ris t in a b rig h t m a n d o r l a a n d th e
b o d y o f th e V irg in o n th e b e d . A t
e i t h e r sid e is a c o m p a c t g r o u p o f
a p o s t le s giving r e s t r a i n e d e x p re s s io n
to th e i r grief. A n g e ls a r e w o r k e d in
grisaille o n th e m a n d o r l a . F u r t h e r
e m p h a s is is le n t to th e v ertical axis
by th e inclusio n o f a six -w in ged
s e r a p h in th e m a n d o r l a , h o v e r i n g
a b o v e C h r is t's h e a d . T h e icon d iffers
fr o m its m o d e l in th e fo r m o f th e
b u ildin gs in th e b a c k g r o u n d , a n d in
th e a d d it io n h e r e o f th e an g e ls high
in th e sky. T h e a r r a n g e m e n t is s im i
lar to th a t o f an icon fro m P a tm o s
d a t e d to th e first h a lf o f th e 15th
c e n tu r y ( C h a t z i d a k i s 1977 (1), no. 7,
pi. 7), t h o u g h th e r e a re i m p o r t a n t
d if fe re n c e s in th e b u ild in g s in tlu*
161
c o n s i d e r e d to be on e o f th e best
e x a m p l e s of early 15 th-century Pala e o lo g a n a rt , fo r e sh a d o w in g m a n y
of th e charac teristic fe a tu re s of C r e
tan painting.
l'hessalonike.
9 0 X 7 1 cm
M onastery
S a c r isty
of Vlatadon,
N. C h .
M o n a s te r y o f V la ta d o n . It was p r o b
ably p r o d u c e d by th e sa m e w o rk s h o p
a n d , like the wall pain tin gs, m u s t have
b e e n p a in te d in the p e rio d 1360
1380, n o t in the 15th c e n tu r y , as was
p re v io u sly th o u g h t to be th e case.
25
S t. N ich o la s
L ast q u a rte r o f the 14th cen tu ry
1 29 X 7 8 cm
K a s t o r i a . A r ch aeo lo g ical Collection
-M3* \JLw.
C h rist P a n to cra to r
c. 1400
2HX26 cm
Alliens. Ity/.antlnn M u s e u m , T . 185
24
T h e V irg in H od egetria
S econ d h a lf o f the 14th cen tu ry
26
Th. V
27
size the u p p e r m o s t p o in ts of t h e v o l
u m e s a n d surfaces an d c re a te a d r a
m atic lighting effect. Sim ilar s c u lp tu
8 7 X 6 8 .5 cm
ral q ualities can also be seen in the
A th en s . P r i v a te Co llection
m o d e llin g o f the arm s o f th e cross
a n d th e tab let at the to p , an d in the
h alo . T h e closest r e p r e s e n ta t io n of
T h is icon is p a in t e d directly on
th e A k r a T a p e in o sis in te r m s of
w o o d , an d h as a fra m e in low relief.
ic o n o g r a p h y a n d p o rt ra it u re is th at
T h e figure of C hrist is d e p ic te d h a lf
o n th e diptych at M e t e o r a (cf. also
len g th , with his a rm s fo ld ed , o n an
th e wall pain tin g in C re te 1401/2,
o c h r e g ro u n d . In the relation sh ip o f
B o rb o u d a k is 1>71 pi. 535t); c o m p a
th e h e a d to the sh o u ld e rs an d th e
rison ol the tw o show s how in th e
a rr a n g e m e n t ol the curls ol hair, this
p re s e n l w ork th e fe atu re s b e c o m e
ty pe is th e successor to the earliest
h a r d e n e d as a result ol the m o re lin
kn o w n type (cl. cat no. 8), lo unil in
e a r t r e a tm e n t, and d e m o n s tr a t e s
icons of the 13th a n d 14th c e n tu ries
ho w o n e an d Ihe sam e scen e, s ta rtin g
(in the M o n a s te ry o f l a l a m a , in
with residual classicizing fe a tu re s, is
R o m e an d in manuscript.) (H elling
t r a n s f o r m e d into an anti-classical
1981, figs. 57, 58. 73 e tc.). It is f u r
g e n re . T h e e ru d ite c o n te n t of th e
t h e r related to the icons ol this
inscrip tion s is o f significance, as is
p e rio d th r o u g h th e d ram atic co n trast
th e eq u ally e ru d ite calligraphy. All
b e tw e e n the s tro n g , health y body
the fe a tu re s of this w o rk po int to
and the e m a c ia te d a rm s, an d the
w e ste r n M a c e d o n ia a b o u t 1400 (cf.
e m p h a s is on the a n a to m y ol the
th e icon fro m P o g a n o v o w ith the
c h e st, a f e a tu re which m ay b e in
sa m e inscrip tion . M ilosevic 1980. no.
t e n d e d to suggest th e sw ollen llesli o f
th e c o rp s e . T h e icon has an alm o st
27).
e x a g g e ra te d exp ressiv e n e ss, d u e in
Bibliography. Byzantine Art 1986. no. 86. pp.
p a r t to th e m o de lling , with its small
83-85. Affrcschi e iconc 1986. no. 42. pp. 80.
clusters of w hite lights on th e b r o w n
82-83.
M. C h .
ish-grey u n d e r p a i n t, w hich e m p h a
T h e A k ra T a p ein o sis
1400
2 8
T h e R a isin g o f L a z a ru s
c. 1400
5 6 X 4 8 cm
K a s t o r i a . A r c h a e o l o g i c a l C o llectio n
T h e icon is p a i n t e d o n a p a n e l w ith
a ra ise d f r a m e , w hich h a s a red
b o r d e r . T h e c o m p o s it io n con sists o f
tw o
c a re f u lly
b a la n c e d
groups,
lin k e d by the g e s t u r e s o f C h ris t a n d
o f th e .lews, a n d by th e p o se a n d g e s
tu r e o f M a r y a n d M a r t h a , w h o a re
s h o w n in th e f o r e g r o u n d . C h rist is
p o r t r a y e d m o v i n g to th e right at th e
h e a d o f a g r o u p o f a p o s tle s w h o
a c c o m p a n y h im , w ith th e a p o s tle
P e t e r in th e f o r e g r o u n d . L a z a r u s is
d e p i c t e d o n t h e rig h t, in a t o m b w ith
a p e d i m e n t , th e c o v e rin g slab o f
w h ich h a s falle n a w a y to th e rig h t; h e
is w r a p p e d in a w in d in g - s h e e t, th e
e n d o f w hich is h eld by a y o u n g
slave. B e h i n d th e slav e, a n d n ex t to
L a z a r u s , is a g r o u p o f J e w s, o n e o f
w h o m m ak es a gesture, a n o th e r
t o u c h e s his b e a r d , a n d a th ird h o ld s
his h a n d to his n o se ag ain st th e sm ell
o f th e o p e n t o m b . T h e sisters o f
L a z a r u s a r e s h o w n k n e e li n g in w o r
sh ip b e f o r e C h ris t. T w o ro c k s rise in
sta g e s in th e b a c k g r o u n d a n d lean
o u t w a r d s , re v e a l in g th e city of
B e t h a n y in th e d is ta n c e . T h is sim p le
i c o n o g r a p h ic s c h e m e is a revival
o f 1 4 th -c e n tu ry C o m n e n i a n ty p es
O H a d e rm a n n -M i s g u i c h
1975, figs.
5 7-5 8), a n d is clo s e to th e spirit o f
th e s c e n e s o f th e F o u r G o s p e ls fro m
th e M o n a s t e r y o f Iviron (M illet
I9)(>, |'ij>. 2 12 ), in th e C h u r c h o f
'< h risto s ' at
W iia
( Ic lc k a n id is
1973, lig. 20), in ( retail m o n u m e n t s
fr o m th e e n d o f th e 14th c e n tu r y
( K a lo k y r is 1973, figs. 28-29) a n d in
St. S o p h ia in T r e h i z o n d (M illet 1916.
fig. 231). t h e p r e s e n t icon differs
fro m w o r k s o f th e so -calle d M a c e d o
n ia n S c h o o l, su c h as th e p a in tin g s at
A r il je ( Z iv c o v ic 1970, fig. 19), in the
C h u r c h o f St. C l e m e n t at O c h r id
( M ill e t- F r o lo w 1962, pi. 3, 3), a n d in
th a t o f A y io s N ik o la o s O r p h a n o s in
T h e s s a l o n i k e ( X y n g o p o u l o s 1964,
164
2 9
pi. 2 0 ), in th a t L a z a r u s is n o t sh o w n
rising f r o m a s a r c o p h a g u s p la c e d
h o r i z o n ta l ly o n th e g r o u n d , bu t
f o llo w s a n e a r l ie r m o d e l a n d s t a n d s
u p r i g h t in a t o m b built in th e f o r m o f
a t e m p l e w ith in th e ro ck. T e c h n ic a l
d e ta i ls , like th e silver g r o u n d a n d th e
silver h a lo e s a r e sim ilar to f e a t u r e s
f r e q u e n t l y f o u n d in icons in K a sto ria , V e r i a a n d M a c e d o n i a in g e n e r a l .
T h e o r g a n i z a t i o n o f th e c o m p o s it io n
is s i m p l e a n d c o m p a c t , w ith th e v o l
u m e s o f th e d e ta ils sy m m e tric a lly
b a l a n c e d , a n d th e style is s im ila r to
th a t o f w o r k s o f th e C r e t a n S ch o o l in
t h e 15th c e n t u r y ( C h a tz i d a k is 1977
(1), p p . 77 ff.). T h e te c h n ical a n d s ty l
istic c h a r a c t e r i s ti c s o f th e icon o f th e
E n t r y in to J e r u s a l e m (cat. n o. 29)
a r e als o f o u n d in th e icon o f th e
R a is i n g o f L a z a r u s , b o th b e in g fr o m
th e s a m e w o r k s h o p , w hich w as also
r e s p o n s i b l e fo r th e d e c o r a t i o n o f th e
C h u r c h o f th e A y io i T r e is in K asto ria (1 4 0 1 ); in artistic te r m s , th ey
b o t h b e lo n g to th e anti-classical c u r
r e n t o f B y z a n ti n e p a in tin g in th e late
P a la e o l o g a n p e rio d .
T h e E n tr y in to J e r u sa le m
c. 1400
5 7 X 4 9 cm
K a s t o r i a . A r c h a e o l o g i c a l C o llectio n
T h e icon o f th e E n t r y into J e r u s a l e m
is p a i n t e d o n a single p a n e l w ith a
r a is e d f r a m e , w hich has a red
b o r d e r . G e s s o o n c a n v a s. C h ris t is
d e p i c t e d s ittin g o n an ass, m o v i n g to
t h e righ t. H e is h o ld in g a clo sed
scroll in his left h a n d , a n d his right
h a n d is e x t e n d e d in b e n e d ic tio n . H is
h e a d is t u r n e d to th e g r o u p o f a p o s
tles fo llo w in g h im , a n d he is ta lk in g
to P e t e r , w h o g e s tic u la te s v i g o r
o u sly . C h r is t a n d th e a p o s t le s s t a n d
o u t a g a in s t th e m a s s o f th e M o u n t o f
O liv e s th a t rises a b r u p t ly in th e
b a c k g r o u n d . O n th e rig h t, in f r o n t o f
t h e g a te in t h e wall o f J e r u s a l e m , a
c r o w d o f J e w s , b o th m e n a n d
w o m e n , has c o m e o u t o f t h e city to
re c e iv e C h ris t. In f r o n t o f th is g r o u p
o f J e w s , a child is h o ld i n g a p a lm
b r a n c h , a n d a n o t h e r is s h o w n in th e
b r a n c h e s o f a tr e e . T h e c ir c u la r b u i l d
ing th a t can be se e n in th e city o f
J e r u s a l e m ca n b e id e n tif ie d as th e
church o f th e R esurrection. T h e
c o m p o s it io n inv o lv es o n ly a lim ited
n u m b e r o f fig u re s, a r r a n g e d in a
s y m m e t r ic a l
and
b a la n c e d
w ay
a r o u n d th e c e n tr a l fig u re o f C h ris t,
a n d follow s an a u s t e r e ic o n o g r a p h ic
s c h e m e th a t is th e su c c e s so r in th e
14th c e n tu r y to th e ic o n o g r a p h ic t r a
d itio n o f th e M id d le B y z a n ti n e
p e r i o d ( H a d e r m a n n - M i s g u i c h 1975,
fig. 61). A sim ila r ic o n o g r a p h ic
s c h e m e in th e 14th c e n tu r y is to be
s e e n in t h e C h u r c h o f A y io s N i k o
lao s
O rphanos
in
T h e s s a l o n ik e
( X y n g o p o u l o s 1964, fig. 23 ). th e
C h u r c h o f C h r is to s ' in V e r ia (P elek a n id is 1973, pi. 21 ), in th e M o n a s
t e r y at M a r k o ( M i ll e t- V e l m a n s 1969,
fig. 166), a n d in 1 5 th - c e n tu r y m o n u
m e n t s in th e re g io n a r o u n d O c h r id
(S u b o t ic 1980, figs. 43 a n d 111. pi.
46). A n u m b e r o f f e a t u r e s a re also
s h a r e d w ith th e icon o f th e R aisin g ol
L a z a ru s : th e realistic p o r t r a y a l ol the
WvS
fig u re s, t i n m i I i i i m u o l H u n j j i i a .
th e Obvioir. uliensi ii Ihr i> io ii|ir nl
a p o s t le s anil lews, til nimli lime nl
t h e laces w ith th e n s l u in g in i ii i.i i.
b e t w e e n light anil -<hinlr u h ir tin
d o m i n a n t e o lo u i s in tin h.dil imii i"j
o f t h e g r o u n d a n d the o i l i n ' tin
fle sh , w ith reil the . widi
11 1
fu s e d c o lo u r. O t h e r Ic iilu ies m m
m o n to th e tw o icon*, w hich in tin
w o r k o f th e s a m e artist, m e the use
o f silver fo r th e b a c k g r o u n d nml
h a l o e s - a local f e a t u r e of icons lio in
K a s t o r i a a n d M a c e d o n i a in g c n e ia l
t h e sim p le t r e a t m e n t o f the d r a p e r y ,
in w'hich th e d o m i n a n t c o lo u r s a n
b l u e - g r e e n , re d a n d d a r k b lu e , a n d
t h e use o f g re y - g re e n for th e ro cks
a n d re d f o r th e b u ild ing s. These tw o
ic o n s , t o g e t h e r w ith fo u r m o r e front
t h e K a s to r ia A rc h a e o lo g i c a l C ollcc
tio n ( t h e N a tiv ity , th e P r e s e n t a t i o n
in th e T e m p l e , th e T r a n s f ig u r a t io n
a n d th e D o r m i t i o n ) . all o f w hich
c o m e fr o m th e D o d e k a o r t o n ol tin
C h u r c h o f th e A y io i T r e is , m a y In
a t t r i b u t e d to a local w o r k s h o p w hich
in 1401 c o - o p e r a t e d w ith o t h e r ai lists
to d e c o r a t e th e c h u rc h (Tsig.u ul.r.
1980-81. p. 286). A t a b o u t litis
p e r i o d , o r p e r h a p s a little ca rlit i , tin
s a m e t e a m p r o b a b l y w o r k e d o n ill
d e c o r a t i o n of th e C h u r c h ot tin V n
g in F a n e r o m e n i in K a s to r ia (m i|iu li
lis h e d ). T h e icon o f the I nil \ into
J e r u s a l e m m ay b e a ss ig n e d to tin
anti-classical c u r r e n t ol th llv/iin
tin e p a in t in g o f th e late I'a la e o lo ^ m i
p e r i o d by v ir tu e ol tin l clinl ill nml
stylistic f e a t u r e s th at it slum. with
th e R a is in g o f I a/.aru! b o th | H u m
e x h ib i t a style c o m m o n ly lo u m l mil
o n ly in th e m o n u m e n t s ol tin i ll\ 11
K a s t o r i a , but a ls o in lliosi ol lln
s u r r o u n d i n g a r e a ( P u s p i i . I >< hi III
e t c . ).
I* n n 'r m in r c
< h im h o t
tin
li> l
l u i ii .
o n s t 't v n t m n
Itih h ifffftt ft h i
pp
I I Hi ll
|'M h
Kit I
I
3 0
T h e N a tiv ity
Ik -gin n in g o f th e 15th c e n tu r y
6 6 .5 X 6 4 cm
l . o n d o n . M . P e r a t i c o s C o lle c tio n
( f o r m e r l y V olp i C o llectio n)
T h e s c e n e u n fo l d s in f r o n t o f a n d
a r o u n d a to w e r i n g r o c k , in w h ic h is a
ca v e w ith th e c rib a n d a n im als . T h e
V irgin re c lin e s in f r o n t o f th e cave o n
a p a ll e t, w ith h e r h e a d t u r n e d t o
w a r d s t h e b a t h o f th e ch ild , a t th e
left. T h e s e c o n d a r y e p is o d e s t a k e
p la c e in sp a c e s f o r m e d by th e g e n tle
slo p e s o f th e hills, c r e a t in g a feeling
o f d e p t h . A t th e b o t t o m left is th e
b a t h i n g o f th e ch ild , w ith t h e m i d
wife w h o s e g a r m e n t s leave h e r a r m s
b a r e ; o n t h e r ig h t, J o s e p h is sitting in
th e f o r e g r o u n d , ta l k in g to a s h e p
h e r d d re s s e d in a s h e e p s k i n th a t also
co v e rs his h e a d . B e h i n d a n d to th e
left o f t h e c e n t r a l ro c k a p p e a r th e
M a g i , riding o n h o rs e s. T h e y a r e
b a la n c e d o n th e rig h t by an an gel
ta lk in g to a s h e p h e r d . A th ird s h e p
h e r d sits c ro s s -le g g e d n e x t to h im ; h e
is w e a r i n g a r e d c l o a k a n d t h e c h a r
a c te ris tic c a p o f le a v e s , a n d is p la y
ing th e flu te. T w o g r o u p s o f an g els
e m e r g e f r o m b e h i n d th e c e n tr a l ro c k
w ith th e i r h a n d s ra i s e d in p r a y e r . A t
th e f o o t o f th e hill o n t h e rig h t, s h e e p
ca n be se e n d r i n k i n g fr o m a s t r e a m .
T h e p a in t in g in th is icon recalls th e
fi n est m o m e n t s o f C o n s ta n t in o p o l itan a rt. T h e flesh is m o d e l le d v e ry
ca re fu lly w ith b r o w n a n d d a r k - g r e e n
b r u s h s t r o k e s , d e n s e w h ite h igh lig hts
o n th e p r o m i n e n t s u rfa c e s, a n d
w a r m p in k t o n e s o n th e c h e e k s ,
re callin g th e wall p a in tin g s in th e
C h u r c h o f th e P e r i b l e p t o s at M istra .
T h e flo w in g d r a p e r y o f th e g a r m e n t s
w o r n by th e a n g e ls , th e V irg in ,
J o s e p h a n d t h e m id w ife is b r o k e n
in to
sm a ll,
elegant,
geom etric
s h a p e s , re ca llin g m i n ia t u r e s from
th e e n d o f th e 14th c e n tu r y , such
as th o s e in th e C a n t a c u z e n m a n u
scrip t
(T alb o t
R ic e
1959,
pi.
166
t o m e r , p e r h a p s a Veuiirtflft mi
C rete.
B ibliography. G arrison 19-li. p I II mi
"
C hatzid ak is 1962. p. 30. I.itwuelT
|< I1
fig. 51. Lazarev 1967. pp. *10717 I i Mu
C h atzid ak is 1974 (1). p. 120. pi XXXII '
C hatzid ak is (T h .) 1982. no. 10.
N. < ll
31
S t. M a rin a
F ir st h a lf o f th e 15th c e n tu r y
114.5X 66 cm
A t h e n s . B y z a n t i n e M u s e u m , T . 85
e m b r o i d e r y , o n e o n th e f o r e h e a d
a n d o n e o n e a c h s h o u l d e r . I lei
h e a d b a n d h a s p s e u d o - k u f ic du eo
r a t i o n e m b r o i d e r e d in g o ld , of t i n
t y p e f o u n d m ain ly in I t a lo - C r e la n
ico n s o f th e 15th c e n tu r y ( C h a t / i d a
kis 1974 (1 ), p. 180). B e n e a t h tin
d r e s s , c a n b e s e e n a c h e m is e w o r k e d
in g o ld , c o v e ri n g h e r b r e a s t, fa s te n e d
in t h e c e n t r e by f o u r sm all b u llo u s .
E a c h sle e v e is a d o r n e d w ith tw o
g o l d - e m b r o i d e r e d b a n d s . T h e s e fen
t u r e s o f h e r d re s s a r e to be fo u n d in
1 5 th - c e n tu r y V e n e t i a n c o s t u m e , a l s o
w o r n in C r e t e ( M a lte z o u I9K(>, pi
I X ) , a n d s u g g e s t th a t th e icon was
t h e w o r k o f a C r e t a n p a i n t e r ol tin
first h a lf o f t h e 15th c e n tu r y . I III*
la r g e icon w as p r o b a b l y i n t e n d e d t o
d e c o r a t e t h e ic o n o s ta sis o f a c l m u l i
d e d i c a t e d to St. M a r in a .
Provenance. P resented to the ( litisl At
chaeological Society.
C onservation. A. M arg.irito!! (I*JMI)
B ibliography. Sotiriou 19.11, p
SottHim
1962. no. 85. C hatzidakis I9(tf i mi Ml
B abic-C hatzidakis 1983. p. l.9 A lin * III >
icone 1986, no. 49, p. 89,
N < It
32
A n g elo s: S t. T h e u d o re th e T iro
15th c e n tu r y
1 2 2 X 6 8 .5 c m
A thens. B yz antine M u s e u m , L o v erd o s
C o l l e c t i o n , 285
T h e s ain t is s h o w n as a w a r r i o r ,
heav ily a r m e d a n d o n f o o t , slaying a
d r a g o n , a g a in s t a gold b a c k g r o u n d .
H e s ta n d s o n a h u g e scaly d r a g o n
( t h e right leg , w h ic h is b e n t at th e
k n e e , b e a r s all th e w eig ht ol the
lire) a n d raises his lo n g s w o rd th r e a t
167
e n i n g l y . 1 l e h o l d s h i s s e i i l ' l i m d in In
l e f t h a n d . A r i c h c h l a m y i . Iihiiji
h i s s h o u l d e r s a n d lall. I n I In
e n d in a p o i n t . A lU i
lull
.1
I' m i
H i'I h
1 1
(Ifiiiil
i n g w a s c l e a n e d i i w u v , III
. I |h i i i I i i h
X I I I 1 A l I I < ( h a i l .I o l
Hue '
w as
rev ealed
g iving
p ain lei
ico n s
us
al
llii m i n i
A n ^ e ln '.
nud
Ihe
lin iin n i
ol
111
|i 11
11
I . li ; M
al
I 11 l<
11 1 1 I I 1 im
' i>
kmiVMi l i m n B i(
! m i
I lie
Ili
ilplH
ill'l l
ilil
1
Ic o n o g r a p h ic a l ly , th e icon b e lo n g s to
a ( ' r e t a i l g r o u p f r o m th e 15th c e n
tu r y s h o w in g w a r r i o r sa in ts o n fo o t
slayin g d ra g o n s . T w o o f t h e m a re
sig n e d hy A n g e lo s : th e icon o f St.
I a n o u r i o s fr o m P a t m o s ( C h a t z i d a
kis 1977 (1 ), no. 69, pi. 27) a n d th e
icon fr o m F o l e g a n d r o s w ith th e
sa m e s u b j e c t ( V a s s i la k e s - M a v r a k a kcs 1981, p. 231, pi. 576). E v e n c l o s e r
in i c o n o g r a p h ic t e r m s a r e th e icon
o f St. G e o r g e fr o m P a t m o s , d a ti n g
fro m th e 15th c e n t u r y a n d a t t r i b u t e d
to a C r e t a n w o r k s h o p (C h a tz i d a k is
1977 (1), no . 24 , pi. 26), a n d th e C r e
tan icon in th e B e n a k i M u s e u m from
th e s a m e p e r i o d . T h e e p i s o d e in
w h ich h e kills th e d r a g o n w as ass o ci
a t e d w ith St. T h e o d o r e at a v e ry
e a rly d a t e . A l r e a d y in th e
by G r e g o r y o f N y ssa t h e r e is a
r e f e r e n c e to th e sain t stru g g lin g w ith
d e m o n s (
,
... ... P. M i g n e , P a tr o lo g ia
G r a e c a , vol 4 6, col. 746). T h e e p i
s o d e w a s d e s c r i b e d in d e ta il in the
10th c e n t u r y , a n d esp e c ia lly in 11thc e n t u r y m a n u s c r i p t s , in w hich th e
s a in t is r e p r e s e n t e d as slaying a
d r a g o n s o m e t i m e s o n fo o t a n d
so m etim es on h o rse b ack (D e le h ay e
Ch. H.
3 3
A n g e lo s: C h r ist E n th ro n ed
S e c o n d h a lf o f th e 15th c e n tu r y
1 0 5 . 5 X 5 9 cm
Zakynthos. \lu s e u m
The g r e e n m a r b l e t h r o n e a n d f o o t
sto o l, w hic h a r e typical f e a t u r e s o f
C r e t a n ico ns o f th e 15th c e n tu r y ,
th e ty p e o f th e P a n t o c r a t o r , a n d th e
h a n d li n g o f th e d r a p e r y , a re all to be
fo u n d in th e w o r k s o f o t h e r p a in t e r s
ol th e p e r i o d , such as A n d r e a s Ril/ o s a n d th e a n o n y m o u s p a i n t e r o f
P a tm o s no . 34. ( C h a tz i d a k is 1977
( I ) , pp. K4ff.). T h e s i g n a tu re
( h a n d o f A n g e l o s ) is in
th e b o t t o m r i g h t - h a n d c o r n e r . A f e a
16H
tu r e o f t h e icon is th e re la tio n s h ip
b e t w e e n th e size o f C h ris t a n d th a t ol
t h e t h r o n e . T h is icon w a s th e m o d el
fo r la t e r w o rk s n o ta b ly th e icon by
E m m a n u e l T z a n e s in th e B y z a n tin e
M u s e u m , w h ich d a te s fr o m 1666.
Provenance. Church of A yios Spyridon
Flam bouriaris on Z akvnthos (retrieved in
1953).
M. ( li
34
S t. A n n e w ith th e V irg in
M id d le o f th e 15th c e n tu r y
106X76 cm
A thens. Benaki M useum
St. A n n e is d e p ic t e d h a lf-le n g th
h o l d i n g th e V irgin in h e r left a r m ,
j u s t as th e V irgin h o ld s C h r is t in
icon s o f th e H o d e g e t r i a ( X y n g o p o u los 1936, p. 41). W ith h e r rig h t h a n d ,
th e V irg in is o ff e rin g h e r m o t h e r a
fl o w e r , a s y m b o lic r e p r e s e n t a t i o n o f
C h ris t d e r i v e d fr o m h y m n s su c h as
th e
' (T h e
U n f a d i n g R o s e ) . T h e c o m p o s it io n ,
m o r e o v e r , h a s an o b v io u s d o c tr in a l
c o n t e n t a ls o f o u n d in o t h e r ico ns o f
th e p e r i o d t h a t m a y be r e g a r d e d as
v a r i a ti o n s o f th e s a m e s u b j e c t
(L afo n tain e-D o so g n e
1965.
p p.
134ff. C h a t z i d a k i s 1977 (1), p. 117).
T h e ic o n o g r a p h y is k n o w n in th e
m i d d le o f th e 15th c e n tu r y in th e
illu s tra tio n s o f th e m a n u s c r ip t ( d a t e d
to 1480) o f th e C r e t a n s c h o la r J o h n
P l o u s ia d i n o s ( W e i t z m a n n 1973, p p.
30-31. fig. 44. C h a t z i d a k i s ( T h . )
1982, n o . 9). It o c c u rs also in an icon
o n P a t m o s d a t i n g f r o m th e b e g in n i n g
o f th e 17th c e n t u r y ( C h a tz i d a k is
1977 (1 ), p. 115, n o . 67 , pi. 126; cf.
also B a lt o y a n n i 1985, no. 32, p p .
38-39. pi. 34).
T h e d r a p e r y o f th e b rig h t re d
m a p h o r i o n w o r n by St. A n n e h a s
ve ry light, b r o a d , g e o m e t r i c fo ld s, as
in th e 1 5 th -c e n tu ry icon o f St.
M a r i n a in th e B y z a n tin e M u s e u m
(B a b i c - C h a t z i d a k i s 1983, fig. p.
329). T h e r e d c lo th o v e r th e ro o fs o f
th e b u ild in g s in th e P r e s e n t a t i o n of
th e V irg in to the T e m p l e by A n g e l o s
( C h a t z i d a k i s ( N . ) 1983, n o. 3, p p .
18-19) is p a in t e d in a sim ila r m a n n e r .
T h e d a r k u n d e r p a i n t o f th e fa ce, th e
b r o w n flesh a n d t h e s p a r in g b u t
e ffectiv e use o f w h ite hig hligh ts
recall th e te c h n i q u e u se d by this
p a i n t e r in th e icon o f th e K a rd io tis s a
(cat. no. 35); th e p a in tin g o f th e
h a n d , w ith th e d e lic a te fin g ers, is a
f u r t h e r p o in t o f sim ilarity with this
icon. F in a lly , th e p o s t u r e mid p i o
1(1*1
p o r t i o n s o f th e figures in l i u l l i l l n
w o r k s h a v e affinities llml >
t h a t th e y w e re p a in t e d by th mimi
a rtis t. T h e icon also r e s e m b le s I In
icon fr o m Z a k y n t h o s (cat n o too
n o t on ly in its d o c tr in a l c o n t e n t , bui
a ls o in its te c h n ical e x e c u tio n
T h e p a n e l b e a r s th e fo rg ed sig nalim o f E m m a n u e l Tzanes.
Conservation. L aboratory of the llennkl Mu
scum (1982-83).
B ibliography. X yngopoulos 1936, no
pp
40-41, pi 20. Lafoniaine-DosogiK 19(>,V pp
134-135. fig.79. C hatzidakis 1979 (2), p I W
fig. p. 131. D clivorrias 1980, lig. 62 lluhlt
C h atzidakis 1983. p. 314. fig. p. 3(6 (I I hi
recognition that the inscription is '<)
C hatzid ak is (N .) 1983, no. 11. p. 2(i
N ( It
37
S t. D e m e tr iu s
c. 1500
9 2 x 4 6 cm
A lliens. l i. A n d r e a d i s C o lle c tio n
d e p ic t in g St. F a n o u r i o s w hich is
a t t r i b u t e d to th e p a i n t e r A n g e lo s
( C h a t z i d a k i s ( N .) 1983, no . 12, pp .
2 6 f f .). T h is is th e o n ly o n e o f th e
ico n s w ith w a r r i o r sa in ts (ico n s o n
P a t m o s , in th e B e n a k i M u s e u m , a n d
in o t h e r co lle c tio n s; cf. X y n g o p o u l o s
1936, n o . 5, pi. 7b. C h a tz i d a k is 1977
(1), pis. 26, 27. 204. V a ssilak esM a v r a k a k e s 1981, pis. 5 2 a -b , 5 7 a -b ,
58, 59) t h a t h as so m a n y p o in ts o f
sim ila rity w ith th e p r e s e n t w o rk . T h e
stylistic d e ta ils , su c h as th e soft
s t r a p s b in d i n g th e legs o f th e sa in t,
w h ich a r e so sim ila r to th o s e o f St.
T h e o d o r e by A n g e lo s (cat. no. 32)
s u g g e s t t h a t this icon w as also by
h im . W e m a y n o te th a t St. D e m e
tr iu s 's h a ir falls in sm all cu rls b e h in d
his e a r s , j u s t like th a t o f St. F a n o u
rios. It m a y be c o n j e c t u r e d fr o m a
n u m b e r o f tr a c e s o n t h e g o ld g r o u n d ,
n e a r th e lan ce a n d th e le t te r in g in
th e in s c rip tio n , th a t this w as o rig i
nally a r e p r e s e n t a t i o n o f St. F a n o u
rios h o ld in g th e c ro ss, b u t t h a t it w as
la t e r a d a p t e d as a p o r t r a it icon o f St.
D em etriu s.
B ibliography. C hatzidakis (T h.) 1982. no. 3.
C hatzidakis (N .) 1983. no. 13. p. 27. A ffrcschi
c iconc 1986. no. 58. pp. 100-101.
N. Ch.
3 8
S a n c tu a r y D o o rs
SS G e o r g e a n d D e m e tr iu s
S e c o n d h a lf o f th e 15th c e n tu r y
1 2 7 . 5 X 6 5 . 7 cm
T in o s . E v a n g e l i s t r i a M u s e u m
T h e S a n c tu a r y D o o r s fo rm a f l a m
b o y a n t ' a rc h th a t d iv id e s th e p a in te d
d e c o r a t i o n fro m th e c a r v e d w o o d e n
sectio n al th e to p ; th is is d e c o r a t e d
willi foliage scrolls a n d m ultifoil palm e t l e s , th e le av e s o f w hich a re
r e m in i s c e n t o t G o t h i c a rt in te x tu re .
T h e to p p a rt o f th e v ertical jo in tc o v e r is m issing, a n d a strip at least
t h r e e c e n t i m e t r e s w id e h a s b e e n cut
a w a y fro m th e b o t t o m o f th e d oo rs.
172
T h e left d o o r h a s a s c en e o f St. G e o
rg e slay in g th e d r a g o n , w hile o n th e
rig h t. St. D e m e t r i u s is p o r t r a y e d
c ru s h in g a s c o r p io n , s h o w n larger
th a n lite-size. T h e tw o sa in ts, in s y m
m e tric a lly b a la n c e d c o n t r a p p o s t o ,
a re w e a r i n g e l a b o r a t e m ilitary d re ss,
w hich is b a s e d o n P a la e o l o g a n
m o d e ls . T h e y a re d re s s e d in a sh o r t
c h ito n w ith le a t h e r m a n i p le s , a n d a
b r e a s t - p l a t e . w h ich is s u p p l e m e n t e d
by a d o u b l e ro w o f le a t h e r w ings'
in th e a r e a o f th e pelvis a n d on
th e u p p e r a rm s . T h e r e is a d o u b le
m e ta llic strip w ith m o n o c h r o m e
d e c o r a t i o n a r o u n d th e ir c h e st an d
n e c k . T h e sain ts a re w e a r in g h o s e .
a n d th e lo w e r p a r t o f th e leg is
w o u n d a r o u n d w ith l e a t h e r b a n d s .
T h o s e w o r n by St. D e m e t r i u s a re o f
soft w h ite l e a t h e r , a n d h a v e th e c h a r
acte ris tic re d line t h a t c a n b e s e e n in
th e ico n o f St. F a n o u r i o s o n P a t m o s .
St. G e o r g e s s w o r d is also to be
f o u n d in ico n s by A n g e l o s , a n d St.
D e m e t r i u s h a s a s a b r e in a le a t h e r
s c a b b a r d w ith go ld o r n a m e n t a t i o n .
T h e s a m e ty p e o f s w o r d a n d th e
s a m e g e s t u r e s o c c u r in tw o icon s of
St. F a n o u r i o s a n d St. D e m e t r i u s
a t t r i b u t e d to A n g e l o s (cat. n o . 37).
A t th e t o p o f t h e d o o r s , th e h a n d
of G o d e m e r g e s fr o m a p a in t e d blu e
a rc a n d h o ld s o u t a c r o w n to e a c h o f
th e tw o m a r ty r s . T h e h a lo e s a re
b o r d e r e d by a ro w o f im p r e s s e d
r o u n d e l s , as in th r e e icon s f r o m Spilia, K is s a m o s ( B y z a n ti n e A r t 1986,
no s. 105-107) w h ich a re t h o u g h t to
be th e w o r k o f A n d r e a s R itzo s.
T h e ty p e o f t h e s t a n d in g , d r a g o n sla y e r s a in t o c c u rs in late P a l a e
o lo g a n w o r k s , like t h a t in th e kat h o l i k o n o f t h e M o n a s t e r y o f V la ta d o n in T h e s s a l o n i k e ( M a v r o p o u l o u T s io u m i 1985, pi. 3). A n u m b e r o f
o rig in a l v a r i a ti o n s o f this t h e m e a re
t o b e f o u n d in ico n s a t t r i b u t e d to th e
p a i n t e r A n g e l o s ( C h a tz i d a k is 1977
(1), p. 7 6, n o . 24). T h e ty p e s h o w in g
St. D e m e t r i u s a n d th e s c o r p io n is
m u c h r a r e r , a n d is cle a rly in s p ire d by
t h e m ira c le o f th e s c o r p io n w h e n th e
s a i n t w a s in p ris o n (cf. X y n g o p o u l o s
1970, p. 21). T h e tw o p r o m i n e n t m i l
ita ry sa in ts a r e c o m m o n l y f o u n d
t o g e t h e r , t h o u g h n o t w ith t h e t r i u m
p h a n t c h a r a c t e r th e y h a v e h e r e ,
t h a n k s to th e in clu sio n o f th e d r a g o n
a n d th e s c o r p io n .
It is p o ss ib le to d e te c t in b o t h sain ts
f e a t u r e s ty pical o f th e a rt o f A n
g e lo s , w h o s e w o r k has r e c e n t ly b e
e n d a t e d to th e first h a lf o f th e
15th c e n t u r y (V a s s i la k e s - M a v r a k a k e s 1981, p p. 290-298). A l t h o u g h th e
d r a w in g is fin e , th e fig u res h e r e a re
h e a v ie r a n d lac k th e g ra c e o f a u t h e n
tic p ie c e s b y A n g e l o s , su ch as th e
icon o f St. F a n o u r i o s o n P a tm o s .
T h e light a n d s h a d o w in th e face of
St. G e o r g e , e sp e cially th e lo ng
s h a d o w cast by the n o s e , willi its
173
3 9
S a n c tu a r y D o o r s
T h e A n n u n c ia tio n , S S P e te r a n d
J o h n th e T h e o lo g ia n
S e c o n d h a lf o f th e 15th c e n tu r y
I65X J4 cin and 144X 38.5 cm
Inliniis, ( Jfora. Church o f Ayios Georios Apiirlhiunon (or Dimarchias)
1 1 1 i I>111 1 1 to A n d r e a s R itzo s. O n e
ol (In m ost im p re s s iv e S a n c tu a r y
d o o r s Iro m th e I x h c e n tu r y , a n d a
g o o d e x a m p l e ot C r e t a n w o o d -c a rv mu Iro m this p e r i o d There a re o b
v iou s I.ate G o t h i c f e a t u r e s in the
s h a p e o f th e c a r v e d a p e x a n d th e
bust o f th e p r o p h e t D av id c a r v e d in
th e r o u n d at th e to p . T h e e x c e p
tio na lly g ra cefu l
fig ures in the
A n n u n c i a t i o n , set a g a in s t a rich
a r c h i t e c t u r a l b a c k g r o u n d , th e m o n u
m e n t a l fig u re s o f th e a p o s t le s a n d
t h e i r c h a r a c t e r i s ti c d r a p e r y , a n d n o t
leas t th e fine e x e c u t io n , all su g g est
t h a t th e d o o r s s h o u l d b e a t t r i b u t e d
to t h e C r e t a n p a i n t e r A n d r e a s R itzo s
(1451- ).
Provenance. A ccording to trad itio n , the doors
arc from the iconostasis of the katholikon of
the M onastery of St. John the T heologian, the
lem plon icons from which w ere executed by
A ndreas Ritzos.
Conservation. T h. P apageorgiou. E. Balis
ftihlit/yniphv. C hatzidakis 1977 (1). no. II.
pp. (ilfl.. pis. HO and 81. Byzantine A rt 1986.
no. 108. pp. 108, 109. A ffrcschi c iconc 1986.
no. 00. pp. 103-104.
M. Ch.
4 4 .5 X 3 6 .5 cm
London. M . P eraticos Collection
T h e V irg in is p o r t r a y e d at h alf-le n g th
h o ld in g th e child in b o t h a r m s o n h e r
left side. S h e is tu r n i n g h e r h e a d an d
h e r c h e e k t o u c h e s th e fa c e o f C h ris t,
w h o is t u r n e d t o w a r d s h e r w ith his
b a c k to t h e v ie w e r , as in th e ty p e o f
th e V irgin K a r d io t is s a (cat. n o . 35).
H is right h a n d g ra s p s t h e e d g e o f th e
V i r g i n s m a p h o r i o n , at h e r n e c k , a n d
his left h a n d s t r e t c h e s d o w n a n d
h o ld s a c lo s e d sc ro ll, as is o f t e n the
c a se in icon s o f th e V irg in p r e f ig u
ring t h e P a ss io n (a n e a r l i e r e x a m p l e
is th e 1 2 th - c e n tu r y icon in th e B y z a n
tine M u s e u m , cf. C h a tz i d a k is 1979
(1), p p . 359-360).
S im ila r ic o n o g r a p h y is to b e f o u n d
in a n icon in L e n i n g r a d (F elic ettiL ie b e n f e ls 1956, pi. 11 1 D ), in w h ich ,
h o w e v e r . C h r is t's scroll is o p e n at
th e tex t .. ( T h e
Spirit o f th e L o r d ' . .) ( L u k e 4 .1 8 ); this
recalls a well k n o w n se r ie s o f C r e t a n
icons ol th e V irg in G ly k o p h i l o u s a ,
w ith Italian in f lu e n c e s (C h a tz i d a k is
174
N ( h
41
N ik o la o s L a m b o u d is:
T h e V ir g in E le o u sa
15th c e n tu r y
6 7 X 4 7 .5 cm
Athens. Private Collection
( l<JW>-jp.
4 0
T h e V ir g in G ly k o p h ilo u s a
S e c o n d h a lf o f th e 15th c en tu r y
o f th e flesh , in th e d r a p e r y a n d in th e
g o ld w e b b in g , a n d th e fine d ra w in g
o f th e tw o a n g e ls p a in t e d in m i n i a
tu r e . A c o m p a r i s o n o f th e s e icons
w ith th o s e o f th e V irg in o f th e P a s
sion p a i n t e d by A n d r e a s R itzo s
(C h a tz i d a k is ( T h . ) 1982, fig. pp . 318,
T h e V irgin is p o r t r a y e d in th e ty p e of
th e H o d e g e t r i a . h o ld i n g C h ris t in h e r
left a r m a n d le a n in g g en tly to w a r d s
t h e ch ild , w h ile he lifts his h e a d
to w a r d s his m o t h e r , in a c o m p o s it io n
o f m u t u a l t e n d e r n e s s a n d affectio n.
T h e r e a r e m i n i a t u r e p o r t r a it s o f th e
a r c h a n g e l s M ic h a e l a n d G a b r i e l in
t h e to p c o r n e r s . G o ld g r o u n d a n d
fine g o ld d e c o r a t i o n o n th e d re s s. A
d e li c a te p a t t e r n o f floral t r a c e r y is
s t ip p l e d o n t h e h a lo e s . T h e icon is o f
t h e s a m e ic o n o g r a p h ic ty p e as th e
V irg in E l e o u s a in th e M o n a s t e r y o f
G o n i a in K is s a m o u , C r e t e , w hich
m a y be a t t r i b u t e d to A n d r e a s R itz o s
( B o r b o u d a k i s 1985, no. 17, pp.
126ff.), a n d o t h e r icon s also by R i
tz o s a n d h is circle ( C z e r w e n k a - P a p a d o p o u l o s 1984. p p . 203ff., figs. 1,
3-4, 6-8): it h a s all th e h a ll m a r k s o f a
C r e t a n m a s t e r p i e c e o f th e late l >lh
c e n t u r y , w ith s t r o n g ro o ts in 1nliu o
lo g a n a r t a n d e l e m e n t s o f W e s t e r n
se n s itiv ity in t h e m o d e llin g . O il the
f r a m e , at th e b o t t o m is th e signn
tu r e :
C n A P T lA T O Y . T h is is lit
o n ly k n o w n w o r k by this h it h e r t o
u n k n o w n p a i n t e r fr o m S p a r t a , w h o
p r o b a b l y w o r k e d in C r e te .
I In
fa m ily is k n o w n fr o m the N t h ecu
tu r y u n d e r th e n a m e L a m b o n d i o 1
( Z a k y t h i n o s 1975, pp . 9811
MM
114, 2 15 ), a n d th e 1 5 th - c e n lm v
sc r ib e
( M a l t .
L a m b o u d i s th e P e l o p o n n e s i a n ) w h o
w o r k e d in F lo r e n c e a n d f'cr rm a in
Ita ly ( L a m b r o s 1907, pp. I7(>fl / h
k y th i n o s 1975, p p . 215 an d 1 Ml) w n t
p r o b a b l y also a m e m b e r o f it
P rovenance. A cquired at S o lh efV s ( I'W M
B ibliography. S o thebys ( ;it;tlo^iir ol Iimh
L o n d o n 1984. no. 30. pp. I t I** (Ion *tu
tio n ). B yzantine A rt 1986. no I I 1', |>| I I I
116. A ffrcschi e icone I9H(, im , ||<
117-118.
42
N ik o la o s T z a fo u r is : V ir g in a n d C h ild
15th c e n tu r y
5 6 .5 X 4 5 cm; 1 0 6 X 8 5 cm (with frame)
T h e V irg in is p o r t r a y e d in th e fa m il
ia r W e s t e r n ty p e o f th e M a d r e d ella
C o n s o l a z i o n e , as p a i n t e d by th e C r e
ta n artists o f t h e 15th c e n t u r y ( C h a
tz id a k is 1977 (1 ), p. 91). C h a r a c t e r
istic f e a t u r e s o f this ty p e in clu d e the
p la c in g o f th e child in a p o sitio n th at
p ro v i d e s a n e l e m e n t o f c o n l r a p
p o s t o . th e s p h e r e in his left h a n d , his
175
iln
<
sion is p a i n t e d o n tin i vt m nl t i n
icon, on p i r p i i n I
nil
g e s s o , a n d a I n t l u I n n fjCHimi In ; | "
N tC O l.O Z . A F U K I ( . . ) A D I ( . . ) O T U
B R I O . lie d a m a g e d a r e a a ft e r th e
w o rd / M l I III. w hich h a s s p a c e fo r
o nly tw o le tte r s , p r e s u m a b l y c o n
ta i n e d th e y e a r M D (1500) a n d th e
sm all s p ace a ft e r A D I will h a v e c o n
ta in e d th e (.late, sin ce th e n a m e of
tin m o n t h O c t o b e r c a n be r e c o g
nized in the w o r d O T U B R I O .
A c c o r d in g to d o c u m e n t s p r e s e r v e d
in the a rc h iv e s in V e n i c e ( C a t t a p a n
1972, pp. 202ff. C h a t z i d a k i s 1974
( I ) , p. 183), T z a f o u r i s lived a n d
w o r k e d in th e s e c o n d h a lf o f th e 15th
c e n tu r y , a n d w as n o lo n g e r alive in
1501. H e is k n o w n fr o m f o u r icons
b e a r i n g his s i g n a tu r e : an icon o f th e
A k r a T a p e in o s i s in V i e n n a (K re id lP a p a d o p o u l o s 1970, p. 605, pi. 39.
C h a tz i d a k is 1974 (1 ), p. 184); th e
B e tra y a l in th e M e t r o p o l i t a n M u
s e u m , N e w Y o r k ( W e h l e 1940, p. 1.
C h a tz i d a k is 1974 (1 ), p. 187); the L e
n in g r a d tr ip ty c h ( C h a t z i d a k i s 1974
(1), p p . 18 4 ff.); a n d th e icon o f
th e V irg in a n d C h ild in T rie s te
( B ia n c o F io rin 1983, p. 164, fig. 1).
All f o u r c o m b i n e I ta lia n f e a t u r e s
w ith th e e x p re s s iv e m e a n s o f 15thc e n tu r y
C retan
p a in tin g .
U n til
r e c e n t ly , w e h a d no in f o r m a t io n
a b o u t th e ic o n o g r a p h ic a n d stylistic
f e a t u r e s o f th e fifth icon by T z a f o u
ris d e p ic t in g th e V irgin w h ic h , a c
c o r d i n g to B e tt in i , w as o n c e sold
in V e n ic e (B e tt in i 1940, p. 72, no. 1.
C h a t z i d a k i s 1974 (1), p. 184). O n th e
b a c k it h a d a n in s c rip tio n id e n tic a l to
th e o n e o n t h e p r e s e n t icon . In th e
s p a c e b e t w e e n A D I an d O T U B R I O .
B e ttin i r e a d th e n u m b e r IV , w hich
w a s still p r e s e r v e d at th a t d a te . T h e
fact t h a t t h e in s c rip tio n is id e n tic a l in
w o r d in g m a k e s it c e rt a in th a t the
icon e x h i b i t e d h e r e is th e V en ic e
icon , w h ich s o m e h o w c a m e in to the
h a n d s o f th e A t h e n i a n c o lle c to r.
Sty listically, it b e lo n g s to th e well
know n school o f Italo-C retan p a in t
ings, a n d to a large g r o u p o f icons
p o r t r a y i n g th e V irg in a n d C h ild in
th e ty p e o f th e M a d r e della C o n s o la z io n e ( C h a t z i d a k i s 1977 (1 ), p. 91)
w h ich h a v e th e s a m e f e a t u r e s . T h is
icon n o w fu r n is h e s th e d e fin itiv e
s o l u ti o n to t h e p r o b l e m o f th e orig in s
a n d d a t e o f th is g ro u p .
Bibliography. B altoyanni 1986 (1). no. 10.
A ffrcschi c icone 1986. no. 62. pp. 107-108.
Ch. B.
4 3
T r ip ty c h
S e c o n d h a lf o f th e 15th c e n tu r y
2 5 x 4 3 .5 cm (open); 25X 15 cm (closed)
London. Private Collection
T h e c e n tr a l p a n e l h a s a s c e n e o f the
V irgin a n d C h il d , in t h e ty p e o f th e
M a d r e d e ll a C o n s o l a z i o n e (cf. cat.
no. 42). O n th e in s id e o f th e left
w ing is d e p ic t e d th e E m b r a c i n g o f
P e te r a n d P a u l. T h e a p o s tle s are
p a in t e d full-len gth in an a u s t e r e style
o f B y z a n tin e o rig in s. T h e s u b j e c t,
w hich o c c u rs in th e p e r i o d b e fo r e the
fall o f C o n s t a n t i n o p l e (K r e i d l- P a p a d o p o u l o s 1970, p p . 92ff. K reid lIii p a d o p o u lo s 1980-81. p p . 339ff.,
pis. 97 b, 9 8 a ), w as r e p e a t e d by C r e
tan p a in t e r s in th e 15th c e n tu r y , as in
th e / . a k y n t h o s icon by A n g e l o s , n o w
lost ( C h a t z i d a k i s 1977 (1), n o te s 2,
8 ), a n d th e icon in th e M o n a s t e r y o f
-
176
th e H o d e g e t r i a in C r e t e (B y z a n ti n e
A r t 1986, no. 104); it is also f o u n d in
th e 16th c e n t u r y , in an icon in th e
G r e a t L a v r a o n M o u n t A t h o s (B ab ic - C h a t z id a k i s 1983, fig. p. 336) an d
a n o t h e r in l o a n n i n a
( B y z a n ti n e
A r t 1986. n o . 145). In th e s e , th e p o s
t u r e s o f th e fig u re s, th e t r e a t m e n t o f
th e d r a p e r y , a n d e v e n th e c o lo u r s,
a re fa ith fu l r e p r o d u c t i o n s o f th o s e in
th e s c e n e o n t h e trip ty ch . T h e tw o
a p o s t le s s e e m to h av e b e e n a p a r t ic
u larly p o p u l a r s u b j e c t, w hich was
given d e fin itiv e fo r m in this p e rio d
a n d is f o u n d in v a ri a ti o n s like th ose
o n th e r o u n d ico n in th e K rim b a s
C o ll e c ti o n ( C h a tz i d a k is ( N . ) 1983,
no. 15, p. 2 8 ), a n d o n th e f r a m e o f an
icon by N i k o l a o s R itz o s in Sariije
vo ( B a b i c - C h a t z i d a k i s 1983, fig. p.
321). T h e re v e r s e o f this p a n e l h as n
fu ll-le n g th f r o n ta l p o r t r a i t o f St
G e o r g e w e a r i n g m ilita r y d re s s , in
a c c o r d a n c e w ith 1 5 th - c e n tu r y C r e t a n
ic o n o g r a p h y , as also s e e n in an icon
in th e f o r m e r L i c h a c h e v C o lle c tio n
(F e lic e t ti - L ie b e n f e l s 1956. pi. 108b).
O n t h e in side o f th e rig h t w in g a re
d e p i c t e d tw o a n o n y m o u s C a th o lic
s a in ts , b e a r d l e s s , w ith s h o r t h a ir a n d
to n s u r e . T h e y a r e w e a r in g rich red
s t ic h a ri a w ith g o ld e m b r o i d e r y , a n d
ea c h is h o ld i n g a b o o k in his left
h a n d ; in th e righ t h a n d , o n e figure
h o ld s a c e n s e r a n d th e o t h e r a b a n
n e r. T h e style a n d th e s u b j e c t e c h o
th e I ta lia n c h a r a c t e r o f th e s c e n e on
th e c e n tr a l p a n e l. T h e g e n e r a l f e a
tu r e s , a n d p a r t ic u l a r ly th e re la x e d
p o s t u r e o f t h e s a in t o n th e right
recall th e fig u re o f th e d e a c o n S t e
p h e n o n a p a n e l o f th e p o ly p ty c h by
L o r e n z o V e n e z i a n o in V e n ic e (1371)
( K a ft a l 1978, fig. 1227) H e is n o n e
th e le s s to b e id e n tif ie d w ith St.
D a n ie l o f P a d u a , w h o is f r e q u e n t l y
p o r t r a y e d h o ld i n g a l a b a r u m (K a fta l
1978, p p . 2 5 4 f f ., n o. 80. fig. 304).
T h e o t h e r d e a c o n is p r o b a b l y to be
id e n tif ie d w ith e i t h e r St. S t e p h e n o r
St. L a u r e n c e (K a fta l 1978, pp.
9 4 6 ff., no. 283 . p p . 587ff., fig. 741).
T h e b a c k o f t h e rig h t leaf is
d e c o r a t e d w ith a cro s s o n a s t e p p e d
p lin th p a i n t e d in g o ld o n a b a c k
g r o u n d c o v e r e d w ith flo ral scrolls.
B e t w e e n th e a r m s o f th e cro s s are
th e a b b r e v i a t i o n s IC XC NK ('J e s u s
C h r is t C o n q u e r s " ) , X ( T h e
L ig h t o f C h ris t S h in e s o n A l l ') , T
( T h e P lace o f t h e Skull is P a ra d is e
N o w ') . S im ila r d e li c a te d e c o r a t i o n is
t o b e f o u n d o n a tr ip ty c h in R a v e n n a
a t t r i b u t e d to a iMli i Vein
t i a n - F e r a r r e s e sc h o o l (Piivim 197
p. 93, n o . 154), w inch is e x m l l y 11s a m e s h a p e as this m u O tliii I n p
ty ch s s h a p e d like this, with ii Mill lop
a n d b a s e , in clu d e a C r e t a n w o ik
fr o m th e s a m e p e r i o d in a L o n d o n
co lle c tio n ( B y z a n ti n e G r e e k am i
R u s s ia n Ico n s 1979, p. 43, no. 29)
a n d a tr ip ty c h in th e V a tic a n (H etlini
1933. pi. X X I I ) .
T h is tr ip t y c h r e p r e s e n t s th e tw o pal
allel styles a d o p t e d by C r e t a n painl
e r s in th e 15th c e n tu r y , w ith th e Ita
lian m a n n e r o n th e c e n tr a l p a n e l m d
th e rig h t w in g , a n d tr a d it io n a l ( le
ta n style o n b o th sides o f th e Ii II
w ing. T h e carefu l e x e c u tio n o f llie
flesh a n d d r a p e r y , th e brillian ce ol
t h e re d in th e c lo t h e s , an d the c o m b i
n a ti o n o f b r o w n a n d b rick red in llie
h i m a t i a o f P e t e r a n d P a u l, indii ite
t h a t all t h e s e sc e n e s w'ere th e w o rk ol
t h e s a m e p a i n t e r , w h o se talen t lot
d r a w i n g a n d c o lo u r recalls th e a il ol
N ik o la o s T z a fo u ri s . T h e typo lo gical
a n d stylistic re s e m b la n c e o f l In
M a d r e d e ll a C o n s o la z i o n e in I In
c e n t r a l p a n e l to th e sig ned icons bv
T z a f o u r i s in T r ie s te (B ia n c o l io n n
1983) a n d th e K a n e llo p o u l o s Colit
tion ( A ffr e s c h i e ico ne 1986, n o < )
f u r t h e r s u p p o r t th e a tt r i b u ti o n ol tin
tr ip ty c h to th e C r e t a n p a in tc i (< lin
tz id a k is 1974 (1 ), pp . 1X3 IHH il
B ia n c o F io r in 1983. p. 169)
4 4
N ik o la o s T z a fo u r is (?):
T h e A k r a T a p e in o s is
14th
a n ti
1981, pp .
15th
cen lu iu
I I Kit )
.............
1Is n I nl t or i h i p
S e c o n d h a lf o f th e 15th c e n tu r y
I t a l i a n p a i n t i n g is e l e n i n n l m i l \ f t m i i
77X 5 6 .5 cm
tive
in
tin
sarcoplui^u
c o p i e d by I lu-itphaii
tery of A napalvi
T h is B y z a n ti n e s u b j e c t is h e r e r e n
d e r e d in a c c o r d a n c e w ith W e s t e r n
m o d e l s , in th e ty p e th a t w as f o r m u
la t e d in Italy , a n d m o r e specifically
in F l o r e n c e a n d V e n ic e , d u r i n g Ihi
177
dakis
19 7 4 ( I ). |>
bi l l a l s o f r o m
III
s i,f o i l W llll ( m l l l l
I In ' l o p o l I Ii
nm iil
In l i n M
(I
>I
. |
n m l
11i
"
Imki
' \
o l
Hi
ipllm l l i i l l e l -
i ii . I * | i l l l '
- >1 ( ! 1
H i :! Itn :il
of th e torsi), th e r e n d e r in g o f the
flesh in soft m o n o c h r o m e to n e s , the
w o n d e r f u l p re c isio n in th e incised
d esig n of th e h a lo , a n d th e m i n u te
d e ta il in th e d r a w in g o f th e h a ir a n d
th e c ro w n o f th o r n s ; all th e s e are
c h a r a c t e r i s ti c o f th e m i n ia t u r e p a i n t
ing ol th e C r e t a n p a i n t e r N ik o la o s
/a f o u r i s ( a t t e s t e d 1489-1500), to
w h o m th e icon is a t t r i b u t e d . It h a s a
M. C h.
45
P ie ta
S e c o n d h a lf o f th e 1 5 t h c e n t u r
7 1 X 58 cm
Athens. Benaki M useum , 3050
E g g t e m p e r a o n w o o d . T h e V irg in is
sittin g o n a ro c k a n d h o ld in g th e
b o d y o f C h r is t o n h e r k n e e s . T h e
s u b j e c t is Ita lia n in o rig in (cf. th e
P ie t a by G i o v a n n i B ellini in V e n ic e )
a n d id e n tic a l v e rs io n s o f it a r e f o u n d
in a g r o u p o f C r e t a n icons fr o m th e
s e c o n d h a lf o f t h e 15th c e n t u r y (icon
by A n d r e a s P a v ia s in R o s s a n o , icons
in th e P. K a n e l l o p o u l o s (B a lt o y a n n i
1986 (1), no. 8) a n d D. E c o n o m o
p o u lo s C o ll e c ti o n s (B a lt o y a n n i 1986
(2 ), pis. 16-17), ico n fo r m e r l y in th e
C h u r c h o f S a n t a M a r ia d e lla M iser ic o rd ia in V e n ic e , a n d o t h e r icons in
S p lit, S a r a j e v o , in th e N i k o l e n k o
G a lle r y ( l e o n e s 1975, fig. 9) a n d
e l s e w h e r e ) . T h e C r e t a n artist has
b o r r o w e d n o t o n ly th e o v e ra ll
c o m p o s i t i o n , b u t also a n u m b e r o f
ic o n o g r a p h ic d e ta i ls fr o m V e n e tia n
p a in t in g b o t h o f th e 14th c e n tu r y (cf.
th e a t t i t u d e o f th e V irg i n 's h e a d , a n d
th e h e a d d r e s s c o v e ri n g h e r h a ir a n d
th r o a t in a c o m p o s it io n by P a o lo
V e n e z i a n o d e d i c a t e d to t h e D o g e Fr.
D a n d o l o in 1339. n o w in V e n ic e )
(R izzi 1972) a n d o f th e 15th c e n tu r y
(cf. th e b a r e ro c k in th e T r a n s f ig u
r a tio n by G i o v a n n i B ellin i in th e
C o r r e r M u s e u m in V e n ic e a n d th e
sim ila r d e ta il in th e P r a y e r in
G c l h s e m a n e by A n d r e a M a n t e g n a in
th e N a tio n a l G a l l e r y in L o n d o n ) .
I he icon has a n u m b e r o f ic o n o g r a
p h ic a n d stylistic f e a t u r e s in c o m m o n
w ith th e A k r a T a p e in o s i s by N i k o
178
laos T z a f o u r i s (s e c o n d h a lf o f the
15th c e n t u r y ) in V i e n n a , a n d is p r o b
ab ly to be a t t r i b u t e d to th e s a m e
p a in t e r .
T h e a b b r e v i a t i o n s MP . in G r e e k ,
d o n o t p ro v id e a n a n s w e r to th e
q u e s t io n o f th e n a tio n a lity o f th e c u s
t o m e r f o r w h o m th e icon w as i n t e n d
e d , sin ce w e k n o w o f an icon w ith a
s u b j e c t t a k e n fr o m Italian p a in t in g ,
s u i ta b l e fo r a C a th o l ic c u s t o m e r ,
w h ic h h a s a G r e e k in s c rip tio n (cf.
A ffre s c h i e ico n e 1986, no. 75). It
t h u s b e l o n g e d e it h e r to a C a th o l ic
c u s t o m e r o f G r e e k e d u c a t i o n , o r to
a n O r t h o d o x w ith W e s t e r n tastes.
T h e p r o b l e m o f th e c u s t o m e r s for
w h o m icon s in th e G r e e k m a n n e r
a n d in th e Italian m a n n e r w e re
i n t e n d e d is th u s a c o m p l e x o n e th at
n e e d s to be c o n s i d e r e d in th e light o f
a w ide v a r i e ty o f ev id e n c e .
C onservation. K. M ilanou (19X2).
Bibliography. C hatzidakis 1973. pp. fiSKff..
figs. 52-53. C hatzidakis 1974 (2). pp. 10..
fig. 81. P rijatclj 1974. pp. 55ff. Chatzidakis
(N .) 19X3. no. 45. p. 52. A ffrcschi c iconc
19X6. no. 65. pp. 11(1-111.
. V.
4 6
M a d r e d e lla C o n so la z io n e
w ith S t. F ra n cis
S e c o n d h a lf o f th e 15th c e n tu r y
6 0 x 5 2
cm
Athens. Byzantine M useum , T. 233
A few sm all p ie c e s o f th e w o o d p a n e l
a n d s o m e p a in t at th e e d g e s a re m iss
ing. G e s s o o n c a n v a s. G o ld g r o u n d
a n d h a lo e s , th e l a t te r d e c o r a t e d in a
p o in tille t e c h n i q u e w ith a stylized
floral d esign .
T h e V irg in is d e p i c t e d in th e well
k n o w n I ta lia n ty p e o f th e M a d r e
d e lla C o n s o l a z i o n e as r e n d e r e d by
t h e C r e t a n p a i n t e r s o f th e 15th c e n
tu r y (cf. c a t. no . 4 2 ), h o ld in g C h ris t
in h e r rig ht a r m ; th e l a t te r is m a k i n g
a b e n e d i c t i o n a n d h o ld i n g t h e s p h e r e
o f th e w o rld in his left h a n d . T o his
left is a fu ll-len g th p o r t r a i t o f St.
F ra n c is o f A ssisi, w ith th e s t ig m a ta ,
o n a s m a ll e r scale. H e is facin g th e
V irgin a n d C h ild , a n d h o ld s a cro ss
in his left h a n d a n d a clo sed bible in
his rig ht. T h e p o s itio n o f th e sa in t,
his gaze d ir e c te d t o w a r d s C h ris t, a n d
th e cro s s th a t he is h o ld in g , suggest
w ith a s u b tle s y m b o lis m th e m iracle
o f th e s t ig m a ta fr o m th e w o u n d s of
th e c ru c ified C h ris t th a t St. F ran cis
r e c e i v e d in a vision (th e th e m e is
f o u n d in I t a l o - C r e t a n icons o f th e
15th c e n t u r y , cf. P a v a n 1979. n o.
157, p. 95, C h a t z i d a k i s ( N .) 1983,
n o. 37, p. 44) a n d a n ti c ip a t e s th e f u t
u r e su ffe rin g o f Je s u s .
T h e p r e s e n c e o f th e sain t o f A ssisi,
w h o d o e s n o t a p p e a r in o t h e r Italo C r e t a n ico n s o f th e M a d r e d e lla C o n
so l a z io n e , a n d th e e s t a b li s h e d fact
t h a t th e B y z a n ti n e M u s e u m icon
c a m e fr o m C r e t e , m a k e it ve ry p r o b
a b le th a t it e i t h e r a d o r n e d a c h u r c h
o f th e F r a n c i s c a n s o n th e islan d , o r
w a s o w n e d by a m e m b e r o f th e
V e n e t i a n o r C r e t a n nobility.
T h e ty p e o f th e M a d r e della C o n s o
la z io n e w as p a r t ic u l a r ly p o p u l a r in
C r e t a n p a in t in g a n d m et the r e
q u i r e m e n t s o f b o th C a th o l ic a n d
I7>>
gest a ilatc in th e s e c o n d h a lf o f th e
15th c e n t u r y , a n d an a tt r i b u ti o n to
th e w o r k s h o p o f N ik o la o s T z a f o u r i s ,
t h o u g h p e r h a p s n o t to the h a n d o f
th e artist h im s e lf (cf. B ia n c o F io rin
I9N3, p. 167, fig. 8 , w h o e r r o n e o u s l y
id en tifie s th e s a in t w ith St. A n t h o n y
of Padua).
4 7
T h e D o r m itio n o f S t. S a b b a s
15th c e n tu r y
6 7 x 5 7 cm
Lelkas. Collection in the Public Library
A m u lti-fig u ra l c o m p o s it io n w ith
sc c n e s f r o m t h e life o f th e h e r m it s in
th e w ild e r n e s s . It follo w s th e ty p e o f
th e D o r m i t i o n o f E p h r a i m th e S y
ria n . w h ic h o c c u rs in a large n u m b e r
of icons f r o m th e 15th c e n tu r y . A
4 8
S a n c tu a r y D o o r s , r ig h t le a f
V ir g in o f th e A n n u n c ia tio n , S S B asil
a n d N ic h o la s
S e c o n d h a lf o f th e 15th c e n tu r y
123X 49 cm
Patm os. M onastery o f St. John the
T heologian, New Sacristy
T h is s a n c t u a r y d o o r is a n o t h e r e x a m
ple (cf. c at. nos. 38 a n d 39) o f C r e t a n
w o o d - c a r v i n g w ith p u r e V e n e t i a n
L a te G o t h i c tr a c e r y a n d floral
m o tifs. A t th e t o p , th e V irgin sittin g
in fr o n t o f a G o t h i c b u ild in g is r e n
d e r e d in th e I t a l o - C r e t a n m a n n e r ,
w h ile the fig u re s o f SS B asil a n d
N ic h o la s at th e b o t t o m h ave a less
r e f in e d sty le , in w h ich t h e r e a re n o
Italian in flu en ce s.
180
ty p ical e x a m p l e o f C r e t a n p a in tin g
t h a t strictly follow s th e tr a d it io n a l
style.
Provenance. Lcfkas.
C onservation. F. A sim akou (1967).
Bibliography. C hatzinikolaou 1966, p. 371.
C hatzidiikis 1974 (1). pp. 190ff. Byzantine A rt
1986. no. 130. p. 128. Affrcschi c iconc 1986.
no. 86. pp. 134. 136.
N. T.
49
C h r ist a n d th e S a m a r ita n W o m a n
L a st q u a r te r o f th e 15th c e n tu r y
3 8 .5 x 4 8 cm
Athens. K anellopoulos M useum
C h ris t is s e a t e d b e f o r e a well in th e
f o r e g r o u n d , w ith th e S a m a r i t a n
w o m a n s t a n d i n g o p p o s i te him . T h e
l a n d s c a p e is filled w ith p i c t u r e s q u e
e p i s o d e s set in d if fe re n t p la n e s (fo r
t h e i c o n o g r a p h y , cf. M ille t 1916, pp .
6U2ff.). O n th e left tw o g r o u p s o f
a p o s t l e s a r e w a lk in g t o w a r d s C h rist.
O n th e right th e r e is a g r o u p o f p e o
ple g a t h e r e d b e f o r e th e g a te of th e
city w h ich h a s th e in s c rip tio n S A M A T I E . T h e r e is a s im ila r s c e n e on th e
left d e p ic t in g th e city o f J e r u s a l e m ,
w ith th e in s c rip tio n J E R U S A L E M .
T h e m o n k s o n th e rig ht a n d m a n y o f
th e o t h e r fig ures a r e p a i n t e d o n a
sm all scale, w ith g r e a t a t t e n t i o n to
d e ta il (su ch as th e tw o fig u res in the
m i d d l e g r o u n d w a lk in g t o w a r d s a
sm all b u ild in g on a hill, a n d th e m a n
d i s m o u n t i n g fr o m his h o rs e b e h in d
th e city o n th e rig h t). D e e r a n d o t h
e r a n im a ls can be se e n s c a n n e d
a m o n g s t th e tr e e s a n d h ushe s.
T h e c o m p o s it io n is in f lu e n c e d by
14th- a n d 1 5 th -c e n tu ry I u scan p.mil
ing: th e t r a d it io n a l gold b a c k g r o u n d
h as b e e n r e p l a c e d by a la n d s c a p e
w ith b lu e sky a n d sm all c l o d s in Ilu
d i s ta n c e , as f r e q u e n t l y f o u n d in tin
p a i n t i n g o f G e n til e d a F a b r i a n o ; a n d
th e cities recall th o s e in th e wall
p a in t in g s o f A m b r o g i o L o r c n / c l l i
(C a rli 1957, pis. 72, 83). T h e flaw
in g o f th e faces in d i c a te s a k n o w
le d g e o f P a l a e o l o g a n p a in t in g ; but
th e c o m b i n a t i o n o f this w ith ta m iliai
ity w ith Ita lia n a rt su g g ests that
th e icon w as p a i n t e d in th e m ix ed
c u lt u r a l e n v i r o n m e n t o f 1 5th-ccnlu
ry C r e t e . T h is is a p a in t in g o f tin
h ig h e s t qu ality .
Bibliography. C hatzidakis 1974 ( I) , |>l
X X X IV . C hatzidakis 1974 (2). p. 1 13. . Hll
C hatzidiikis (Th ) 1982. no. 19. C h a t/itln k r
(N .) 1983. no. 48. p. 55. Byzantine A ll I'JMO
no. 112. pp. 112. 113. A ffrcschi e icone, no
66. pp. 112-113.
N. ( li
5 0
T h e E n tr y in to J e r u sa le m
L a st q u a r te r o f th e 15th c e n tu r y
4 9 .1 X 48.3 cm
Athens. P. K anellopoulos Collection
T h e c o m p o s it io n is d iv id e d in to tw o
e q u a lly b a l a n c e d p a r t s by a tall tr e e
w h ic h rises o u ts id e th e w alls o f J e r u
s a l e m . C h r is t, th e m a in fig u re , is
s h o w n o n th e left, sittin g o n th e ass
a n d m o v i n g to th e rig h t, a c c o m
p a n i e d by th e tw e lv e a p o s t le s in a
com pact group. T he background
co n sists o f a r o c k y l a n d s c a p e , in
w hich is set a d e p ic t io n o f a s m a lle r
w a lle d city; f r o m it a re d e p a r t i n g a
n u m b e r o f fig u re s p a i n t e d in m i n ia
t u r e , o n e o f t h e m m o u n t e d o n a w h ite
h o r s e . O n th e rig ht o f th e p a n e l rise
th e w alls of J e r u s a l e m , w ith th e d if
fe r e n t b u ild in g s pre cisely d ra w n .
B e f o r e th e w alls o f th e city, tw o
d e n s e g r o u p s o f Je w s a p p e a r Irom
INI
tw o g a te s to m e e t C h r i s t , >11it' I
sm all fig u re s a r e le a n in g mil n v ri I In
wall. Y o u n g ch ild re n a n s i a l l c i d
t h r o u g h o u t th e c o m p o s it io n
n
g a g e d in lively activities s o n n mi
c li m b i n g tr e e s to cut pa lm l> mu In
o t h e r s a re s p r e a d in g th e n i Im ln >>
th e g r o u n d , a n d at tin liollon i *In i
still a r e w re stlin g a n d pliivinji mi >
hill in fr o n t ol a I In i
co w s in fro nt ol this lotinln ln nml
t h r e e m o r e o n a low plait' ui il I In
right a d d a bueolii rlt lilt ill I III
s c e n e w hic h is noi | it I til I In liinll
tio n a l ic o n o g r a p h y I hi unlui all m
m a n n e r in w hich 11it s itn
iin n .i
recalls w in k s l i m n li t t|tin.......... .....
(Beicnson
'arbitrary
IVfiK
be cinnpiu
animal,
111r
11p
in
l>\
i
, n
1. 1
iti
I w i t h lltitl n l Hi
i hul
( ielan m m
i le f
II
in l u s l o n i n l l n
m hiilni
i nl l i i m
11 ill
tnlni -
il i n J i l l ; n
11 <11it 11 |mlM|]Hj> I*
le a n in g o u t fr o m th e w alls o f J e r u
s a l e m , a n d th e fo r m o f th e sp rin g.
F in a lly ,
th e
large
num ber
of
c lassicizing m a s k -m o t if s e x e c u t e d in
g risaille o n t h e b u ildin gs is a n o t h e r
f e a t u r e o f th e p a in t in g o f th e P a n t a
n ass a ( M o u r i k i 1980-81) th a t is also
f o u n d in t h e E n t r y into J e r u s a l e m .
T h e o b v i o u s links b e t w e e n th is icon
a n d its m o d e l in th e P a n ta n a s s a
illu s tra te j u s t h o w w i d e s p r e a d w as
C onstan tin o p o litan m odel am ongst
th e le a d i n g p a in t e r s w o r k i n g in d if
f e r e n t p a r t s o f G r e e c e in th e 15th
c e n tu r y .
T h e c o m p o s it io n o f th e icon is m o r e
strictly o r g a n i z e d , a n d th e g r o u p s of
a p o s t le s a r e t r e a t e d in a m o r e
c o m p a c t w a y ; th e r e n d e r i n g o f th e
d e ta ils o f th e h u m a n figu res a n d o f
th e b u ild in g s reflects th e a c a d e m ic
c h a r a c t e r o f C r e t a n icon s p r o d u c e d
in t h e s e c o n d h a lf o f th e 15th c e n tu r y .
B ibliography. C hatzidakis 1969-70. p. 325, fig.
129. C hatzidakis (T h.) 1982.no. 11 C h atzid a
kis (N .) 1983. no. 27. Affrcschi c iconc 1986,
no. 82. pp. 132. 133.
N. Ch.
51
T h e M ir a c le at C h o n a e
E n d o f th e 15th c en tu r y
37X 30 cm
K ephallonia, Lixouri. lakovatios Library
T h e ico n d e p ic t s th e m iracle o f th e
A r c h a n g e l M ic h a e l at C h o n a e , a
s u b j e c t a lr e a d y k n o w n fr o m th e
M e n o l o g i o n ' o f B asil (c. 980).
M ic h a e l is u sin g a p o le to d iv e r t th e
w a te r s o f th e riv er th a t h a d b e e n
t u r n e d to t h r e a t e n his c h u rc h by evil
p a g a n s ( H e l l e n i z o n t e s -). T h e m o n k
A r c h i p p o s is p o r t r a y e d o n a s m a lle r
scale at th e rig h t, b o w in g in an a tt i
tu d e o f p ra y e r , in g r a t it u d e fo r th e
in t e r v e n t io n by th e A r c h a n g e l. E a c h
ol the tw o b a l a n c e d fig u res is set
b e f o r e a s o a r in g m o u n t a i n p e a k . A n
im p o r t a n t e l e m e n t o f th e ic o n o g r a
p hy is th e d o m e d c h u rc h a n d th e
b u ild in g w ith a p itc h e d r o o f n e x t to
il; this is lo b e fo u n d in an icon in the
I o v e r d o s C o ll e c ti o n in th e B y z a n
tin e M u s e u m o f A t h e n s , p r o b a b l y
52
T h e S e v e n S le e p e r s o f E p h eso s
c . 1500
42 .5 X 3 4 .5 cm
Athens. City o f Athens M useum
T h e S e v e n S le e p e r s o f E p h e s o s a re
d e p ic t e d insid e a cav e th a t t a k e s u p
th e e n ti r e s u r fa c e o f th e ico n , lea vin g
o n ly a sm all a r e a o f g o ld b a c k
g r o u n d . T h e i r p o s t u r e s recall th o s e
o f th e a p o s t le s in th e tr a d it io n a l
ic o n o g r a p h y o f th e P r a y e r in G e t h s e m a n e (M ille t 1916. pp. 654ff., figs.
65 9-6 62 ), as fo r e x a m p l e in th e
C h u r c h o f A y io s Io a n n i s K o u d o u m a s in C r e t e ( B o u g r a t 1982, fig. 27).
T h e s a m e s u b j e c t , well k n o w n in
B y z a n ti n e p a in t in g (cf. th e V a tic a n
'M e n o l o g i o n ' o f Basil I I ), is also
f o u n d in 15th- a n d 1 6 th -c e n tu ry
W estern
e n g ra v i n g s
( M a s s ig n o n
1961. p p . 12 ff.. 2 0 f f ., pis. V I, 1. V I I .
1-5). a n d in 1 5 th - c e n tu r y C r e t a n
icon s (cf. an icon fr o m S inai. M a s s i
g n o n 1961, pi. V I I , 2). It also o c c u rs
in th e w all p a in t in g s by T h e o p h a n e s
in t h e re f e c to r y o f th e Cireui I tivm
(M ille t 1927, pi. 147, 2) a n d in I Hi
a n d 1 8 th - c e n tu r y icons in tin Iten nk i
M u s e u m a n d th e L o v e r d o s C ol
le c tio n .
T h e ico n is th e w o r k o f a m a j o r ( t
ta n p a i n t e r ; th e d r a w in g is u n u su a lly
p re c is e a n d th e p a i n t e r has a rau
s e n s e o f c o lo u r . P a r t ic u l a r ly s trik in g
is th e tr a n s l u c e n t q u ality o f the w hite
a n d b lu e - g r e y t o n e s , a n d th e bo ld
c o m b i n a t i o n s o f d if fe re n t h u e s ol
r e d . T h e sm all b a s k e t o f olives h a n g
ing in t h e cave is well m o d e l le d
d e m o n s t r a t i n g t h a t th e artist w a s
f a m il ia r w ith I ta lia n p a in tin g . It m a y
b e s u g g e s te d th a t th e icon is to be
d a t e d to c. 1500. O n th e r e v e r se is a
cro s s s t a n d in g o n a s t e p p e d plm lli
p a i n t e d at a la t e r d a t e (1639).
Conservation. S. Stasinopoulos.
B ibliography. C hatzidakis (T h .) 1982, no M
C h atzid ak is (N .) 1983. no. 35. p. 42 lly/m i
tine A rt 1986. no. 129. pp. 126-127 A lin hi
e iconc 1986. no. 85, pp. 134. 135.
N. <
5 3
f r o m t h e 16th c e n tu r y (X y n g o p o u lo s
1959, p p . 26ff., pi. 7. C h a tz i d a k is
1977 (1 ). p p . 7 I f f . . pi. 20). T h e icon
fo llo w s a P a la e o l o g a n m o d e l , b u t has
lost th e s e n s e o f d r a m a t h a t is a f e a
t u r e o f th e s e sc en es (cf. th e icon of
t h e G r e e k O r t h o d o x P a t r i a r c h a t e in
J e r u s a l e m ( C h a tz i d a k is 1965 (2), p.
X X X I I I , fig. 69). T h e b a la n c e d
c o m p o s i t i o n in th e p r e s e n t w o r k , th e
r e s t r a i n t o f th e figures a n d th e p r o
n o u n c e d classicizing g ra c e o f th e
a r c h a n g e l all p o in t to th e w o r k s h o p s
o f C r e t e in th e 15th c e n tu r y . M o r e
spe cific ally , th e g e o m e t r i c t r e a t m e n t
o f th e d r a p e r y , w ith its slightly s c u l p
tu r a l q u a li ty , th e rich r a n g e o f d e l
icate c o lo u r s a n d the soft m o d e llin g
o f th e h a n d s a n d faces su g g e st th at
t h e icon w a s th e w o rk o f an out
s t a n d i n g late 1 5 th -cen tu ry artist.
B ibliography. K onom os 1966. p. 15. fig. 14
V o kotopoulos 1969. p. 285. Byzantine A il
19X6. no. 127. pp. 12-1. 126. Affrcschi c iconc
1986. no. 84. pp. 132-133. 135.
D l<
S a n c tu a r y D o o r s
A n n u n c ia tio n a n d S a in ts
15th c e n tu r y
142X78 cm
A thens. Byzantine M useum , T. 737
T h is is th e o rig in a l s c e n e , r e v e a l e d in
1980 in th e l a b o r a t o r y o f th e B y z a n
tin e M u s e u m by th e r e m o v a l o f th e
m o r e r e c e n t r e p a i n ti n g . T h e A n
n u n c i a t i o n o c c u p ie s m o s t o f th e a r e a
o f th e tw o d o o r s , a n d in c lu d e s th e
fi g ures o f th e p r o p h e t s Is a ia h a n d
D a v id , b u sts o f w h o m a r e p a i n t e d o n
a s m a ll e r scale. A t th e to p o f th e
d o o r s t h e r e a r e tw o o t h e r sa in ts , w h o
h a v e b e e n id e n tif ie d as St. N i c h o
las a n d t h e a p o s t le A n d r e w . A t th e
b o t t o m is th e f a d e d in s crip tio n ALT I
C1C T O Y T O Y 1-.
ic o n , w h o w as also called A n d ie w
Ic o n o g r a p h ic a l ly it is r e l a te d lo I lit
m i n i a t u r e by P lo u s ia d m o s in < oil
Sin. 1234. w h ich is daU d lo I lii'i
( W e i t z m a n n 1973, p p
H
pi
X X X I ) ; to th e A n n u n c i a t i o n in llii
m a r g in o f th e icon by N ik o ln o Hi
tz o s in S a r a j e v o (C h a l / n l . iki I ' 1
(1 ), pi. 2 02 ); to th e satin m u in lin
m a r g in o f th e Menaki M i i m m i i i i i i h i i
o f th e V irg in (X yngopotiliin I'M1 pi
5 4 ); a n d to a series ol l i o n . <ittI
S a n c t u a r y d o o r s ( I'im i
p. 51) th at follow a InI...... I- in
m o d e l , t r a n s f o r m e d .iflil .n l i i p l i m
t h e p r i n c i p l e s o l ( re Inn p iiln lin
T h e sty lish
to th e
m l i i l l o n f h i p ol lin
a b o v e w i n k s p o in t', m
I ill
111 I **
T O Y [ ) | |.
w h ic h e x p la in s th e inclusion o f th e
a p o s t le A n d r e w : he w as th e p a t r o n
sain t o f th e m a n w h o d e d ic a te d lhis
1K.1
In l i n
di
W e s le t n eltim nl
lo lu in n
mi
lm
) In
u t m o m i l !
flo w e r p o t s e p a r a t i n g th e tw o fig
u r e s , w hich s e e m s r a t h e r d e t a c h e d
a n d u n c o n n e c t e d w ith th e c o m p o
s i ti o n , h a s b e e n s h o w n to be c o n n e c t
e d w ith th e c o l o n n a d e th a t w as in v a
riab ly in c lu d e d in s c e n e s o f the
A n n u n c i a t i o n p a i n t e d by th e S ie n
n e se artists o f th e 14th a n d 15th c e n
t u r ie s ( B a l t o y a n n i 1984, p. 58). A
n u m b e r o f stylistic f e a t u r e s , suc h as
th e d i a p h a n o u s , li g h t- c o lo u re d ey es
ot th e a n g e l, th e o v e r - s w e e t face of
th e V irgin a n d th e realistic e x p r e s
sion o n th e fac e o f D a v i d , also have
th e i r o rig in s in W e s t e r n art.
T h e A n n u n c i a t i o n , th e s u p r e m e
s y m b o l o f th e I n c a r n a t i o n , h e re
g a in s in m e a n i n g b y v irtu e o f its
b e in g p a in t e d o n th e le a v e s o f the
S a n c tu a r y d o o r s . T h e sig nificance o f
th e c o n n e c t io n b e t w e e n th e S a n c
t u a r y d o o r s a n d th e A n n u n c i a t i o n
( C h a tz i d a k is 1973, col. 343) is p e r
h a p s i n d i c a te d by th e fact t h a t th e
e v id e n c e f o r th e first use o f th e s ce n e
o n su ch a d o o r p o in ts to a d a t e in the
12th c e n t u r y ( W e i t z m a n n 1964-65,
p p.
17-18), w h e n th e d o c tr in a l
m e a n i n g o f th e I n c a r n a t i o n w as
w id ely d is p u te d ( B a b ic 1968. pp .
368-386). It is also k n o w n th a t o n e of
th e m o s t f r e q u e n t m e t a p h o r s a n d
sim iles u se d in B y z a n ti n e h y m n o g r a -
p h y a n d h o m ilie s re la tin g to th e V i r
gin is th e G a t e ' o f E z e k ie l ( T h is
g a t e shall be c lo s e d ') (E z e k ie l
X L V . 2 ) ; a t a v e ry early d a t e this
c a m e to b e r e g a r d e d as a p r e f ig u
ra t io n o f th e ro le o f th e V irgin in the
I n c a r n a t i o n . O n e o f th e a p p lic a tio n s
o f th is s y m b o li s m , w h ich w a s diffi
cu lt to r e n d e r ic o n o g r a p h ic a lly , w as
to p a in t a s c e n e o f th e A n n u n c i a t i o n
o n th e S a n c t u a r y d o o r s . T h is i n t e r
p r e t a t i o n f u r t h e r a c c o u n t s fo r the
in clu sion o f Is a ia h , w h o is also to be
f o u n d in W e s t e r n sc e n e s o f the
A n n u n c i a t i o n , in f lu e n c e d by th e
L a ti n M e d i t a t i o n e s V ita e C h ris ti' o f
P s e u d o b o n a v e n t u r a ; a c c o rd in g to
this te x t , at th e tim e o f th e A n
n u n c i a t i o n th e V irgin w as re a d i n g
th e p r o p h e c y o f Isaiah ( R o b b 1936.
p. 4 8 5 ) : E N
A C T P I 1
KAl
KAAECOYCl
TO
; this is also
th e te x t o n th e scroll h e ld by th e
p r o p h e t in th e icon.
54
184
t h e o lo g ic a l c o n t e n t o f th e scen e: [H
EN
TH
C jK H N II
TOY
[T |H C [ A P ]X IK H C T P IA A O C -
o f th e r e f in e d circles o f artists a n d
p a t r o n s in th e c a p ita l at this p e r
iod w e r e c e n t r e d o n th e revival o f
a n ti q u it y , a n d c a n be d e t e c t e d in
th is icon in a v a ri e ty o f w ays. W e
m a y n o t e , fo r e x a m p l e , th e classical
p r o p o r t i o n s , th e e le g a n t p o s t u r e s
a n d th e re f in e d faces o f th e a n g e ls ,
th e
"p a tria rc h a l'
appearance
of
A b r a h a m , a g a in fo llo w in g a n c ie n t
ic o n o g r a p h ic ty p e s , a n d a ls o a n u m
b e r of d e ta ils , su c h as th e c a r a f e c o v
e r e d by a n u p t u r n e d glass on th e
t a b l e , w h ic h c a n b e s e e n in a wall
p a in t in g fr o m H e r c u l a n e u m , th e lion
m a s k w ith fo liage c o m i n g o u t o f its
m o u t h , e x e c u t e d in grisaille o n th e
f a c a d e o f th e b u ild in g o n th e rig h t,
a n d th e re d c lo th o n th e r o o f o f th e
o n e on th e left. T h e m o n u m e n t a l
size o f t h e fig u re s a n d th e r e d u c e d
scale o f th e a c h it e c tu r e a n d tr e e s in
th e b a c k g r o u n d , th e r e t u r n to a f la t
t e r c o n c e p t io n o f s p a c e , a n d th e dry
m o d e llin g o f t h e flesh a n d d r a p e r y
a re s o m e o f th e f e a t u r e s th a t p ro v i d e
a r g u m e n t s fo r d a ti n g this icon to th e
p e r i o d a f t e r 1453. T h e B y z a n ti n e
M u s e u m icon p a n e l b e e n d a t e d
v a rio u s ly to th e 15th c e n tu r y (S o t i
rio u 1931. p. 7 4), to th e first h a lf o f
th e 16th c e n t u r y , in re la tio n to th e
e a rly c r e a t i o n s o f th e C r e t a n S ch o o l
(C h a t z i d a k i s 1961. no . 3, w ith c o lo u r
p la te . C h a r a l a m p o u s - M o u r i k i 1962
63. p p . 8 7 f f .), o r m o r e precise ly to
th e m i d d le o f th e 16th c e n tu r y , w hile
still b e in g c o n s i d e r e d a C r e t a n w o r k
(C h a tz i d a k is 1969, fig. p. 45). H o w
e v e r . th e view th a t this icon w as th e
w o r k o f th e C r e t a n School cun In
q u e s t i o n e d a fte r th e p n b ln iitJnn nl
p e r t i n e n t d o c u m e n t s in llu V e n n
a rc h iv e s by C a t t a p a n , a n d I In i I| h
c o v e r y o f h it h e r t o u n k n o w n p n l n u u l
m a t e r i a l a ss ig n ed to this sch o o l I h.
re s u lt is t h a t th e d a te s th a t h a v e b e e n
s u g g e s te d fo r th e m a j o r i ty o f ic o n 1,
f r o m th is circle h a v e to b e ra is e d , by
a c e n t u r y in s o m e cases. T a k i n g tinr e c e n t d is c o v e rie s in to a c c o u n t , it
m a y be s u g g e s te d th a t th e B y z a n lin e
M u s e u m icon o f th e H o s p ita lity ol
A b r a h a m s h o u l d b e p la c e d in llu
s e c o n d h a lf o f t h e 15th c e n tu r y ,
S o m e r e s e r v a ti o n is also n e e d e d as lo
its p re c i s e re la ti o n s h ip to th e ( icliin
S c h o o l, a t least u ntil th e stu d y o f (he
d a t e d 1 5 th - c e n tu r y e n s e m b le s o f wall
p a in t in g s is c o m p l e t e d , a m o n g )
w h ic h t h e d e c o r a t i o n o f th e Pan
t a n a s s a a t M is tr a is o f special
i m p o r t a n c e (c. 1428). T h e B y z a n tin e
M u s e u m icon has close ic o n o g r a p h ic
a n d stylistic affinities with tw o m n i i
icon s d e p ic t in g th e s a m e s u b j e c t . in
t h e H e r m i t a g e a n d th e N a i h o m n
M u s e u m , w hich w e re p r o b a b l y painl
e d e a r l i e r , t h o u g h still in th e I Mil
c e n tu r y . T h e s a m e ic o n o g r a p h ) nl
t y p e , w ith m i n o r v a ria tio n s , is In
q u e n t l y r e p e a t e d in la te r painim^
m o s tly icons.
Provenance. A cquired 1111 Z akynlhns
Conservation. A. MargaritoM.
Bibliography. Sotiriou 1931, p
>I < Itu
izidakis 1961. no. 3. with culom pliil 1 <
lam pous-M ouriki 1962-63, pp, H711 1 IhiIcIiIh
kis 1969. fig. p. 45. Affrcschi * ( ini
H8. pp. 138-140.
I M
N t . P H C I C . T h e f r e q u e n t o c c u rr e n c e
55
S t. N icholas
c. 1500
9 0 X 5 6 cm
I o a n n i n a . C h a p e l o f t h e B i s h o p 's P a l a c e
T h e se v e r e m o d e l li n g , th e d r a p e r y
a n d th e c o n s e r v a ti v e ic o n o g r a p h y
su g g e s t th a t this icon b e lo n g s lo the
s a m e g r o u p as th e icon s fro m llu
M o n a s t e r y o f the 1 Icousa o n tIn185
/'ro ve m tn te
1 lit.
Hit-
M u t u l
iti
I ilkr
nl
Iikhiiiiim
i i
5 6
S t. N ic h o la s w ith sc e n e s o f h is
m ir a c le s
c . 1500
92X 62 cm
Ioannina. Chapel of the Bishop's Palace
iM flJ
M. A.-P.
5 7
E g g t e m p e r a o n w o o d . The c e n tra l
s c e n e is a p o r t r a y a l o f St. N ic h o las
e n t h r o n e d . In th e b o r d e r s u r r o u n d
ing it t h e r e a r e tw e lv e s c e n e s from
th e life a n d m i ra c l e s o f th e saint.
S ta r ti n g in th e t o p left c o r n e r , an d
p r o c e e d i n g left to r ig h t, th e s e are:
t h e b ir th o f th e s a in t; his e le c tio n as
b is h o p ; t h e sain t r e s c u in g th e th r e e
d a u g h t e r s f r o m p r o s t i t u t i o n ; the
s a in t re s c u in g t h e t h r e e in n o c e n ts
fr o m t h e e x e c u t i o n e r ; th e sain t d e
s t r o y in g th e id ols in th e te m p le ; th e
m i ra c l e o f th e sh ip ( t h e c a lm in g of
t h e w a v e s ); t h e t h r e e g e n e ra ls in
p ri s o n ; th e s a i n t a p p e a r i n g in a
d r e a m t o C o n s t a n t i n e t h e G r e a t ; th e
s a in t a p p e a r i n g in a d r e a m to th e
g e n e r a l ; th e t h r e e g e n e r a l s o ffe rin g
gifts to C o n s t a n t i n e th e G r e a t ; th e
186
D o r m i t i o n o f th e sa in t; a n d th e t h r e e
g e n e r a l s o f f e r in g gifts to St. N i c h o
las. T h e s e e p i s o d e s f r o m t h e life an d
m ira c le s o f t h e s a in t a re n o t in th e
c h r o n o l o g ic a l o r d e r o f th e sy n a x a ria
(lives o f t h e sa in ts) . T h is is also tr u e
o f o t h e r ico n s o f St. N ic h o la s ro u g h ly
c o n t e m p o r a r y w ith this o n e (ico n on
P a t m o s fr o m 1430-60, a n d a late
1 5 th - c e n tu r y icon fr o m K a s to r ia )
a n d also o f e a r l i e r icon s (icon fro m
S in a i, fr o m th e e n d o f th e 12th c e n
tu r y ).
T h e icon h a s b e e n a t t r i b u t e d to a
C r e t a n p a i n t e r a n d is d a t e d to c.
1500. C e r t a i n P a la e o l o g a n i c o n o g r a
p h ic f e a t u r e s m a y h a v e b e e n t r a n s
m i tt e d t h r o u g h t h e w o rk s of 15thc e n t u r y C r e t a n p a i n t e r s such as
A n g e l o s A k o t a n t o s (cf. th e ty p e of
t h e t h r o n e in t h e D e e s is icons by this
p a i n t e r in t h e M o n a s t e r y o f V i a n n o u
a n d th e K a n e l l o p o u l o s C o lle c tio n )
a n d A n d r e a s R itz o s (cf. t h e ty p e ol
th e t h r o n e in t h e ico n o f C h ris t on
P a t m o s , a n d th e a rc h i te c t u r e in th e
C h ris to lo g ic a l sc e n e s in th e icon o f
t h e V irg in E n t h r o n e d in th e B e n a k i
M u s e u m ) . H o w e v e r , th e flow ing
d r a p e r y o f th e s a in t's g a r m e n ts ,
ty p ical o f C r e t a n ico ns in t h e Italian
m a n n e r (e .g . cat. n o . 45), d e m o n
s t r a t e t h a t I ta lia n f e a t u r e s c o u ld find
t h e i r p la c e e v e n in a n ico n like this.
58
N oli M e T a n g e r e
16th c e n tu r y
1 2 0 x 8 2 cm
Zakynthos. M etochion of the M onastery
of St. Catherine Sinaiton
T h e icon d e p ic t s th e a p p e a r a n c e o f
C h r is t to M a r y M a g d a l e n e a f t e r th e
R e s u r r e c t i o n , as n a r r a t e d in the
G o s p e l o f St. J o h n ( X X V I I I . 14-17).
T h e L o r d t u r n s b a c k to M a r y , w h o
h a s fallen to h e r k n e e s , a n d s tr e tc h e s
o u t his h a n d to s t o p h e r to u c h i n g
h im . T o th e left, t h e r e is a c a v e in th e
s id e o f a s t e e p m o u n t a i n w ith th e
o p e n s a r c o p h a g u s in w hich th e
s h r o u d lies, a c c o r d i n g to th e te x t of
th e G o s p e l.
T h e Z a k y n t h o s ico n b e lo n g s to a
v a r i a ti o n o f th e N oli M e T a n g e r e
t h a t w a s p r o b a b l y c re a t e d in C r e t e in
th e 15th c e n tu r y a n d is f r e q u e n tl y
f o u n d in w o r k s by th e C r e t a n
S c h o o l. A strik in g f e a t u r e o f it is the
d if f e r e n c e b e t w e e n th e t r e a t m e n t o f
C h r i s t 's g a r m e n t s , w h ich a r e b a s e d
o n B y z a n t i n e m o d e l s a n d h a v e still
a c c e n t u a t e d d r a p e r y g le a m in g with
g o ld , a n d th e so ft, flow ing d r a p e r y ol
t h o s e o f th e k n e e li n g w o m a n , w hich
w e r e in s p ire d by L a te G o t h i c art
T h e icon s h o u l d b e a t t r i b u t e d to a
C r e t a n a rtist o f th e b e g in n in g o l tin
16th c e n tu r y .
Conservation. M. Rousca-Bnrb.i
Bibliography C hatzidakis 1967. p. 27. |il I III
B yzantine A rt 1986. no. 135. pp. 1 '2 . I 'I
A ffrcschi e iconc 19X6. no. 91. pp. 1-1. I I '
l> I
5 9
S t. G e o r g e o n H o r se b a c k
B e g in n in g o f th e 16th c e n tu r y
65X 51 cm
London. M. P eraticos Collection
St. G e o r g e is m o u n t e d o n a w h ite
re a r in g h o r s e , w ith th e u p p e r p a r t o f
his b o d y t u r n e d t o w a r d s th e v iew er.
W it h his lan ce he is s trik in g a d a r k ,
t h r e a t e n i n g d r a g o n w h o s e tail is
w o u n d a r o u n d th e h o r s e 's h in d legs.
T h e tin y p rin c e ss raises h e r h a n d s in
s u p p l ic a t io n t o w a r d s h e r sav io u r.
T h e d ra g o n - s la y i n g s c e n e ( A u f h a u se r , 1913. p p . 113-129) is c o m p l e te d
by a s u m m a r i ly d r a w n castle with
to w e r s at th e c o r n e r s . O n to p o f it
s t a n d th e king a n d q u e e n , a c c o m
p a n i e d by c o u r t i e r s a n d t r u m p e t e r s ;
th e k in g h o ld s o u t th e keys of tin
IS7
c a stle t o th e c o n q u e r o r ol tin
dragon.
T h e tiny w h ite - c la d lig u ie o n lh<
r u m p o f t h e h o rs e relur^ lo iiiioiIh i
o f St. G e o r g e ' s m iracle s III is ill
y o u t h o f M y tile n e d e l i v e i n l li m n
c a p tiv ity by th e saint ( A 11111<ii>> i
1913, p p . 100-1(13). In hr. li mil i"
th e glass a n d tile wi i ol wlm Mini
h e w a s h o ld in g at the mom nt ol tin
m i ra c u l o u s in t e rv e n t io n Al III I >|
left, t h e h a n d ol t mil hi
blessing.
'I'he
b a sil
c o m p o '.il Ion
d r a g o n slayer
occu rs
w ith
*>1111 on
.lli'lit
\Mlll
In
v j lliillm u
ill-
In i
in
Iii 11:
>l
i i |
in
nil
I'alm o. A n l io n nl Hi ( : m |!W
c h u r c h o f th e G r e e k c o m m u n it y in
V e n ic e in fact su g g e s ts th a t icons like
t h e s e m a y h a v e s e r v e d as p r o s k y n e ta r ia o f th e p a t r o n s ain t (C h a tz i d a k is
1962, p p . 38-39). It h as re c e n tly b e e n
s h o w n by P. V o k o t o p o u l o s a n d M .
V a s s ila k e s t h a t t h e s e icon s w e r e
b a s e d o n a n a r c h e t y p e by the f a m o u s
C r e t a n p a i n t e r A n g e l o s , w h o lived in
th e first h a lf o f th e 15th c e n tu r y
( V a s s i l a k e s - M a v r a k a k e s 1981, pp.
29 0-2 98 ), th e f i g u re s o f th e d r a g o n
a n d th e h o r s e b e in g in s p ire d by an
e a r l i e r w o r k by P a o lo V e n e z i a n o
( H o r s e s o f S an M a r c o 1979, p. 83.
fig. 109).
T h e p r o p o r t i o n s o f th e r id e r, th e
d e c o r a t i o n o f his le a t h e r cu irass an d
a c e r t a i n stiffn ess in th e d ra w in g ,
d a t e th e w o r k a f t e r A n g e l o s 's d e a t h ,
p o ss ib ly to th e b e g in n in g o f th e 16th
c e n tu r y .
Bibliography. U n p ublished.
L. B.
60
S t. D e m e tr iu s
16th c e n tu r y
108X 82 cm
Kerkyra. M useum of the Antivouniotissa
T h e p a t r o n s a in t o f T h e s s a l o n ik e is
p o r t r a y e d m o u n t e d o n a h o rs e , a
ty p e in s p ir e d b y m o d e l s fr o m th e I t a
lian R e n a i s s a n c e . H e is b ein g b le sse d
by th e h a n d o f G o d , w hile th e city o f
T h e s s a l o n i k e (as w e a re in f o r m e d by
th e in s c r ip t io n ) rises in th e b a c k
g r o u n d . p r o t e c t e d by v ery high
walls. T h is ty p e o f the saint o n
h o r s e b a c k , in w hich th e h o rs e is
sh o w n fr o m th e s i d e , m o v i n g slowly
f o r w a r d , w h ile th e sa in t is t u r n e d
t o w a r d s t h e v ie w e r, w as p r o b a b l y
c r e a t e d in C r e t e in th e 15th c e n tu r y
f r o m a c o m b i n a t i o n o f B y z a n ti n e
a n d I ta lia n e l e m e n t s , a n d w a s not
v e ry w i d e s p r e a d . T h e h a rs h m o d e l
ling o f th e icon su g g e s ts th a t it
s h o u l d b e a t t r i b u t e d to a c o n s e r v a
tive C r e t a n p a i n t e r at th e e n d o f the
16th e n t u r y w h o w a s in s p ire d by
1 5 th - c e n tu r y m o d e ls .
Conservation. F. Asim ukou.
B ibliography. V okotopoulos 1972. C h atzid a
kis (N .) 19K3. no. 31. pp. 38. 40. Byzantine
A rt 1986. no. 134. pp 130 133. A ffcschi c
iconc 1986. no. 90. pp. 141-142.
P. L . V.
61
The A k r a T a p e in o s is
Iti'gim iiiig o f th e 16th c e n tu r y
23X 18.5 cm
London. M. Icraticos Collection
T h e u p p e r p a rt o f C h r is t's n a k e d
b o d y is p o r t r a y e d against a gold
b a c k g r o u n d . 11c is sta n d in g in a m a r
ble s a r c o p h a g u s , in fron t ol th e a rm s
o f th e c ro ss. T w o sm all a n g els at the
to p a r e m o u r n i n g , w ith ex p res siv e
g e s tu re s .
T h e s u b j e c t o c c u r s in B y z a n tin e
icons fr o m th e 12th c e n tu r y o n w a r d s
(cf. cat. n o s. 8 a n d 27). T h e B y z a n
tine t r a d it io n c a n be se e n in th e
c o m p a c t t r e a t m e n t o f th e b o d y , in
w h ic h t h e p r o m i n e n t v o lu m e s , e s p e
cially o f th e c h e st m u s c le s, recall th e
INK -
B y z a n ti n e p e r i o d .
T h is f e a t u r e ,
w h ic h is f o u n d in e a r l ie r v e rs io n s o f
t h e t y p e in Ita ly , such as th e 14thc e n t u r y d ip ty c h in F lo r e n c e ( B e ltin g
1981, fig. 10), w as u s e d in I ta lo -C re ta n ico ns like th e A k r a T a p e in o s i s by
N ik o la o s T z a f o u r i s in th e K u n sth isto r is c h e M u s e u m , V i e n n a (K re id lP a p a d o p o u l o s 1970, p. 93, no . 2, fig.
3 9 ), a n d a large C r e t a n icon f r o m th e
e n d o f th e 15th c e n tu r y in th e
R eck lin g h au sen M u seu m (Ik o n en
1981. n o. 250, fig. 17); in this last
w o r k , th e sty le , as well as th e
s u b j e c t , is sim ila r to t h a t o f th e p r e
s e n t ico n. O t h e r f e a t u r e s c o m
m o n to th e tw o a re t h e inc lusio n o f th e
tw o m o u r n i n g a n g e ls at th e t o p , a n d
t h e p a le p in k m a r b l e s a r c o p h a g u s .
In th e sm all icon p r e s e n t e d h e r e , th e
62
T h e D o r m itio n
S e c o n d h a lf o f th e 16th c e n tu r y
116X 77.5 cm
Kos. M etropolitan Chapel of the
Annunciation
G e s s o o n c a n v a s . G o l d g ro u n d .
P a in t in g d a m a g e d . T h e t u r b a n e d fig
u r e o f J e p h o n i a s in th e f o r e g r o u n d
d a t e s in p a r t fr o m a r e s t o r a t i o n o f
t h e icon in 1831.
T h e s c e n e is a m ulti-fig ural c o m p o
s itio n , d e v e l o p e d v ertically in a s y m
m e t r i c a l. o r d e r e d fa s h io n ; it is
b a l a n c e d a r o u n d th e h o r i z o n ta l a n d
v e rtic a l a x e s a n d th e d ia g o n a l s ,
w h ic h d e t e r m i n e th e a r r a n g e m e n t o f
t h e c ro w d to th e rig ht a n d left o f th e
V irg in o n th e b ier.
T h e r e is livelier m o v e m e n t at th e
lo w e r fr o n t o f th e icon , a n d in th e
t h r e e - s t o r e y R e n a is s a n c e b u ild in g s
in th e b a c k g r o u n d at e it h e r side:
h e r e , o n th e b a lc o n ie s a n d at the
w in d o w s , a n d o n th e s tairca se o f the
b u ild in g to th e rig h t, o ld m e n ,
w o m e n a n d a y o u n g m o t h e r , all
e x e c u t e d in m i n i a t u r e , a r e follow in g
e v e n t s fr o m a d is ta n c e , ta lk in g a n x
iou sly to e a c h o t h e r a n d m o u r n in g .
In th e h e a v e n s , t h e r e a re s c e n e s of
IOT
th e a p o s t le s a rriv in g on c lo u d s , a n d
th e a s c e n t of th e soul o f th e V u y in
In t e r m s o f th e m o n u m e n t a l c om p
tio n a n d a m b i ti o u s t r e a t m e n t , 111'
c lo s e s t p a ra lle ls to this icon '>. m I
b e t h e e a r l ie r v e rs io n o f the I > ml
tio n by A n d r e a s R itz o s in In i in
( C h a t z i d a k i s 1977 ( I ) , pi 211(1). .mil
th e icon c lo s e r to it in d a te by I >mm
n i k o s T h e o t o k o p o u l o s recuinSy ill
c o v e r e d o n S y ros (cat. n o o l )
It is th e w o r k o f an im p o itim l Huh
c e n t u r y p a i n t e r , a n d I hi m l n ln l m i
a n d d e ta i le d e x e c u t io n in tl IM
s triv in g fo r p e r s p e c t i v e . nnl l*>
facial ty p e s p o r t r a y e d in ill n mint
s c e n t o f th e a il ol ( I Imi
tzas , t h o u g h the >
n o t close e n o u g h lo m a k e it i m il u t
tio n to K l o n l / a s cei la m T*h > >>>
resem blances, h o w v e i
>iihI ilii
i c o n o g r a p h ic iillm llloi u illi I In I
m itio n by K Ion I / mi 11> I' (Ini
tr ip ty c h (< /lilnlu I 1 1 I I I n<
<i2. p p I d / l l pi. II 111 tin V in
tr ip ty c h ( C h a t z i d a k i s 1962, no . 51,
p p . 77 ff., pi. 3 8 ), a n d especially with
an icon o f th e D o r m i t i o n o f th e V i r
gin in th e Sinai M o n a s t e r y (W e itz n ia n n 1980, n o. 23) a t t r i b u t e d to th e
s a m e a rtis t, s u g g e s t t h a t th e icon w'as
possib ly p a i n t e d by a m e m b e r o f the
fam ily o f G e o r g i o s K lo n tz a s . m a n y
o f w h o m w e re p a in t e r s .
6 2 a
D o m e n ik o s (T h e o to k o p o u lo s):
T h e A d o r a tio n o f th e M a g i
c. 1 5 6 5 -1 5 7 5
4 0 x 4 5 cm
Athens. Benaki M useum , 3048
T h is is c o n s i d e r e d o n e o f th e m o st
im p o rtan t early w o rk s of D om enikos
T h e o t o k o p o u l o s . T h e artist is still
usin g e g g t e m p e r a , b u t h as a b a n
d o n e d t h e ic o n o g r a p h y a n d p a in tin g
t e c h n i q u e s o f his n ativ e C r e t a n
S c h o o l. T h e s i g n a t u r e on th e s te p of
th e c ro s s -v a u lte d ru in re a d s :
( by th e h a n d o f D o
m e n i k o s ') .
A m o n g th e n o t a b l e f e a t u r e s o f this
w ork are
th e
th r e e - d i m e n s i o n a l
s p a c e c r e a t e d b y t h e p e r s p e c ti v e r e n
d e r i n g o f th e a r c h i te c t u r a l b a c k
g r o u n d , t h e use o f th e C h ris t C hild
as an i n n e r s o u r c e o f light a n d th e
m a n n e r i s t i c tr a it s in t h e a g it a te d
m o v e m e n t o f th e th r e e h o r s e s o n th e
right.
D esp ite th e fre e h a n d u nderdraw ing,
f o r m s a r e m o l d e d in light a n d c o lo u r ,
w ith to ta l d is r e g a r d fo r o u tl in e s ,
w h ic h is a ty p ica l tr a it o f 1 6 th -c e n
tu ry V e n e t i a n p a in t in g ( S t e e r 1983,
p p . 41-43).
C onservation. S. S tasinopoulos, K M ilanou
(1986).
B ibliography. W et hey 1962. II, p. 165. El
G reco E xhibition 1986. p. 171.
L. B .
6 3 *
D o m e n ik o s T h e o to k o p o u lo s:
T h e D o r m itio n
S e c o n d h a lf o f th e 16th c e n tu r y
6 1 .4 X 5 2 .2 cm
Syros, Erm oupolis. Church of the Koimesis tis Theotokou (Panayia ton Psarianon)
190
c a n c e w h e n we recall th a t th e p a i n t e r
sub seq u en tly
turned
to
Rom an
C a th o l ic i s m . B u sts o f th e a p o stle s
g a t h e r i n g fro m th e e n d s o f the
e a r t h ' a re d e p ic t e d o n c lo u d s a g a in s t
th e gold b a c k g r o u n d .
T h e p a i n t e r d is p la y s a w id e r a n g e o f
skills in this ico n , r e v e a lin g , a b o v e
all, his fa m ilia rity w ith a v a ri e ty of
d if f e r e n t styles. T h e m a in s u b j e c t is
p a i n t e d effortlessly in th e P a la e o lo g a n style o f th e 15th c e n tu r y , w hile
th e e le g a n c e a n d c o n t r a p p o s t o o f th e
V ir g i n 's sou l a n d th e a n g e ls a c c o m
p a n y i n g it a re c o n n e c t e d w ith M a n
n e r i s m . T h e w o rk b e lo n g s to the
g e n e r a l c lim a te o f C r e t a n a rt o f th e
p e r i o d ; th is h a d P a l a e o l o g a n ro o ts ,
t h o u g h th e C r e t a n p a in t e r s ' k n o w
le d g e o f I ta lia n , a n d p a rtic u la rly
V e n e t i a n p a in t in g , f r e q u e n tl y led
t h e m to a m o r e o r less d is c re e t e c le c
ti cism . T h is icon is d is tin g u ish e d by
th e te n d e n c y o f th e a rtist to select
u n u s u a l f e a t u r e s . It is p e r h a p s th e
m a t u r e s t of th e y o u th f u l w o r k s by
th e p a i n t e r , w h o w as b o r n in 1541
a n d w a s a l r e a d y r e f e r r e d to as a
m a s t e r ' in C r e t a n d o c u m e n t s o f
1566. T h is m u lti-fig u ral s c e n e il
l u s tr a t e s his d e p t h o f k n o w le d g e ,
his o u t s t a n d i n g sen sitivity, a n d his
s u p e r b t e c h n i q u e , all o f w h ich h e lp
us b e t t e r to u n d e r s t a n d th e signifi
c a n c e o f his o t h e r y o u th f u l w o r k s .
St. L u k e th e E v a n g e lis t a n d th e
A d o r a t i o n o f th e M a g i, in th e
B e n a k i M u s e u m , a n d th e M o d e n a
tr ip ty c h ( t h e r e is n o lo n g e r a ny
d o u b t a b o u t th e a t t r i b u t i o n of th es e
to T h e o t o k o p o u l o s ) . T h e p r e s e n t
icon s h e d s a g e n e r a l light o n th e
e a rl y c a r e e r o f, a n d f o r m a ti v e in f lu
e n c e s o n . th e artist a n d r e v e a ls a
n u m b e r o f t r e n d s , su ch as M a n n e r
ism . t h a t w e r e la t e r to be d e v e l o p e d
in his m a j o r w o rk s.
T h e p o li s h e d m e t a l c a n d e l a b r a on
th e g r o u n d a r e p a rtic u la rly strik in g ;
t h e y a r e p a i n t e d w ith a facility
r e m a r k a b l e in a C r e t a n artist. T h e
o n e in th e m i d d le , o f a clearly
R e n a i s s a n c e c h a r a c t e r , b e a r s th e
s i g n a t u r e o f th e p a i n t e r , w hich is
th u s i n c o r p o r a t e d in to th e c o m p o
sitio n in a d e p a r t u r e fr o m th e usual
I ' JI
c u s t o m . T h e f o r m u la u sed in t lit
s i g n a t u r e is also orig inal l i e w i r . I n
r e p e a t it la t e r , in 1577, in his lir.l
S p a n is h w o r k , th e A s s u m p tio n in tin
C h u r c h o f S a n t o D o m i n g o el
g u o , in T o l e d o . T h e v e r b ><
( a o r is t p a rt ic i p le , ) o c c u rs in
a n c ie n t G r e e k , t h o u g h rarely (in
L u c ia n
and
S trab o ),
w ith
llu
m e a n i n g c r e a t e a w o r k o f a r t . W e
m a y n o t e th a t th e w o rd w as u se d in
th is s e n s e in th e E n h y p n i o n ' ol
L u c i a n , w h ich w e k n o w the p a i n t e r
h a d in his lib rary . It is used by A i l ,
p e r s o n i f i e d , with r e f e r e n c e to lust
re s p e c t f o r g r e a t artists. It is th u s
c l e a r t h a t T h e o t o k o p o u l o s , e v en
b e f o r e h e left C r e t e , w as n ot on ly a
m a s t e r p a i n t e r o f r a r e ab ility , but
a ls o a c u l t u r e d m a n in th e b ro a ile i
s e n s e . H e will c e rtain ly h av e li lt
h im s e l f a p a r t fr o m his fellow pain t
e r s , r e a d y to t a k e th e s te p to w a r d s
t h e t e m p t i n g artistic h o riz o n s o f t i n
W e s t . W h e n he left C r e t e , h o w e v e i
h e t o o k w ith him a firm fo u n d a lio fl
b a s e d on his a p p r e n t ic e s h ip in
B y z a n t i n e p a in tin g . In this co n te x t
t h e c o m p o s it io n o f th e D o r m i t i o n .
w ith its e a r t h ly a n d h e a v e n l y level,
o f a c ti o n , th e c o n g r e g a t io n n l t i n
a p o s t l e s , a n d th e fig ure o f ( h fr.l
s t o o p i n g low o v e r the b o d y ol tin
V ir g i n , a n d th e c o m p l e te l y dill le n l
a t m o s p h e r e of th e P o w e rs a b o v r .
m i g h t b e th o u g h t to be i c l l c i l i I
a lb e i t in a d is ta n t fa s h io n , in llu
B u r ia l o f th e C o u n t o f < /
T h e ico n , w hich w as f t i s e o v e i c d In
1983, w a s p r o b a b l y b ro u g h t lo S v m i
d u r i n g th e G r e e k W a r nl li n lrp i
d e n c e by r e f u g e e s fro m llu ill *
t a t e d islan d s of th e A e g c u n f p n * * l l i h
fr o m P s a r a ) , w h o l o i m e d llu m u m
t h e p o p u l a t i o n o f I im o H p u l h
Conservation. S UalloyiMiMi1 ( I1111 1
Bihfiogra/ihy M.islnii>|nmlihi I I I
E xhibition tor I hi- < im rn iiiy nl
l l)N4. no. 2 I . |>p. '-I, U
1
I
II AI
* I 01 iriiMins util m n n ci |
Mil III 1
n iilu in, nl ilr I Hjiii nl* Illy i uiinii . * 11
noi In- n |
il'li In linlinl* llil . '
I xliihlllon
64
E m m a n u e l L a m b a r d o s:
T h e A d o r a tio n o f tlje M agi
16th c e n tu r y
46X 50 cm
Athens. R. Andreadis Collection
T h e s ce n e o f th e A d o r a t i o n is set in a
typical S ie n n e s e la n d s c a p e , w ith
d is ta n t cities, t r e e s a n d h u g e ro cks.
J o s e p h a n d M a r y a re o n th e left,
u n d e r a w o o d e n s h e l t e r , tu r n in g
to w a r d s t h e M a g i, w h o h a v e ju s t
d i s m o u n t e d a n d a r e k n e e li n g b e f o r e
C h ris t. T h e s i g n a t u r e at th e left,
a b o v e th e h e a d s o f th e tw o s h e p
h e rd s , AAM . gives us th e n a m e o f the
f a m o u s fam ily o f 1 6 th - c e n tu r y p a i n t
ers w h o w o r k e d in C a n d i a (I r a k li o n )
o n C r e t e . In ic o n o g r a p h ic a l t e r m s
th e s c e n e is s im ila r to th a t o n th e
sig n e d icon by M ic h a e l D a m a s k i n o s
in Ir a k lio n ( C h a t z i d a k i s 1953, p. 13.
pi. X V I . B o r b o u d a k i s 1985, p. 146,
pi. 38), a n d o n e like it in th e C o r r e r
M u s e u m in V e n ic e (M u s e o C o r r e r
1957, p. 7 5), w h ic h is t h o u g h t to be a
la te r c o p y by M i c h a e l D a m a s k i n o s .
Stylistically it is s i m i la r to th e icon o f
th e C ru c if ix io n in th e B y z a n tin e M u
s e u m , L o v e r d o s C o ll e c ti o n ( C h a t z i
d a k is 1953, pi. X V I I ) , sig n ed by th e
s a m e p a i n t e r , t h o u g h th e a u th e n t ic i ty
o f th e s i g n a t u r e is d i s p u te d . T h e
e l e m e n t s c o m m o n to b o th icons
in c lu d e th e s u b t le c o n t o u r s o f th e f e a
tu r e s , th e soft m o d e l li n g o f th e flesh,
th e fine use o f gold e sp ecia lly on the
u n d u l a t i n g g o ld b o r d e r s o f th e g a r
m e n t s , t h e d e lic a te m o v e m e n t s a n d
th e n o b ility o f th e fig ures. T h e s e
e l e m e n t s exist a lo n g s id e th e p r o
n o u n c e d W e s t e r n in f lu e n c e th a t can
be d e t e c t e d in th e ic o n o g r a p h y a n d
stylistic m a n n e r o f b o th w o rk s. T h e
fact t h a t t h e p r e s e n t icon d e r i v e d its
ic o n o g r a p h y fr o m a W e s t e r n m o d e l is
d e m o n s t r a t e d by its close affinity
w ith th e A d o r a t i o n o f th e M a gi by
B a r t o l o di F re d d i in th e S ie n n a A r t
G a lle r y ( C e c c h i 1928, pi. C C X X I V ) .
It fo llo w s th e S i e n n a m o d e l m o r e
faith fu lly t h a n th e icon by D a m a s k i
no s, a n d s e e m s to be th e e a r l ie r o f th e
tw o , a n d sin ce it also h a s a n u m b e r o f
stylistic e l e m e n t s a s s o c ia te d with
e a rl y C r e t a n p a in t in g . If th e s i g n a
t u r e is a u t h e n t i c , th e a rtist in q u e s t io n
w a s th e E m m a n u e l L a m b a r d o s w h o
also p a i n t e d th e C ru cifix io n in the
L o v e r d o s C o ll e c ti o n a n d is e a rlie r
th a n his n a m e s a k e , th e E m m a n u e l
L a m b a r d o s w h o p a i n t e d th e V e n ic e
icon o f t h e C ru c if ix io n at th e b e g in
n in g o f t h e 17th c e n t u r y ( M a n o u s
s a k a s 1971, p p . 7ff., pi. A ).
Hibliogrttpfjy. B altoyanni 198fi (1 ). n o . 1
A ffrcschi c iconc 19X6. no. 92. pp. 143. 144
Ch. H
65
M ic h a e l D a m a sk in o s:
S S S e r g iu s , lla c c h u s a n d J iistin a
A lte r 1571
112X119 cm
K erkyra. M useum of the Antivouniotissa
T h e g r e a t v ic to ry o f th e fleet o f th e
H o ly L e a g u e o f V e n i c e . S p a in a n d
th e P o p e o v e r t h a t o f th e T u r k s at
L e p a n t o . o n 7 O c t o b e r 1571, w as a
s o u r c e o f in s p ira t io n n o t o n ly fo r I t a
lian artists (cf. P allu ch in i 1974, p.
2 79 ), b u t also f o r G r e e k s , since
m a n y G r e e k s t o o k p a r t in it an d an
192
u n f a v o u r a b l e o u t c o m e w o u ld have
h a d a d ir e c t e ffect o n th e G re e k
islan d s o c c u p ie d by V e n ic e (cf. Ma
n o u s s a k a s 1974, pp . 2 1 5 ff .). Iln
C r e t a n p a i n t e r s usually c h o se In
d e p ic t t h e b a t t l e itself. M ic h a e l D a
m a s k i n o s , o n e o f th e m o s t im p o rta n t
artists f r o m Ir a k lio n in th e secon d
h a lf o f t h e 16th c e n t u r y , c h o o s e s In
p a in t th e s a in ts w h o s e d a y w as cclc
b r a t e d o n t h e d a y o f th e victoiy.
t r e a d i n g o n a h e a d le s s lion, w h ich
s y m b o li z e d
th e
T u r k is h
lo u r.
A b o v e t h e m , five fig u res in a c lo m l
h o ld p a lm b r a n c h e s , sy m b o liz in g
V ic to r y . In th e c e n tr e . C h ris t is
h o l d i n g a b o o k w ith a G r e e k tr a n s l a
tio n o f th e w o r d s P a x lib i M arce
E vangelista m e n s. N e x t to him a re
M a r k , t h e p a t r o n saint o f V e n ic e ,
a n d St. S y m e o n . w h o se feast d ay was
t h e d a y a f t e r th e b a tt le . T h e icon is
typ ical o f th e w o r k
in w hich
D a m a s k i n o s w as in l h ic n s e d hy I o n
t e m p o r a r y V e n e t i a n a r t , pai I iculni lv
th a t o f P a o lo V e r o n e s e .
Conservtuittn. E. Kar;iynnm
B ibliography. V okolopoulos 19,S3, pp 1HI1
pi. V I. 2. A ffrcschi c iconc 19X6. no. *M.
14ft.
IV I
66
M ic h a e l D a m a sk in o s:
S t. J o h n th e B ap tist
S e c o n d h a lf o f th e 16th c e n tu r y
111.4X 60.2 cm
Zakynthos. M useum
T h e w in g e d fig u re o f St. J o h n th e
B a p ti s t is facin g to th e left; his right
h a n d is ra ise d in a g e s t u re o f sp e e c h
a n d h e is a d d r e s s in g C h ris t, a tiny
figu re at t h e to p left. H is w o r d s a re
w r it te n in e le g a n t c a p ita ls a n d with
flawlessly a c c u r a t e spe llin g on th e
lo ng , u n r o l le d scroll he is h o ld in g
in his left h a n d : O P A C O lA C X O Y C IN ... S ig n a tu re :
TOY AAMACKHNOY. The
d e c a p i t a t e d h e a d in a bow l at th e
b o t t o m is a r e f e r e n c e to th e festival
o f th e I n v e n t io n o f th e H e a d o f th e
B a p tist. In th e b a c k g r o u n d th e r e a re
tw o ro c k y p in n a c le s a n d th e ax e is
le a n in g a g a in s t th e fo o t o f a tr e e at
th e b o t t o m right. T h is is o n e o f th e
fin est ico ns by D a m a s k i n o s (w h o
d ie d in 1592). tr a d it io n a l in i c o n o
g r a p h y a n d style, r e m a r k a b l e b o th
fo r its sim p le c o lo u r h a r m o n y , with
g r e e n , b lue a n d b lu e - g re y , a n d for
t h e p re c is io n o f th e d r a w in g ; this can
b e se e n in th e t r e a t m e n t o f th e tall,
a r i s to c r a ti c fig u re w ith its e x p res siv e
g e s t u r e s , a n d also in th e gold w e b
b in g in th e c lo th in g . E l e m e n t s
d e r i v e d by D a m a s k i n o s fr o m 15thc e n t u r y C r e t a n p a in t in g in clu d e in
p a r t ic u l a r th e p e r s p e c ti v e t r e a t m e n t
o f th e scro ll, a n d th e m o u n t a in s ,
w h ich a r e r e m in i s c e n t o f A n g e lo s ;
th e m a n n e r i s t i c a r r a n g e m e n t o f the
s i g n a t u r e , w h ich is h a lf h id d e n
b e h i n d a ro c k is typical o f his o w n
period.
I Tv
. O i
67
69
S t. J o h n th e B a p tist
16th c e n tu r y
104.5X 32 cm
C r e t e , I r u k l i o n . C h u r c h o f S t. M a t t h e w
Sinaiton
I his ic o n o g r a p h ic ty p e o f St. J o h n
th e Biiptist d e r i v e s f r o m a m o d e l d a t
ing fro m th e P a l a e o l o g a n p e r i o d ,
w h ich w as also f o l lo w e d by th e C r e
ta n p a in t e r s o f t h e 15th c e n tu r y . T h e
v e ry tall fig u re o f th e sa in t, p o r
t r a y e d f r o n ta ll y , is w e a r in g a m e l o te
( s h e e p s k in ) a n d a h im a ti o n : his right
h a n d is ra ise d in b les sin g , a n d in his
left he h o ld s an o p e n scroll a n d a
lon g sta ff t h a t t e r m i n a t e s in a cross.
T h e f o r e s h o r t e n i n g o f th e left a r m in
this icon is a c h a ra c t e r i s ti c o f th e
ty p e . T h e a d d i t i o n o f th e w ings,
h o w e v e r , w h ic h a r e n o t f o u n d in th e
P a l a e o l o g a n m o d e l a n d th e a b s e n c e
o f th e d e c a p i t a t e d h e a d o n th e
g r o u n d , a r e n e w f e a t u r e s . T h e style
a n d th e m o d e l li n g , in w h ich th e flesh
is p a i n t e d o n a b ro w n u n d e r p a i n t ,
a n d th e f r e e d o m w ith w h ich th e v o l
u m e s a n d th e p r o m i n e n t c h e e k
b o n e s a r e r e n d e r e d , a re f e a t u r e s th a t
are also t o b e f o u n d in th e figu re o f
S y m e o n (ca t. n o 68), a n d su gg est
th a t t h e ico n sh o u ld be a t t r i b u t e d to
M ic h a e l D a m a s k i n o s . B o th ico ns
h av e t h e s a m e d im e n s i o n s , a n d s e e m
t o h a v e c o m e fr o m th e s a m e i c o n
ostasis.
C onservation. T . M oschos.
B ibliography. B orboudakis 1971. p. 529. pi.
544. B yzantine A rt 1986, no. 141. pp.
137-138. A ffrcschi c icone 1986. no. 96. pp.
147, 148.
. B.
68
S ym eon T heodochos
16th c e n tu r y
9 9 x 3 2
cm
C r e t e , I r a k l i o n . C h u r c h o f St. M a t t h e w
S inaiton
T h is rare s c e n e o f S y m e o n T h e o d o
c h o s ( R e c e iv e r o f G o d ') w ith th e
C h ris t C h ild in his a r m s is t h o u g h t to
be an a b b r e v i a t e d f o r m o f th e P r e
s e n t a t i o n in th e T e m p l e , a n d d e riv e s
m a in ly f r o m t h e m i n i a t u r e s in th e
m a r g in s o f i l l u m in a t e d m a n u s c rip ts .
T h e m a n n e r in w h ic h S y m e o n is
h o ld in g C h r is t, t o g e t h e r w ith th e text
o n th e scroll, a r e d e s i g n e d to focus
th e w o r s h i p p e r s a t t e n t i o n o n the
ho ly in fa n t. T h e t e c h n i q u e u s e d in
th e v e n e r a b l e fig u re o f S y m e o n is
th a t o f C r e t a n p a i n t in g , a n d the
b ru s h w o r k is r a t h e r fr e e ; it gives
him a distin ctly in d i v id u a l , p e rs o n a l
q u a li ty , full o f s t r e n g t h , w hich is
in te n sifie d by th e p r o f o u n d , re f le c
tive g aze. T h e fig u re o f S y m e o n is
194
r e l a t e d to t h e fig u re s o f a g e d b ish o p s
in th e icon o f the First E c u m e n i c a l
C o u n c il (1591) by M ic h a e l D a m a s k i
n o s, a n d t h e p lu m p figu re o f the
y o u n g C h r is t is r e m in i s c e n t o f C hrist
in this s a m e ico n , in th e V isio n o f S t .
P e t e r o f A le x a n d r i a . T h e icon ol
S y m e o n m a y also be a t t r i b u t e d to
D am askinos.
A
f u r t h e r fe a tu ri
c o m m o n to th e tw o is th e realistic
t r e a t m e n t o f th e vein s o n th e h a n d s
a n d t e m p l e s o f th e a g e d fig u re s ol
t h e b is h o p s a n d o f S y m e o n , which
re flec ts th e p a i n t e r 's e x p e r i e n c e o|
Ita lia n a rt.
C onservation. T . M oschos.
Bibliography. B orboudakis 1969. p. 527. pi
\ B orboudakis 1971. p. 529. Borbomln
kis 1985. no. 33. p. 137. Byzantine A rt I9H6,
no. 142. p. 138. Affrcschi c icone 1986. no. 97.
pp. 148. 149.
11
T r ip ty c h
E n d o f th e 16th c e n tu r y
c m ( o p e n ) ; 2 0 x 1 5 c m (closed)
A thens. City of A th en s M u s e u m
2 0 x 2 8
T h e c e n tr a l p a n e l ha s a r e p r e s e n
ta t io n o f th e D e e s is , w ith C h ris t in
th e c e n t r e a n d th e V irgin a n d St.
J o h n th e B a p ti s t o n e i t h e r side. A t
th e to p a r e b u sts o f SS G e o r g e an d
D e m e t r i u s . E a c h o f th e sid e leav es
h a s tw o C h u r c h F a t h e r s d e p ic t e d
fro n ta lly : St. G r e g o r y th e T h e o lo
g ian a n d St. J o h n C h r y s o s t o m o n the
left, a n d SS Basil a n d S p y ri d o n on
th e rig h t, a c c o m p a n i e d by b u sts of
SS P e t e r a n d Paul re s p ectiv ely . T h e
o u ts id e o f th e tw o w ings is d e c o r a t e d
w ith th e A n n u n c i a t i o n . T h e p a in t e r
is cle a rly fo llo w in g 1 5 th -cen tu ry
m o d e l s . T h e m a in s c e n e o f th e D e e
sis a n d th e fig u re s o f th e C h u r c h
F a t h e r s r e s e m b le t h o s e in th e icon by
N ik o la o s R it z o s in S a r a j e v o . C h ris t
is h o ld in g a n o p e n G o s p e l b o o k , a n d
th e V irgin a n d th e B a p tist are
s t a n d i n g in a t t i t u d e s o f p r a y e r
( B a b i c - C h a t z i d a k i s 1983. p. 321).
T h e g a r m e n t s w o r n by th e C h u r c h
F a t h e r s als o fo llo w m o d e l s fr o m the
e n d o f th e 15th c e n t u r y (cf. B y z a n
tin e A r t 1986. no . 133, A ffres c h i e
ic o n e 1986, n o . 78). T h e s c e n e o f the
A n n u n c i a t i o n o n th e o u ts id e o f the
w in g s, h o w e v e r , h a s n o a rc h i te c t u r a l
b a c k g r o u n d , a n d th e V irgin is sittin g
o n an im p o s i n g w o o d e n t h r o n e ; in
b o t h r e s p e c ts th e c o m p o s it io n d iffers
,,
||
N l li
7 0
T r ip ty c h w ith
to p o g r a p h ic a l v ie w o f M o u n t S in a i
F ir st h a lf o f th e 17th c e n tu r y
35X 38 cm (open)
A t h e n s . I. Y a n n o u k o s C o llectio n
T h e m o s t s trik in g f e a t u r e o f the
tr ip ty c h is its u n u s u a l c a r v e d w o o d e n
to p , w h ic h has a to p o g r a p h ic a l view
o f M o u n t S inai. O n th e inside o f the
t h r e e p a n e ls a r e t h r e e m in ia t u r e
s c e n e s o f t h e life o f C h rist: the
T r a n s f i g u r a t i o n in th e c e n t r e , with
th e R e s u r r e c t i o n a n d th e C ru cifix ion
l')S
on
eith er
sid e .
secondary
C h rist
lead in g
The
sceiiu
ol
is a c c o n i p . m i i
ep iso d e,
ill
i
',,
his pupil, lo M o u n t
T h a b o r a n d f o l l o w i n g l l i e i n -, l l n \
d ep art.
The
arli.t
w a< t l r i n l v
m il
mini | I In
15th
cen tu ry
llu tlmi
f o l l o w s th e i c o n o g n i p l m lyp n | ,m
i c o n in V e n i i v
wllli I In a n : K
h o l d i n g tin symbol, o l l l u l ', i l n n
a n d I h e a n g e l lit ilir l i o l l n n i >11. i ijf
I l a d e s ; l l i e hiiiuc IV|n iippi'iiit in in
i c o n by I m i m i n n r l I iih
mi I
ta tin g a g o o d C re ta n
1%
tion o f St. C a t h e r i n e o n th e o u ts id e ,
a n d o f M o u n t Sinai at th e to p leav e
no r o o m fo r d o u b t t h a t th e tr ip ty c h
w as c o n n e c t e d w ith th e M o n a s t e r y
o f St. C a t h e r i n e o n Sinai. T h is
r e l a t i o n s h i p f u r t h e r a c c o u n t s f o r th e
ch o ic e o f th e T r a n s f i g u r a t i o n fo r th e
c e n t r a l p a n e l.
M o u n t S in ai m a k e s its first a p p e a
r a n c e in p a in t in g in th e s e c o n d h a lf
o f th e 16th c e n t u r y , o n e o f th e e a r
liest e x a m p l e s b e in g th e f a m o u s
tr ip ty c h by D o m e n i k o s T h e o t o k o
p o u lo s in M o d e n a , d a t e d to c. 1567
( W e t h e y 1962, pi. 33). M o u n t Sinai
is p a i n t e d in s im ila r f a s h io n in th e
large ico n w ith St. C a t h e r i n e by Ierem ias P a l l a d a s , w h ic h is d a t e d to 1612
( W e i t z m a n n 1982 (2), pi. 52). T h e r e
t h u s s e e m to b e k n o w n ic o n o g r a p h ic
p a ra l le l s fo r th e d e p ic tio n o f Sinai.
Its r a t h e r u n u s u a l r e n d e r in g in relief,
w h ic h is also to be f o u n d o n a n o t h e r
t r i p t y c h , in t h e M o n a s t e r y o n Sinai,
sig n e d by V i c t o r a n d d a t e d to 1684
( C h a t z i d a k i s 1966 (2 ), p. 56) is p r o b
a b ly d u e to W e s t e r n in flu en ce s .
T h e I t a l o - C r e t a n ty p e o f St. C a t h e
r i n e , w ith t h e m a n n e r is t ic t u r n o f the
h e a d in th e o p p o s i t e d ir e c tio n to th at
o f th e b o d y , th e c lo a k w ith gold
e m b r o i d e r e d e a g le s, t r i m m e d with
e r m i n e , a n d th e le c t io n a r y with
R e n a i s s a n c e sty le d e c o r a t i o n , r e n
d e r e d in g o ld w e b b in g , is also to be
e n c o u n t e r e d in p a in tin g s fr o m thi
b e g in n i n g o f th e 17th c e n tu r y . Tin
s a i n t's rig h t h a n d , h o w e v e r , w hich is
ra is e d in f r o n t o f h e r b r e a s t, is mil
h o ld i n g a p a lm lea f, as in t h e icon by
P a ll a d a s , b u t fo llow s th e v a ria tio n in
th e icon s by V ic to r a n d by Silvestrn
T h e o c h a r i s , o n Sinai a n d P a tm o s .
T h e s e ic o n o g r a p h i c f e a t u r e s , com
b i n e d w ith th e a rc h a iz in g C h ris to
logical s c e n e s , su g g est th a t llu
tr ip ty c h s h o u l d be a t t r i b u t e d lo
C r e t a n a rtist fr o m the b e g in n in g nl
th e 17th c e n t u r y , a n d possibly In
S ilv e s tro s
T heocharis
(attcsleil
1633-1638), o n e o f w h o s e tr ip ty c h 1
(cat. n o . 71) ha s a w o o d - c a r v e d busi
sim ila r to t h a t o f th e p r e s e n t w m k
B ibliography. B ouras 1985. pp. 62-6.1. A lin
chi e iconc 1986, no. 100. pp 150-152.
71
S ilv e s tr o s T h e o c h a r is :
T r ip ty c h in a p o r ta b le a lta r
A lta r : se c o n d h a lf o f th e 15th c e n tu r y
T r ip ty c h : fir st h a lf o f th e
17th c e n tu r y
5 5 x 5 7 .2 cm (open)
O n th e o u ts id e o f th e tw o w ings of
t h e a lt a r c a n b e s e e n f o u r figu res,
q u it e b a d ly d a m a g e d by use: th o s e of
K in g D a v i d a n d K in g S o l o m o n at th e
to p a n d tw o o t h e r p r o p h e t s , p ossibly
E z e k ie l a n d I s a ia h , a t th e b o t t o m ; all
f o u r h o ld o p e n scrolls. T h e insid e o f
th e tw o w in g s a r e d e c o r a t e d w ith tw o
p a r t s o f a n A n n u n c i a t i o n scen e. T h e
p o s t u r e s a n d th e p r o p o r t i o n s o f th e
tw o fig u re s a n d th e a r c h i te c t u r e in
t h e b a c k g r o u n d b e a r o b v io u s r e s e m
b la n c e s to th e A n n u n c i a t i o n o n th e
f r a m e o f t h e icon by N ik o la o s R itz o s
in S a r a j e v o ( B a b i c - C h a tz id a k i s 1983
p. 321). T h e c o m b i n a t i o n o f th e
p r o p h e t s a n d t h e A n n u n c i a t i o n on
th e w in g s o f th e a lt a r recalls th e
d e c o r a t i o n o f S a n c tu a r y D o o r s , in
w h ich e m p h a s is is laid o n th e ro le o f
th e V irgin in th e I n c a r n a ti o n .
T h e trip ty c h h a s a c a r v e d w o o d e n
t o p r e m in i s c e n t o f a n ico n o s tasis
cro ss, w ith m i n i a t u r e 'ly p ira ' a n d a
w o o d - c a r v e d b a s e . O rig in a lly tw o
c o lu m n s c o n n e c t e d th is c a r v e d to p
w ith t h e b a s e , b u t th e s e a r e n o w
m issing. O n th e in s id e , th e tr ip ty ch
h a s a s c e n e o f th e D e e s is , w ith
C h r is t, in t h e liturgical ty p e p a r
excellen ce o f th e H ig h P rie s t, f la n k e d
by th e fig u res o f t h e V irg in a n d St.
J o h n th e B a p ti s t. C h r is t is s u p p o r t e d
o n w h e e ls o f fire a n d is e n c ir c le d by
th e s y m b o ls o f t h e f o u r ev ang elists.
T h e side w in gs h a v e sc e n e s o f th e
th r e e C h u r c h F a t h e r s , SS Basil, J o h n
C h r y s o s t o m a n d G r e g o r y th e T h e o
lo g ia n (left) a n d SS S p y r i d o n , N i c h o
las a n d A r s e n i u s t h e G r e a t (righ t).
T w o a n g e ls (in th e fo r m o f n a k e d
c u p id s ) a r e h o ld i n g an o p e n G o s p e l
b o o k a b o v e th e h e a d s o f th e th r e e
C h u r c h F a t h e r s , a n d th e c o r r e s p o n d
197
(M O N ) ( ) Y /
T O Y ( ) . T h e o u t e r su rface
o f th e p h ia l e is d e c o r a t e d willi
a l t e r n a t i n g A tla s e s a n d lio n s h e a d
w a t e r s p o u t s . T h e p h ia le rises fro m
r e c t a n g u l a r c is te rn , to w hic h flo cked
th e fa ith fu l - th e d e a f , th e la m e , tin
b lin d , th e p a r a l y s e d a n d th e p os
s e s s e d , all o f t h e m s e e k i n g a mi
r a c u l o u s c u r e (P a lla s 1971, pp.
201-224). T h e a rtist S ilve stros T h e n
c h a ris ( a t t e s t e d 1633-1638), w h o wns
f a m o u s f o r his skill in m i n i a t m e
p a i n t in g , w a s a m o n k w h o set I lad ill
Iraklion,
C rete
( K a z a n a k i J.ap p a
1981, p p . 177-267), a n d w h o w as om
o f t h e c o n s e r v a ti v e p a in t e r s ol III
first h a lf o f th e 17th c e n tu r y ( ( 'hiiltti
d a k is 1977 (1 ), p. 122). c a iv c d
w o o d e n b a s e o f th e tr ip ty c h , vvitli II
b a r o q u e v o lu t e s , a n d its c a rv e d to p
c o p y in g an ic o n o s ta sis cross, n n
a lm o s t id e n tic a l w ith the cm veil
d e c o r a t i o n o f a n o t h e r ex c p tin n n llt
w ell p r e s e r v e d tr ip ty c h in the Mv/ini
ti n e M u s e u m , A t h e n s (< h n l / l d i i U 1
1969. fig. 54). T h e faithful imiliillnii
o f th e ic o n o s ta sis c ro s s, mid ll>
d e c o r a t i o n o f th e a lta r will)). m i l
firm a n e a r l ie r o b s e r v a tio n by K
W e i t z m a n n , th at triptych*, w e n Inin
gical o b j e c t s w hich h a d ffl my I .
t u r e s in c o m m o n w ith 11if
( W e i t z m a n n l W2 I I I |i V
a / ill \
< IlillM llllk l*
I m l t l i it
( N
M ill*
Mil
//
|i|i
III
fin
|
I j|
i ,.
im
M il.
ll
73
72
C a r to o n o f th e R e su r r e c tio n
17th c e n tu r y
4 1 .5 x 3 0 .5 cm
Athens. Benaki M useum . Xyngopoulos
Collection, 22.113
P ric k e d c a r t o o n w ith t h e R e s u r r e c
tion i m p r i n t e d in b la c k a n d re d an d
a c c o m p a n i e d by a p r i c k e d cop y. T h e
p a p e r h a s a w a t e r m a r k c o n sistin g of
an e i g h t - p o i n t e d s t a r a n d a lily, w ith
th e in itials G P. T h e p ric k in g m u s t
h ave b e e n d o n e w ith th e aid o f a
t o o t h e d w h e e l. C h ris t is s h o w n in th e
c e n tr e o f th e c o m p o s i t i o n b e t w e e n
tw o g r o u p s o f a n c e s t o r s . H e is
s t a n d in g firm ly o n t h e b r o k e n g a te s
o f H a d e s , ra isin g A d a m fr o m a
s a r c o p h a g u s ; A d a m is fo llo w e d by
E v e , A b e l a n d o t h e r s o f the r i g h t
e o u s . T h e o t h e r g r o u p is led by St.
J o h n th e B a p ti s t, f o llo w e d by th e
p r o p h e t s D a v id a n d S o l o m o n , with
o t h e r kings b e h i n d t h e m . A t th e t o p ,
b e t w e e n tw o c ra g g y m o u n t a i n p e a k s ,
a r e a n g e ls h o ld in g th e s y m b o ls o f th e
P a ss io n ; a th i rd a n g e l at th e b o t t o m
is c h a in in g H a d e s . T h e s i g n a tu re
c a n be s e e n at th e b o t
to m rig h t, a n d b e lo w th e tw o an g e ls
w ith th e s y m b o ls o f t h e P assion is the
re v e r s e in s c rip tio n : T O Y
XIICTOY A N A I T A C I C .
The i c o n o g r a p h y is in s p ire d b y th e
apocryphal gospel o f N icodem us
( K a r t s o n is 1986), a n d h a s a n u m b e r
o f P a l a e o l o g a n f e a t u r e s , such as th e
large n u m b e r o f figu res in th e
c o m p o s it io n a n d t h e ang el c h a in in g
H a d e s . T h e fig u re o f C h ris t p u llin g
A dam
fr o m
th e
sarcophagus,
in s p ire d by th e im p e ria l ic o n o g r a p h y
o f late a n ti q u it y , s y m b o liz e s th e
r e d e m p t i o n o f m a n k i n d (M o u rik i
1985. p. 147). T h e tw o a n g e ls with
th e s y m b o ls o f th e P a s s io n , h o w e v e r ,
w e re a d d e d by th e C r e t a n p a in t e r s ,
a n d first a p p e a r in th e 15th c e n tu r y
(C h a tz i d a k is ( N .) 1983. no. 29. p.
38). T h e s a m e i c o n o g r a p h y can be
seen in th e tr ip ty c h w ith a t o p o g r a
phical view o f M o u n t Sinai (cat. no.
I9H
70) f r o m t h e b e g in n i n g o f th e 17th
c e n tu r y ; in an icon by E m m a n u e l
T z a n e s (1610-1690) o n
K erkyra
( C h o r e m i s 1981. pp. 2 2 1f f .); a n d in
an in f e r io r 1 7 th -c e n tu ry icon in P aris
( l e o n e s 1977, no. 17).
T h is is t h e b e s t d r a w n c a r t o o n in th e
B e n a k i M u s e u m ; it follo w s th e
in s tr u c t io n s in th e P a i n t e r s M a n u a l '
by D io n y s i u s o f F o u r n a (cf. H e t h e r i n g to n 1978, p. 5). T h e o u tl in e s an d
d e ta i ls o f th e d r a p e r y a re r e n d e r e d in
b la c k , w h ile th e h ig hlig hts a re
defined
by
re d
o u tlin e s .
The
p ric k e d d esig n w as th e w o r k o f an
a c c o m p lis h e d d r a u g h t s m a n , t h o u g h
it h a s a c e r t a i n stiffness. T h e s i g n a
tu r e o c c u rs in te n o t h
e r c a r t o o n s in th e s a m e B e n a k i
M u s e u m p o r t f o li o w h ich a re n ot
u n if o r m in style. T w o of t h e m re la te
t o w o r k s b y T h e o d o r o s P o u la k i s
(1 62 2-16 92 ). It s e e m s likely t h e r e
fo r e t h a t th e d ra w in g s a re n o e a r
lier t h a n th e m id d le o f th e 17th c e n
tu r y , t h o u g h th e o n ly w a y in which
this ca n be d e m o n s t r a t e d be y o n il
d o u b t w o u ld in v o lv e th e f u t u r e i d e n
tific a tio n o f th e w a t e r m a r k .
Conservation. J. Brown (1983).
B i b lio g r a p h y . U n p u b l i s h e d .
L. U.
C a r to o n o f th e B a p tism o f C h rist
17th c e n tu r y
42X 3 1 .6 cm
Athens. Benaki M useum , Xyngopoulos
C ollection, 22.88
P ric k e d d r a w in g w ith th e B a p ti s m of
C h r is t i m p r i n t e d in red a n d black .
T h e p a p e r h as a w a t e r m a r k w ith a
b ir d , a n d tw o strip s h a v e b e e n a t
t a c h e d at th e b o t t o m a n d r i g h t-h a n d
s id e ; o n th e r e v e r s e is a grid for
t r a n s f e r r i n g th e c o m p o s it io n o n a
d if f e r e n t scale. T h e figu re o f C h ris t,
in t h r e e q u a r t e r s v iew , is t u r n e d
t o w a r d s St. J o h n th e B a p tis t. D i r e c t
ly a b o v e C h r is t a r e th e d o v e s y m b o l
izing th e H o ly S p ir it, a n d th e h a n d
o f G o d em erging from a radiant
circle. T h e s c e n e is v ie w e d fr o m
a b o v e , so th a t C h r is t's b o d y is set
a g a in s t th e b a c k g r o u n d o f th e R iv e r
J o r d a n . Fish s w im in th e w a te r s o f
th e riv e r, a n d in th e f o r e g r o u n d can
b e se e n th e p e r s o n if i c a ti o n s o f th e
S e a a n d th e R iv e r J o r d a n , in s p ire d
by P sa lm 113 (1 1 4 ), 3. T h e S e a , with
its b a c k t u r n e d to th e v ie w e r, is
rid in g o n a se a m o n s t e r , a n d th e
R iv e r J o r d a n is h o ld in g a n u p t u r n e d
p it c h e r f r o m w h ic h w a t e r is flow ing,
fo llo w in g a ty p e e s t a b li s h e d in th e
E a r ly C h r is ti a n p e r i o d (M o u r ik i
1985, p p . 135-136). A s th e ro ck y
b a n k s o f t h e riv e r c o n v e r g e , th e y e n d
in tw o s t e e p p e a k s . A t th e left are
f o u r a n g e l - d e a c o n s , set o n e b e h in d
th e o t h e r w ith n o a t t e m p t at p e r s p e c
tive. e x t e n d i n g th e i r h a n d s , w hich
a r e c o v e r e d by th e i r h im a ti a , t o
w a r d s C h r is t. St. J o h n th e B a p tis t
s t a n d s a b o v e C h ris t on th e o p p o s i te
b a n k a n d , w ith a lively m o v e m e n t , is
s t o o p in g to i m p o s e his h a n d on
C h r is t's h e a d , in a g e s t u r e signifying
th e tr a n s m i s s i o n o f th e H o ly Spirit
( W a l t e r 1980. p. 24). T h e axe l e a n
ing a g a in s t a b u s h b e lo w him is a
r e f e r e n c e to th e biblical a c c o u n t of
th e B a p t i s m ( M a t t h e w 3.10 , L u k e
3.9).
The
i c o n o g r a p h ic
I W
ty p e
is
known
f r o m th e b e g in n i n g o f I ho I (>Ii c m
tu r y o n w a r d s in w o r k s a l t i i b u l c d In
th e
C retan
pain ter
Ihcoplm iH ".
( C h a t z i d a k i s 1969-70, pi. 37). Il also
o c c u r s in an icon o n th e Island in llie
L a k e at I o a n n i n a ( T r i a n ta p h y l lo p o u
los 1977, pi. 101), a n d in a D o d o
k a o r t o n icon o n K e r k y r a allrihu ti.il
to E m m a n u e l T z a n e s (1610 lo9(l)
( C h o r e m i s 1981, p. 220).
T h is p r i c k e d c a r t o o n , w h ich w as o n
gin ally f o l d e d in to fo u r , w as niiidi
a c c o r d i n g to th e in s tru c tio n s o f I >io
n y siu s o f F o u r n a , like th e p re v io u s
o n e (ca t. n o . 72). D ra w i n g s like this
f a c i li ta t e d t h e d is s e m i n a ti o n Of lin
ic o n o g r a p h i c ty p e , a n d acc o u n t foi
its use w ith a lm o s t im p e rc e p tib le
v a r i a t i o n s in w o r k s th a t m ust be til
leas t a h u n d r e d y e a r s a p a rt.
Conservation. J. Brow n (1983).
B ibliography. U npublished.
li
ABBREVIATIONS
SELECT BIBLIOGRAPHY
MAP WITH T H E PR O V E N A N C E
OF THE WORKS
K W E IT Z M A N N . M. C H A T Z ID A K IS . S.
U A D O J i l C . Icons. N ew Y o rk 1980.
K W E IT Z M A N N . G . A LI B E G A S VI L I . A .
V O L S K A JA . M. C H A T Z ID A K IS . G . B A
KU M. A L P A T O V . T . V O IN E S C U . T he
lin n . A lfred A . K n o p f. N ew Y ork 1982.
AAA
AE
,
,
A rtB
BCH
CA
DOP
JO B
PKg
A rt B u lletin
B ulletin de C o r r e s p o n d e n c e H ellen iq u e
C a h ie rs A rch eo lo g iq u es
D u m b arto n O aks Papers
J a h r b u c h d e r O s te rre ic h isc h e n B y zan tin istik
P ro p y la e n K u n stg esch ich te
. .
. .
A C H E IM A S T O U 1966 = M ..
.
,
21 (1966): . p p . 62-83.
A C H E IM A S T O U -P O T A M IA N O U
1973
74 = - ..
.
. 29 (1973-1974): , pp.
609-614.
A C H E IM A S T O U -P O T A M IA N O U 1976 =
- .. . 31 (1976):
, p p . 14-20.
A C H E IM A S T O U -P O T A M IA N O U 1977 =
- .. , 32 (1977):
, p p . 8-14.
A C H E IM A S T O U -P O T A M IA N O U 1987 (in
p rin t) = ..
Ken, , . - . '
(1987) (in p rin t).
A F F R E S C H 1 IC O N E 1986 = E xhib itio n
C a ta lo g u e . A ffrcsch i e iconc d alla G rccia
(X -X V II se c o lo ). A te n e c F ire n ze, Palazzo
Slrozzi (16 S c ttc m b rc - 16 N o v cm b rc 1986),
A te n e 1986.
A IN A L O V 1917 = A in alo v D .. B yzantine
P ain tin g o f th e F o u rte e n th C e n tu ry (in R u s
sia n ). P c tro g ra d 1917.
A U F H A U S E R 1913 = A u fh au ser B.J . Miracu la S. G e o rg ii. L eipzig 1913.
B A B IC 1968 = B abic G .. L es discussions
C h risto lo g iq u cs ct 1c d e c o r d es eglises byzantins au X II sicclc. F ru h m ittclaltcrlich c S tu
dio n. B erlin 1968, p p . 368-386.
B A B IC -C H A T Z ID A K J S 1983 = B abic G -
II Mini
IMllun
C l I A R A l .A M P O U S -M O U R IK I 1962-63 =
- N ..
, , . . (1962-1963), p p . 87-1 14.
B O R B O U D A K IS 1969 =
..
. . . ' (1969). p p. 521
528.
B O R B O U D A K IS 1971
.. . 26
(1971): , p p. 520-533.
B O R B O U D A K IS 1973 -
..
. . . ;' (1973), pp. 478
511.
B O R B O U D A K IS 1973-74
.,
. 29 (1973 1974): , pp.
935-945.
B O R B O U D A K IS 1985 =
.. 1985.
, . .
1985.
B O U G R A T 1982
B ougrat .. L c g lis c
S a in l-J c a n . p rC sd e K o u d o u m as. C r e te . C A 30
(1982). pp. 147-174.
BOURAS
A ..
.
. I ,
1985. pp. 62-63.
1958
I n h ib itio n C ata lo g u c . H y /an tin e A il, I d in b u ig h , Royal
S co ttish M u seu m . 1958.
B Y Z A N T IN E A R I 1964
1-xhihition ( at
a lo g u e , B y zan tin e A il, an I u to p e a n A il. 9th
E x h ib itio n o f the C ouncil ol I .u io p c . A lliens
1964.
B Y Z A N T IN E A R T 1986
In h ib itio n ( at
a lo g u e . B y zan tin e and Post H y /a n lm e A it,
A th e n s , O ld U niversily (July 26th
Junuary
6th 1986), A th e n s 1986.
B Y Z A N T IN E F R E S C O E S 1976
I Exhi
b itio n C a ta lo g u e , >
. (
6 - 1976), 1976.
E ..
T rccen tisti
C H A T Z ID A K IS 1972(1) = M ..
,
27 (1972): , pp. 121-137.
C H A T Z ID A K IS 1981 = C h a tz id a k is M ..
M y slra. E k d o lik c A lh in o n . A th e n s 1981.
C H A T Z ID A K IS 1950 = ..
. . . ' (1950). pp.
371-440.
C H A T Z ID A K IS 1953 = C h a tz id a k is ..
C o n trib u tio n a Ic tu d e de la p c in tu rc postb y z a n tin e . A th c n c s 1953.
C H A T Z ID A K IS 1973 = C h atzid ak is M .
Ik o n o sta s, R c allc x ik o n zur B yzantinischcn
K unst (1973), III. col. 343.
C H A T Z ID A K IS 1956 = M .,
.
' . , 1956.
C H A T Z ID A K IS 1974 (1) = C h a tz id a k is M ..
L cs d e b u ts d e Icco lc crcto isc et la q u estio n d e
Icco lc d itc ita lo g rc c q u c ',
. 1974. pp. 169-211.
C H A T Z ID A K IS 1960(1) = .,
,
, . ' - . ' (1960), pp. 87-107.
C H A T Z ID A K IS 196 0 (2 ) = ..
. 16(1960): ,
pp. 1 1-13.
C H A T Z ID A K IS 1961 = ..
( .
). 1961.
C H A T Z ID A K IS 1962 = C h a tz id a k is .,
le o n e s d e S a in t-G c o rg e s d c s G recs c t de la
C o llectio n d e I 'ln stitu t. In stitu t G re c de
V en ice. N cri P ozza-V cnice 1962.
C H A T Z ID A K IS 1964-65 =
.,
. , . ' - . ' (1964-1965), pp.
377-403.
C H A T Z ID A K IS 1 965(1) = . .
,
20 (1965): , p p. 11-15.
C H A T Z ID A K IS 1965 (2) = C h a tz id a k is ..
Iko n en a u s G ric c h c n la n d . W eitzm ann .,
C h a t/id a k is M ., M iatcv ., R ad o jcic S.,
I riihc Ik o n e n , Sinai - G ric c h c n la n d - Bulgalie n - Ju g o slaw ien , W ien un d M unchen 1965,
pp. X X III-X X X X .
C l 1A T Z ID A K IS 1966 (1) = M ..
.
21 (1966): , p p. 16-35.
C H A T Z ID A K IS 1966 (2) = ..
2 4 .1 2 -1966, p. 56.
C H A T Z ID A K IS 1967 = ..
.
22 (1967): , pp. 16-33.
B Y Z A N T IN E G R E E K A N D R U S S IA N
IC O N S 1979 = E xhibition C a ta lo g u e . B yzan
tin e G re e k an d R ussian Icons (ex h ib itio n 18th
A p ril - 6 th A u g u st 1979. T e m p le G a lle ry ).
L o n d o n 1979.
C H A T Z ID A K IS 1968 = C h a tz id a k is ..
C iricchcnland. P K g, B d. 3. von W . F. V olbach
un d J. L a fo n ta in e -D o so g n c . B erlin 1968. pp.
231-241.
W eitzm an n .. R a d o jc ic S .. Le g r a n d livrc
d cs ico n es, A g cn ce I n t e r n a t i o n a l e d ' e d i t i o n .
P aris 1979.
IC O N S 1976 - E xhibition
C a ta lo g u e . B y zan tin e Icons of C y p ru s, B enaki
M u seu m . A th e n s 1976.
C H A T Z ID A K IS 1969-70 = C h atzid ak is M ..
R c c h c rc h e s su r le p ein tre T h e o p h a n e le C rctois. D O P 23-24 (1969-1970), pp. 309-352.
C H A T Z ID A K IS -D J U R IC 1968 = C h a tz id a
kis M - D ju ric V ., L cs icones d an s lcs C ollec
tions S uisscs, B e rn e 1968.
C H A T Z ID A K IS 1969 = C h atzid ak is M ..
M uscc B yzantin d A th c n c s , Icones. E d.
A p o llo , A th c n c s 1969.
202
C H A T Z ID A K IS (T h .) 1981= C h a tz id a k is
T h ., P rd sen ccs classiq u cs d a n s lcs m o saiq u cs
d c H o sio s L o u k a s. X V I
In tc rn a tio n a lc r
B y z an tin istcn k o n g rc ss. A k te n . 11/5. JO B 32/5
(1 9 8 2 ). p p . 101-109.
C H A T Z ID A K IS ( T h .) 1982 = C h a tz id a k is
T h .. E x h ib itio n C a ta lo g u e . L 'a rt d cs ico n es cn
C re te e t d a n s les lies a p rc s B yzance, E u ro p alia G re c c 1982. C h a rlc ro is P alais dcs B eaux
A rts. 30 O c to b rc - 21 N o v cm b rc 1982.
C H A T Z ID A K IS (N .) 1983= C h a tz id a k is N ..
E x h ib itio n C a ta lo g u e , Icons o f th e C re ta n
School (15th- 16th c e n tu rie s). B en ak i M u
se u m . A th e n s 1983.
C H A T Z ID A K IS -B A B IC 1983 = C h a tz id a k is
M. - B ab ic G .. L e iconc della P en iso la Balcan ica c d cllc isolc G re c h c (1 ). W eitzm an n
.. A libegasvili G ., V o lsk a ja A .. B abic G ..
C h a tz id a k is M .. A lp a to v M ., V oincscu T .. Le
ico n c. M ilan o 1983, p p . 129-199C IIA T Z IN IK O L A O U 1966 = A . ,
. 21 (1966): , pp.
295-298.
C H O R E M IS 1981 = .. ,
. . 25 (1981), pp. 217-227.
C O R M A C K -M I M A L A R IA S 1984 = C o r
m ack R. - M ih alarias S .. A C ru sa d e r P ain tin g
o f St. G e o rg e : m an icra g rc c a ' o r lingua
fra n c a ? . B u rlin g to n M ag azin e. 126 (M arch
1984). p p . 132-141.
C O R M A C K -M I H A L A R IA S 1986 = C o rm ack R . - M ih alarias S .. T w o Icons M o re o r
Less B y zan tin e, A p o llo . Ju ly 1986. C X X IV
(1986). p p . 6-10.
C Z E R W E N K A P A P A D O P O U L O S 1984 =
C z crw c n k a -P a p a d o p o u lo s ., E in c W ien er
Ik o n c au s d cm U m k rcis d e s A n d re a s R itzos,
. F estsch rift fu r H e rb e rt H u n g er,
W ien 1984, p p . 203-212.
D A L T O N 1901 = D alto n M .O ., C a ta lo g u e o f
I arly C h ristian A n tiq u itie s and O b je c ts from
the C h ristian E ast in the B ritish M u seu m ,
L o n d o n 1901.
D E L IV O R R IA S 1980 = A .,
,
1980.
H A D E R M A N N -M IS G U IC I! 198 U I Uni. i
m an n -M isg u ich L , P clagonitissa i k a itllo
tissa: V a ria n tc s ex tre m e s du lype Virtu th
T c n d rc s sc , B yzan tio n L III (I9H3), || ,J I*1
D E M U S = D em u s .. T h e M osaics o f N o r
m an Sicily, L o n d o n 1949.
D E M U S 1975 = D em u s O ., T h e Style o f the
K ariye D jam i and its Place in th e D ev el
o p m e n t o f P alaco lo g an A rt, T h e K ariye
D jam i. 4. E d . P .A . U n d e rw o o d . P rin ceto n
1975. p p . 109-160.
DJURIC!? 1961 = D ju ric J .V ., F resq u cs
m cd icv alcs a C h ila n d a r, A ctcs d u X lle C ong rcs
In te rn a tio n a l
d 'E tu d c s
B yzantines
(O h rid e , 10-16 S e p te m b re 1961), III. B eograd
1964, p p . 59-98.
D J U R IC 1979 = D j uric J .V ., L a p c in tu rc
m u rale B y z an tin e , A ctcs du X V c C o n g res
In te rn a tio n a l d 'E tu d c s B y zan tin es (A th c n c s.
S e p te m b re 1976). A th c n c s 1979. vol. 1, pp.
159-252.
D R A N D A K IS 1962 = B .N ., O
,
. 1962.
D R A N D A K IS 1969 = . ..
.
1969.
E L B E R N 1979 = E lb e rn V ., D as Ik o n en k a b in c tt d c r F ru h c h ristlich -B y zan tin isch cn
S am m lu n g in d c r S k u lp tu rc n g a le ric B erlin ,
B ild erh cft d c r S taatlich cn M u secn P rcussisch er K u ltu rb csitz-B crlin . H eft 34/35, B e r
lin 1979.
E L G R E C O E X H IB IT IO N 1986, E x h ib itio n
C a ta lo g u e . El G rc c o , T o k y o 1986.
E M B IR IC O S 1967 = E m b irico s A ., L ccolc
crc to isc . D c rn ic re p h ase d e la p c in tu rc byzantin c . P aris 1967.
E X H IB IT IO N F O R T H E C E N T E N A R Y
O F C h .A .E . 1984 = E x h ib itio n C a ta lo g u e ,
100
(1884-1894),
(6 1984 - 30 1985),
1984.
II
M hpo
K O N O M O S 1979
. .
1979.
K O U T E L A K IS 19
- .|
.
1981.
.
M hp
III* E u c h a ito ru m
G R A B A R 1975 = G ra b a r A ., L cs im ages de
la V icrge d c T c n d rc ssc - T y p e ico n o g rap h iq u c
ct th e m e , a p ro p o s d e d eu x ico n cs a D ecan i,
Z o g ra p h c 6 (1975), p p . 25-30.
K R I I D I )|( )U | I >S |9 /
\ t nil
P a p a d o p o u lo s
D u im I tin i
h isto risch e n M useum in W h n ImIiiI li
i
K u n slh islo riseh cn Simmthmjii ti in W h n
M .O ..
E ast
203
i I''Tii! pp Ci | \.\
K R I I DI
K H*( M i| i I*.
|<iilini
IC O N O G R A P H IC A L IN D EX
IN D EX O F N A M E S
A esch y lu s, p. 32
A k o ta n to s A n g elo s, p. 48. no. 57
A le x a n d e r th e G r e a t, p. 32
A n g elo s, nos. 32, 33, 35, 3 6 ,3 7 , 38, 43, 59, 66
A n g c v in s , p. 47
A risto tle , p p . 31. 32
A u g u stu s, p. 31
B arro zi, p. 47
B a rto lo di F rc d d i. n o. 64
Basil 1, p. 34
Basil 11. nos. 51. 52
Basil o f C a e s a re a , p p. 32. 37
Bellini G io v a n n i, n o. 45
C h a rle m a g n e , p. 37
Ch o n ia te s N icetas, p. 46
C lem en t o f A le x a n d ria , p. 32
C o m n e n u s A lex iu s, p. 33
C o n s ta n tin e th e G r e a t, p p. 31, 36
Cyril o f A le x a n d ria , p. 32
- 206