FROM BYZANTIUM

G R E E K TO EL GRECO
FR E SC O E S A N D IC O N S
 E d ito r o f th e c a talo g u e
C O M M ITTEE OF HONOUR
d r M Y R TA LI A C H E IM A S T O U -P O T A M IA N O U

D e s ig n a n d p r o d u c t i o n o f t h e c a ta lo g u e
R A C H E L M IS D R A C H I-C A P O N 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 M A R Y l, I H O N E ,
E n g lish tr a n s la t io n LORD CHANCELLOR
d r D A V ID A. H A R D Y

E d ito ria l ad v iso r
D IA N A Z A FIR O PO U L O U
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M OSES CAPON
E x h ib itio n d esign
E d ito r ia l assistant M ADAM E M E L IN A M E R C O U R I T H E RT. H O N l <l ( H A R D I I '( I Ml*
P H A ID R A K A L A FA TIS M in ister o f C u ltu re , A th e n s M i n i s t e r lo-t t i n· A i l s , I i i n t l n i i
P u b lic a tio n assistant
L IK A SA K K I H is E x cellen cy th e G r e e k 11 i s I x c c l l a n c y ( I n lim it,h
A m b a s s a d o r in L o n d o n , A m b a s s a d o r in A llii'iis,
JA S P E R JA C O B A SSO C IA T ES MR STEPHANOS STATHATOS S I R II R I M Y II I ( ( M A S . κ ι M O

D e s ig n a d v is o r to t h e PROFESSOR C O N S T A N T IN E T r V p A N I S M R R O C I R DE < IRI

G r e e k M in istry o f C u lt u r e A N T O N IS K Y R IA K O U L IS P resid en t of th e A th e n s A c a d e m y P r c i i k ' i i l o l 11 n ' K o v i i l A i i u l r m y

P h o to g ra p h s
B R IT ISH M U S E U M
A .C . C O O P E R
G. B A L IS,
BYZANTINE MUSEUM OF ATHENS
M. S K IA D A R E S IS
M A N O L IS C H A T Z ID A M S n n i ii i n . lit S I I VI N Kl IN< [ M A N i n
o f th e A th e n s A ca d em y P n siili nl ol Hi· ini i> ly lm 1 111 I' ι i m u u io n
9, 11, 12, 16, ol l l y / i i n l m r Nlijj!<
30 , 40, 43, 59, 61
1, 2 , 6, 19, 2 1 a , 27, 33, 35,
3 6, 44, 4 8 , 51 , 52, 55, 58, 66,
6 7, 6 8 , 6 9, 70
3, 4, 5, 7, 8, 10, 13, 14, 15, 17,
18, 2 0 , 2 1 b , 22 , 2 3 , 2 4 , 25 , 26 , 2 8 ,
2 9 , 31, 3 2, 3 4 , 3 7 , 3 8, 39, 4 1, 42,
4 5, 4 6 , 4 7, 4 9, 5 0 , 53, 54, 5 6, 57,
6 0 , 6 2 , 6 2 a , 63, 64, 65 , 7 1 , 7 2, 73

A d d itio n a l p h o to g ra p h s for th e ex h ibition

I KDOT1KE ATH EN O N . N A T IO N A L B A N K O F G R E E C E

T y p e-setting S tripping
IO T O G R A M M A L ID . G. PA PA PA N A G O PO U LO S
( 'o l o u r s e p a r a t i o n Print
M i l I IA11 I D E S B R O S . L. K A R Y D A K I S
S. K A R Y D A K I S
(C o lo u r plates and cover)

« ) I ' m / < «Io r k M i n i l l i y ill ( u l l m i i Hyzsinliiu· M u s e u m o f A t h e n s

All riglils i c s c i v e i l . N n p u l ol (liir. p u b l i c a t i o n m a y be r e p r o d u c e d o r

I r a n s m i l l c i l in liny f o r m o r by a n y m e n u s , e l e c t r o n i c o r m e c h a n i c a l ,
i n c l u d i n g p h o l o e o p y , rec o i t l in j i o r a n y i n l o n n a l i o n s t o r a g e a n d
r e t r i e v a l s y s l c m , w illio u l p e r m i s s i o n in w r i t in g Ironi t h e p u b l i s h e r

(I:_) ol· p h o t o g r a p h s
B r i t i s h M u s e u m 9, I I , 12, 16. A < C o o p e r 3 0 , 4 0 , 4 3 , 59, 61. B y z a n t i n e M u s e u m o f
A t h e n s a n d a u t h o r s o f t h e e n t r i e s 1-K, 10, 13-15, 1 7 - 2 9 , 3 1 - 3 9 , 4 1 , 4 2 , 4 4 - 5 8 , 6 0 , 6 2 - 7 3

C over illustration: Cat. no. 35

P rinted a n d b o u n d in Greece, 1987

— 6 — — 7 —
 C O O R D IN A T IN G C O M M IT T E E

SPY R O S M E R C O U R IS
Special A d v is o r to th e G r e e k M in ister o f C u ltu re , C h a ir m a n

P IE R S R O D G E R S
S ecretary , R o y a l A c a d e m y o f A rts, L o n d o n

N O R l^ A N R O S E N T H A U
E x h ib itio n s S e c re ta ry , R o y a l A c a d e m y o f A r ts , L o n d o n

E L E F T H E R IO S IK O N O M O U
G r e e k M inistry o f C u ltu re

V IC T O R IA SO L O M O N ID IS
C u l t u r a l A t t a c h e , G r e e k E m b a s s y in L o n d o n

O R G A N IZ IN G C O M M IT T E E

M A N O L1S C H A T Z ID A K IS ,
o f th e A th e n s A c a d e m y , C h a irm a n

M Y R O N M IC H A IL ID IS
D ire c to r o f B y z an tin e a n d P o st-B y za n tin e M o n u m e n ts , G re e k M in istry of C u ltu re

M Y R T A L I A C H E IM A S T O U -P O T A M IA N O U
L IS T O F L E N D E R S D ir e c to r of th e B y z a n tin e M u s e u m of A th e n s

N A N O C H A T Z ID A K IS
P ro fesso r at th e U niversity of lo a n n in a
ATHENS B y z a n tin e M u s e u m o f A th e n s ; B e n a k i M u s e u m ; C ity o f A th e n s M u s e u m ; K a n e llo -
R O B IN C O R M A C K
p o u lo s M u s e u m ; 2n d E p h o r a te of B y z a n tin e A n tiq u itie s (K y k la d e s); R A n d r e a d is ; . _
R e a d e r in t h e H i s t o r y o f A r t in t h e U n i v e r s i t y o f L o n d o n ,
( 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
C o u rta u ld Institute of A rt, a n d S en io r M e m b e r o f R o b in s o n C o lleg e, C a m b rid g e
B y * n n lin e A n t i q u i t i e s , 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 i n a i t o n , I r a k h o n ; C o l l e c t i o n o f th e
( 'lu n c h o f St C a t h e r i n e S in a ito n , I r a k h o n . EG IO N M e t r o p o l i s o f K a l a v r y t a a n d E g ia le ia L A S K A R IN A B O U R A S
Church o f Z o o d o c h o s P ig . ( P a n a g i a T r y p i t i ) . E L A S S O N M e t r o p o l i s o f D e m e t n a s a n d C u r a to r o f th e B y z a n tin e C o llection
I I n s s o n ; M o n a s t e r y o f t h e O l y m p i o t i s s a . IO A N N I N A 8 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 , o f th e B e n a k i M u s e u m , A th e n s
Ml i r o p o l i s o f l o a n n i n a . K A S T O R I A A r c h a e o l o g i c a l C o l l e c t i o n . K E P H A L L O N I A l a ovatios A N A S T A S IO S M A R G A R IT O F F
I i t n II y I ixouri K E R K Y R A A n t i v o u n i o t i s s a M u s e u m . K O S M e t r o p o l i s o f K o s , M e t r o p o i- I n sp e c to r o f C o n s e rv a tio n , G r e e k M inistry o f C u ltu re
„ u , < 'I m p e l o f t h e A n n u n c i a t i o n . L A R I S S A 7 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 . L E F K A S
S T A V R O S B A L T O Y A N N IS
Ι Ί,ΙΜ,ς I i l u a r y C o l l e c t i o n . L O N D O N B r i t i s h M u s e u m ; M . P e ra tic o s C o lle c tio n ; P riv a te
I n sp e c to r o f C o n s e rv a tio n , G r e e k M inistry o f C u ltu re
« ,,ll· . l i o n . P A T M O S M o n a s t e r y o f S t. J o h n t h e T h e o l o g i a n ; M o n a s t e r y o f Z o o d o c h o s P i g i ,
( |,o iii; ( 'lu n c h o f A yios G e o rg io s A p o r th ia n o n (o r D im a rc h ia s), C h o r a . PATRA 6 th E p o-
i iii.< Ol I t y / a u t i n e A n t i q u i t i e s . R H O D E S 4 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 ; M e t r o p o is ALTERNATES
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 ,
I m o · , A u d i o s , K e n a n d M i l o s ; C h u r c h o f t h e K o i m e s i s tis T h e o t o k o u ( P a n a g i a t o n P s a n a - C H A R A L A M IiO S B O U R A S
I,0*5 i m S S A I . O M K K ilfh 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 ; M o n a s t e r y o f V l a t a d o n . P r o f e s s o r o f Che N a t i o n a l I'e chn iciil U i u v e r s i l y o f Λ 11u 11·
I IN. i s S .1 I « u i n d n l i o n o f t h e E v a n g e l i s t r i a . V E R I A 9 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 -
II. / . A k VN I Mo s Z n U y n t h o s M u s e u m ; M e t o c h i o n o f t h e M o n a s t e r y o f S t. C a th e rin e isiD O R O S k a k o u k is
I l e a d o f t h e B y z a n l i i u · M u s e u m s \ e e l i o n C r e e k M iiliflPs o l < i i Ii i h

Ί
 P R E SID E N T S P R E F A C E
A G R E E T IN G F R O M
T H E G R E E K M IN IST E R O F C U L T U R E

T h e art o f B y z a n tiu m w as o n e o f th 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
s e m in a l in flu en c es o n W e s t e r n (as on E a s t e r n ) E u r o p e a n p a in tin g . O f this n o - o n e
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
w h o has s t o o d r a p t in a d m i r a t io n b e fo r e th e C im a b u e C rucifix, w h e n it w as sh o w n
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 .
at B u rli n g to n H o u s e fo u r y ea rs ag o, c o u ld d o u b t. A n d it is a h a p p y c o in c id e n c e
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
th a t this y e a r sh o u ld m a r k th e 1200th a n n iv e r s a ry o f th e C o u n cil o f N ic a e a w hich
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
a ffirm e d th e e n d of Ic o n o c la sm , th u s o p e n in g th e w ay for religio us p a in t in g to
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
flourish a g ain t h r o u g h o u t C h r is te n d o m .
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
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
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
(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 ­
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
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
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
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
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:
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
a rtists o f th e s t a tu r e o f E l G r e c o .
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 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 ­
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 ­
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
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
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
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
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
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
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
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
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
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 ­
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
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
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 .
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 M E L IN A M E R C O U R I
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 G r e e k Minister of Culluiv
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
n a tio n a l collectio n o f icons.
I m ally, 1 m u s t ex p re ss th e R o y a l A c a d e m y 's g ra t it u d e to th e s p o n s o r s , w ho
irspu iul· d with alac rity to o u r ap p e a l for s u p p o r t. T h e y in clu d e c o m m e r c i a l c o m -
Iiii11it ( G la x o H old ing s, J o a n n o u & P a ra s k e v a id e s (O v e r s e a s ) a n d M o b il Oil
i ii ) i-iIik a lio n a l an d cu ltu ral f o u n d a t io n s (th e H e lle n ic F o u n d a t i o n , th e A . G .
I I'vrulP. I n m u l.ilio n , th e H e llen ic C u lt u r a l C e n t r e ) , a n d a n u m b e r o f g e n e r o u s
Individual·, w h o have p r e f e rre d to reta in th e i r a n o n y m ity . In o b ta i n in g this spo n-
,in >.1ii 11 we h av e e n jo y e d th e u n s tin tin g s u p p o r t o f p r o m i n e n t m e m b e r s o f th e
l 111 I ........ 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 M . A cheim astou-Potam ianou
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 N. C h a tz id a k is / Ic o n P a in tin g in C re te d u rin g th e 15th a n d 16th C e n tu r i e s
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 B y z a n tin e a n d P o s t-B y z a n tin e W all P ain tin gs
68 B y za n tin e Icon s
98 P o s t-B y z a n tin e Icons
142 C a r to o n s

145 CATALOGUE

20(1 M a p of G r e e c e
201 Select B iblio graph y
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

A kra T ap ein osis. M a n o f S o r r o w s o r C h r i s t o f P i t y . A p r e d o m i n a n t l y l i t u r g i c a l t y p e o f i c o n i n s p i r e d

f r o m t h e p a s s i o n r i t u a l . I t d e p i c t s t h e d e a t h o f C h r i s t ’s h u m a n n a t u r e a n d th e lib e ra tio n o f th e divine
one.
A n ap eson . A t y p e o f r e c l i n i n g C h r i s t C h i l d p r e f i g u r i n g C h r i s t o n th e C ro ss. It w as in sp ire d by
B y z an tin e hym ns.
B e m a d o o rs. Cf. S a n c tu a ry d o o rs.
C h iton . U n d e r g a r m e n t o r t u n i c .
C om n en ian . 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 1081 t o 1185.
D eesis. T h e p r a y e r f o r i n t e r c e s s i o n . D e e s i s c o m p o s i t i o n s c o n s i s t o f C h rist b e tw e e n th e supplicant
fig u re s o f th e V ir g in a n d St. J o h n th e B a p tis t. T h e G r e a t D e e s i s also in c lu d e s p o rtra its o f th e tw elve
A p o stle s.
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 . Λ b a n d ol e l o l h Ι ο ο ρ ι 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.
l’alaeologan . 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· Ιιψ
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 mi Iioiiiiiiii 0 hv nil

o b s e r v e r s ’.
ΙΊιι-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 ( Ί η ι κ Ι ι mil h n .n n l l x di n m i l i i l w i t h
crosses.
I’l 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·η 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 I’igi. f l i c l i f e - g i v i n g s o m v i Λ t y p e ol II· V l i | t l n i nn ii 'i n p Π ο ι η ιι ι Ί η ι Ι Ι π ' . 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/
 T h . wall p a in tin g s a n d ico ns h e r e a s s e m b le d
h a v e c o m e fr o m G r e e c e , at th e far e n d o f E u r o p e , to E n g la n d , th e c o u n tr y th a t
su p p lie d th e B y z a n tin e E m p i r e w ith its finest m e r c e n a ri e s : th e ‘In g lin o i’. T h e
p e r i o d w h e n th e B y z a n tin e E m p i r e w as at its h e ig h t (tw e lfth to fifte e n th c e n tu r ie s )
a n d B y z a n ti u m th e w o r l d ’s le a d in g p o w e r , is r e p r e s e n t e d only by a few wall p a i n t ­
ings, anti by lesser k n o w n ico ns o f this p e rio d . T h is is th e first ti m e , h o w e v e r , th a t
so m a n y G r e e k icons fr o m th e follow ing p e rio d (fiftee n th to s ix te e n th c e n tu r ie s )
h av e b e e n b r o u g h t t o g e t h e r in L o n d o n . D u r in g th e s e c e n tu r ie s , th e te r r it o r y o f
m o d e r n G r e e c e w as o c c u p ie d b y tw o foreign p o w e rs, th e V e n e t i a n s a n d the O t t o ­
m a n T u r k s . T h e tw o c o n q u e r o r s , w ith th e ir very d if fe re n t h is to ry a n d cu ltu ral
origin s, in evita bly e x e rc ise d an influe nce o n th eir su b je c ts, e a c h a t its o w n level.
T h e few f r a g m e n ts of d e t a c h e d wall p a in tin gs p r e s e n te d h e r e a re o n ly a tiny
fraction o f th o s e th a t h a v e b e e n r e s c u e d fr o m r u i n e d c h u r c h e s in G r e e c e ; n a t u ­
rally, th e s e a r e n o t an a d e q u a t e basis o n w hich to fo rm an id e a o f th e la y o u t of
(he p a in t e d d e c o r a t io n o f a B y z a n tin e ch u rc h , w hich w as o n e o f th e a c h ie v e m e n ts
o f th e B y z a n tin e w o rld . T h e y a re , h o w e v e r, r e p r e s e n ta t iv e o f B y z a n ti n e p a in tin g ,
(or tw o re a s o n s: th e t e c h n i q u e in w hich th ey w ere e x e c u t e d , in h e r i t e d fr o m the
( li e c o - R o m a n tr a d it io n , e n a b l e d th e s e wall p ain tin g s to re t a in th e i r o rig inal,
bright c o lo u r s fo r c e n tu r ie s , d e s p ite th e d a m a g e inflicted o n t h e m by th e w e a t h e r
mil a t m o s p h e r i c c o n d itio n s . A n d sec o n d ly , b ecause th e i r style is n o t that ol a
local sch oo l, b ut e m b r a c e s a v arie ty of te n d e n c ie s w h ich can be f o u n d th r o u g h o u t
the leng th a n d b re a d t h o f th e e m p i r e , fr o m C o n s ta n t in o p l e to th e b o u n d s ol Asia
M in o r an d fr o m C r e t e to Italy. W h e n we reflect th a t t h e r e a re rou g h ly two
11 ii>iis;mill B y z a n tin e c h u rc h e s in G r e e c e , co n ta in in g an e n d le s s v ariety a n d ill
vi rsily o f d e c o r a t io n , we a r e b e t t e r ab le to a p p re c ia te the significance o f what is
In i Inips a u n iq u e p h e n o m e n o n : h o w e v e r different all th e s e w o rk s ol art m ay lu in
ti frns o f te c h n i q u e a n d q u a lity , th ey n o n e th e le s s h av e s o m e th i n g in c o m m o n that
Iii lifles the d e sc r ip tio n o f t h e m as ‘B y z a n ti n e ’ a n d clearly ilisl in gu r.h i's I he in lio in
tin· non B y i a n l i n e . F ro m a n o t h e r po int o f view, these wall pain tin g s lo n s lilu U
v alu ab le e v id e n c e lor th e a v e ra g e level of art in a B y zan tin e μ ι ο ν ι ι κ τ mil it Iin·,
lo be eoiicedeil th a t this w as q u it e high, c o n side ring that th ey did not ■unit in-ui
iiiti|oi ii i ban cen tre s.
 T h e icon as a fo rm o f a rt w as c re a t e d an d flo u ris h ed in B y z a n ti u m , in d irect
re la tio n w ith b o th public a n d p riv a te w orsh ip . N e v e rth e le s s , it w as so closely
b o u n d u p w ith public life th a t it a c te d as a cata lyst in tim es o f g r e a t political crisis,
such as th a t o f the Ic o n o c la sm , w hich lasted for a p p r o x i m a t e ly a c e n tu r y a n d a
h alf (720-863) w ith only a sh o r t b r e a k . T h e significance of a B y z a n ti n e icon for
w o rs h ip lay in th e likeness it b o re to a specific p r o t o ty p e . T h e sain t d e p ic t e d in an
icon h a d to b e im m e d ia te ly r e c o g n iz a b le , w ith o u t it b ein g n e c e ss a ry to r e a d the
insc ription . T h is likeness was a n essen tial c o n d itio n o f th e w o rs h ip o f icons since
w ith o u t it th e divine grace i n h e r e n t in th e p r o t o ty p e w o u ld n o t b e t r a n s m i t t e d to
th e icons. T h is goes so m e w ay to e x p la in th e c o n s ta n t r e p e t it io n o f c e r t a in ty p e s ,
no t on ly o f p o rtra its , b u t also o f n a rr a tiv e scenes. In th e case o f th e la t te r it
g u a r a n t e e d th e historical ac c u ra c y a n d a u th e n tic ity of th e e v e n t n a r r a t e d . T h e r e is
n o d o u b t th a t this p rin cip le affe c te d the ico n o g ra p h ic d e v e l o p m e n t o f th e art in a
v a rie ty o f w ays. By c o n tr a s t, th e stylistic d e v e lo p m e n t w as n o t so strictly c o n fin e d ,
th o u g h it to o re ta in e d its tr a d itio n a l c h a ra c te r.
T h e d if fe re n t fo rm s, sh a p e s an d sizes t a k e n by icons w e re in larg e m e a s u r e
d e t e r m i n e d by the d e v e l o p m e n t o f th e sa n c tu a ry s c r e e n , w h ich e v o lv e d fr o m a
sim p le p a rt it io n to a tall iconostasis. T h e g ra d u a l e v o lu tio n o f th e ico n o s ta sis an d
th e p ra ctice o f a d o rn in g it w ith icons m a y a c co u n t, m o r e th a n a n y o t h e r f a c t o r , for
th e vast p ro d u c t io n o f icons in th e B y zan tin e E m p ire .
E a c h g r o u p o f icons o n th e ic on ostasis h a d a fixed s u b je c t a n d a fixed size, an d
e a c h in dividual icon had a fixed p o sitio n w ithin the g ro u p . T h e su m to tal o f th e m
c o n s titu te s a co ncise, hiera rch ically o rg a n iz e d s t a te m e n t o f th e O r t h o d o x d o ctrin e:
w o rsh ip o f icon s, ritua l, salv atio n o f th e soul, in c a r n a tio n . T h e la r g e r icons of
C h ris t, th e V irg in , St. J o h n th e B ap tist an d th e saints usually b e lo n g to th e b o tt o m
ro w close to the w o r s h i p p e r , w h e r e th e y w ere co n v e n ie n tly p la c e d f o r p u r p o s e s of
p r o s k y n e s is (v e n e r a ti o n ) ; icons d e p ic tin g scenes fro m th e life o f C h ris t r e l a te d to
th e tw elv e m a j o r feasts o f th e y e a r c o m e fro m th e row of th e D o d e k a o r t o n
(ritu a l); icons w ith busts o f C h ris t, th e V irgin, St. J o h n th e B a p ti s t, an g els a n d
a p o s tle s b e lo n g to th e to p row o f th e G r e a t D eesis (s alv atio n ); finally, th e ic o n o s ­
tasis is c ro w n e d by a large C rucifix, a n d e n tr y to th e S a n c tu a r y is t h r o u g h a richly
c a rv e d p a ir o f d o o r s (th e B e m a d o o rs ) d e c o r a t e d w ith a r e p r e s e n t a t i o n sy m b o liz ­
ing th e I n c a r n a ti o n (usually th e A n n u n c i a t i o n ) . T h e s e icons a n d th e i r a r r a n g e m e n t
h a d th e i r in flu ence o n Ita lia n a rt, o n th e form t a k e n by th e p a la on t h e a lt a r, an d
on E u r o p e a n art in g e n e ra l p r i o r to th e R e n a is s a n c e , w h e r e it c a n b e se e n in the
g ro w th o f p an el p a in tin g o n w o o d . Sim ilarly, a n u m b e r of p a r t ic u l a r ico n s, n o ta b l y
Iho se o f th e V irgin a n d C h ild in v a rio u s p o s t u r e s a n d the A k r a T a p e in o s i s , o r M a n
o f S o rr o w s , serv ed as m o d e ls for W e s t e r n w o rk s, p r o d u c e d in th e m a in fo r the
p riv a te w o rsh ip o f C atholics.
I'he a rt o f wall p a in tin g a n d o f th e icon did n o t c o m e to an e n d w ith th e final
d is so lu tio n o f th e B y z a n tin e E m p i r e in 1453. C r e te a n d m a n y o f t h e A e g e a n
islands h a d a lr e a d y b e e n o c c u p ie d in 1204 by th e C r u s a d e r s , by w h o m th e y w e re
m l e d for m a n y c e n tu r ie s , b u t this d id n o t p r e v e n t th e G r e e k O r t h o d o x i n h a b i ta n t s
Im m c o n ti n u in g to p r o d u c e w o r k s of art fo r th e ir religious n e e d s.
A llci th e fall o f C o n s ta n t in o p l e , a n e w m a j o r c e n tr e o f art a ro s e in C r e t e ,
whi i r I h e cities p r o s p e r e d u n d e r t h e V e n e tia n a d m in is tra tio n . T h e n u m b e r of
p i u i i l u s was swollen by artists s e e k in g re fu g e fr o m th e c e n tra l a r e a s o f th e e m p i r e
20 —
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

F rom A t h e n s (1985-86) to F l o r e n c e (1986),
a n d n o w to L o n d o n . T h e e x h ib itio n o f G r e e k wall p ain tin g s a n d icons f r o m
B y z a n ti n e a n d P o s t-B y z a n tin e tim es c o n ti n u e s its trav els in E u r o p e , c o m i n g no w
to o n e o f t h e w o r l d ’s g re a t cap itals. It brings w ith it th e f r a g ra n c e a n d fla m e of
th e fa ith , th e g r a n d e u r , th e p o e tr y a n d th e glory o f B y z a n tiu m , a n d th e s t a t u r e a n d
b rillian ce o f H e lle n is m a fte r th e fall of C o n s ta n t in o p l e . ‘T h is w o rld , so sm all, so
g r e a t ’ in t h e w o rd s of th e p o e t. It c o n ti n u e s to trav el, ta k in g us w ith it to B y z a n ­
ti u m , to G r e e c e .
A m o n g s t th e exhibits a re th e s u p e r b c a rv e d w o o d e n d o o r s fro m a m o n a s t e r y in
T h e s s a ly , o n e o f th e r a r e e x a m p l e s o f its k in d (cat. no. 1), a n d a few r e p r e s e n t a ­
tive wall p a in tin g s d e ta c h e d fr o m c h u r c h e s in G r e e c e (cat. nos. 2-6). T h e m a in
focus o f in t e re s t , th o u g h , lies in th e p o r t a b l e icons (cat. nos. 7-71). T h e m a j o ri ty
o f th e s e a r e o u ts ta n d i n g w o rk s o f th e a rt o f O rth o d o x y , a n d p a r t o f th e rich
h e rita g e o f G r e e c e , g a th e r e d t o g e t h e r fr o m d iffe re n t a re a s o f th e c o u n tr y . T h e y
a re in m o s t cases th e c re a tio n s o f k n o w n a n d u n k n o w n p a in te rs w h o w o r k e d in th e
m a j o r artistic c e n tr e s of B y z a n tiu m , o r in th e r e m o t e o u tp o s ts o f m a i n la n d a n d
island G r e e c e . M a n y o f th e m a re d iscov erie s an d acq uisition s o f th e last tw e n ty
y e a rs , n o t y e t fully k n o w n to sc h o la rsh ip o r th e pub lic at large. In its p r e s e n t fo r m ,
Ihc e x h ib itio n also includes s o m e fine icons fr o m the B ritish M u s e u m (cat. no s. 9,
I I, 12 a n d 16); a n u m b e r lo a n e d by G r e e k s re s id e n t in L o n d o n (cat. nos. 30, 40,
Ί 3 , 59 a n d 61); a n d o th e r s fr o m th e B y z a n tin e M u s e u m o f A t h e n s s e e n a b r o a d for
Ihc first tim e (cat. nos. 17, 20 a n d 35).
T h e icons a s s e m b le d h e r e , inev itab ly n o m o r e t h a n a r e p r e s e n ta t iv e s a m p le ,
illustrate th e d e d ic a tio n to b e a u ty o f b o th th e c re a to rs a n d th e re c ip ie n ts o f th e ir
visible a n d mystical s p l e n d o u r a n d sp iritu al c o n te n t. T h e y also re v e a l t h e firm
classics I f o u n d a t io n s , a n d occ asion ally th e anti-classical te n d e n c ie s th a t coexist-
t il in IJy iaillin e , th a t is, E u r o p e a n art. A n art w h o s e h u m a n i s t ic c h a r a c t e r
i I f (,νi m i nftd ils o ri e n ta t io n s a n d f u n d a m e n t a l c o n c e rn w ith th e r e p r e s e n t a t i o n of
lli>- divine .iiul ils spiritual m a n ife sta tio n s. T h e icons o ffe r a c o n s p e c t u s o f th e
mii|ni and m in o r slylislic an d a e s th e tic tr e n d s , p re f e re n c e s a n d id e as ; f o r m u la t e d
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* I’Y 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, ·,ρςι 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 Λ 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 ίιιιιιι· 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 t’s 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 Μ 11N IK (><
Θ Ε Ο Τ Ο Κ Ο Π Ο Υ Λ Ο Γ Ο Λ1 ΙΞΛ( , 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 l’sara. 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 ιιι 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
Ί 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
o i th e im ita tio n o f th e life of C h ris t a n d th e saints. T h is e x h ib itio n also u se s th e
te r m to d e s c r ib e d e v o tio n a l p a n e ls p r o d u c e d in C r e te a n d e ls e w h e r e in G r e e c e
a l t e r th e fall o f C o n s ta n t in o p l e in 1453, a n d it t h e r e f o r e c re a te s a n e w a r e a of
d e b a t e . T h e s e icons a re in a c o m p o s it e style w ith e le m e n ts o f th e B y z a n ti n e t r a d i ­
tio n a n d of Ita lia n R e n a is s a n c e a rt, a n d w e re p r o d u c e d b o th for G r e e k a n d Ita lia n
p a tr o n s . T h e y a re a n ew fo rm o f religious e x p re s sio n a n d a n e w ty p e o f E u r o p e a n
a rt. A r e t h e y icons in th e s a m e sense as e a rlier?
W ith in th e ov era ll c h ro n o lo g ic al a r r a n g e m e n t o f th e ex h ib itio n , t h e first gallery
is d e v o te d to th e B y z a n tin e p e r i o d (w ith e x a m p l e s fr o m th e tw e lfth c e n tu r y u p to
1453), a n d this will allow th e focus to b e on th e n a t u r e o f t h e B y z a n ti n e icon,
w h e t h e r p r o d u c e d in such u r b a n c e n tr e s as th e cap ital C o n s t a n t i n o p l e o r T h e s s a lo -
nik e o r by a rtists w o rk in g in th e m o r e p e r i p h e r a l a re a s o f th e E m p i r e . T h e c h a n g ­
ing f o r tu n e s o f th e B y z a n tin e E m p i r e in this p e r i o d a re re f le c te d in its a rt. Since
C o n s t a n t i n e th e G r e a t d e d ic a te d his n e w E a s te r n R o m a n c apital o n t h e site of
B y z a n ti u m o n th e B o s p h o r u s in 330, C o n s ta n t in o p l e h a d b e e n t h e c a p ita l w h ich
c o n tr o ll e d e x te n s iv e reg io n s o f th e E a s t e r n M e d i t e r r a n e a n w o rld . S ince th e
e m p e r o r T h e o d o s i u s th e G r e a t h a d d e c la r e d C h ristian ity to be th e official religion
o f th e e m p i r e in 391, it h a d c o n ti n u e d as a self-consciously C h ris tia n S ta t e . B y z a n ­
tiu m w a s t h e r e f o r e in this p e r i o d a d eclin in g p o w e r , s u r r o u n d e d by t h e e x p a n d in g
Islam ic e m p i r e o f th e A r a b s an d T u r k s , a n d by th e K in g d o m s o f th e W e s t e r n
E u r o p e a n C r u s a d e r s a n d by c olo niz ing Ita lian cities. B y z a n tiu m w as p o la r iz e d into
a n e m b a t t l e d e m p i r e u p h o ld in g O r t h o d o x C h ris tian ity against h e re s y a n d u n b e lie f,
its m o n a s t e r i e s a n d c h u rc h e s w e re th e s y m b o ls o f its religio us c o m m i t m e n t . In this
w o rld , B y z a n ti n e icons w e re th e sy m bo lic e x p res sio n of O r t h o d o x C h ris tia n b elie f
a n d w o r s h i p a n d a c te d as m o r e th a n m e r e d e c o ra t io n : th e y r e p r e s e n t e d th e t r u th
w h ic h th is so ciety u p h e ld . S ince this tr u th w as seen as u n c h a n g in g , so ico n s to o a re
significantly tr a d itio n a l in th e i r fo rm s a n d su bje cts. Y e t this e x h ib itio n r e p e a t e d ly
d e m o n s t r a t e s th a t w ithin th e tr a d itio n s , p a in te rs fo u n d o p p o r t u n it ie s fo r v a ria tio n
a n d i n n o v a t io n . B y z a n tin e a r t is o b v io u s ly to o d iv erse to b e la b e lle d as m e r e ly a
‘s t y le ’; ‘B y z a n t i n e ’ refers to th e visual w o rld o f a w h o le c o m p le x c u ltu re .
A n o u t s t a n d i n g case o f th e B y z a n tin e icon is th e d o u b le - s id e d w o o d e n p a n e l
from K a s to r ia in n o r t h e r n G r e e c e . It c o u ld b e c a rr ie d in p ro c e s sio n o r set u p o n a
st a n d in c h u rc h . T his is a c lea r case o f h o w icons c o u ld p a rt ic i p a te in c o m m u n a l
w o rsh ip o n special occasio ns an d also b e a vailab le fo r p riv a te d e v o ti o n s . O n e side
sh o w s the V irgin M a r y te a rfu l an d sa d , p o in tin g to th e C h ris t C h ild a n d e v o k in g
his C ru c ifix io n ; o n th e o t h e r side w e se e C h ris t in D e a t h . T h is is t h e s u b j e c t
k n o w n as th e ‘M a n o f S o r r o w s ’ o r in G r e e k A k r a T a p e in o sis ( ‘U t m o s t
h u m i li a ti o n ’, Isaiah 53.8); b u t C h ris t is d e s c r ib e d in th e text o n th e ico n as th e
King o f G l o r y ’. T h e icon sh o w s o n e o f th e u ltim a te p a r a d o x e s o f th e re lig io n , th e
h u m ilia tio n o f C h ris t w hich d e m o n s t r a t e d all th e p o w e r s o f G o d . T h is is th e ear-
Iκ. si k n o w n e x a m p le of this icon s u b je c t, w hich seem s to h a v e b e e n in v e n t e d in
Lhr tw elfth c e n tu r y as p a rt o f th e ritual o f G o o d F rid a y . It m a y h a v e b e e n p ro -
d iin 'tl lor a m o n a s te ry : m o n k s w e r e i m p o r t a n t p a tr o n s o f art in th e p e r i o d a n d
p a rtic u la rly in te re s te d in d ra m a tiz in g th e c e re m o n ia l of E a s te r .
I <111;111y i m p o r t a n t for u n d e r s t a n d i n g th e his torical ro le o f th e icon in E u r o p e a n
mi γ the ( msHider p a in tin g o f St. G e o r g e (n o w in th e c ollection o f t h e B ritish
M i r , m i Ml ! o u d o n ) . If this is c o rrectly id en tified as a p a in tin g by a F r e n c h artist
26
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
 A f u r th e r e x a m p l e of th e d ec o ra tiv e possibilities o f this n e w ty p e of icon is a
large p a n e l of St. D e m e t r i u s (f ro m C o rfu ) d a tin g fro m th e e n d o f th e s i x te e n t h
ce n tu r y . T h e p a t r o n s ain t o f T h e s s a l o n ik e is sh o w n riding o n h o r s e b a c k in f r o n t of
th e city h e p r o t e c ts w ith th e h elp of G o d . T h e s s a l o n ik e , by this tim e u n d e r O t t o ­
m a n c o n tr o l, lo o k s m o r e I ta lia n a te th a n B y za n tin e! F o r all th e q u alities o f this
icon, h o w e v e r , it d o e s n o t e q u al the a c h ie v e m e n t o f th e y o u n g E l G r e c o , b o r n in
C a n d ia ( I r a k li o n ) a b o u t 1541 an d b a p ti z e d D o m e n i k o s T h e o t o k o p o u l o s (d ied
1614).
T h is e x h ib itio n d o e s n o t se e k to d o c u m e n t th e w o r k of Έ1 G r e c o ’, as w e k n o w
h im b e t t e r , in Italy o r a fte r 1577 in T o l e d o , b u t it d o e s vividly e v o k e th e visual
e n v i r o n m e n t in w hich h e w as tr a in e d in C r e t e , an d d isplays his m o s t i m p o r t a n t
early w o r k , t h e sig ned icon (fro m S yros) o f th e D o r m i ti o n (o r K o im esis) o f the
V irgin M a r y . O n e c a n see all th e tr a d it io n a l B y za n tin e e le m e n ts - th e h u m a n
w itn e s ses o f h e r d e a t h a n d th e signs o f th e a sce n t of h e r soul to h e a v e n ; b u t th e
p ic to ria l t r e a t m e n t of this O r t h o d o x C h ris tia n s u b j e c t is t r a n s f o r m e d in to th e a t ­
m o s p h e r e o f V e n e t i a n R e n a is s a n c e art. T w o o t h e r w o rk s are k n o w n fr o m this
early p e r i o d o f E l G r e c o o n C r e te (b o t h in th e B e n a k i M u s e u m , A th e n s ) . O n e is
an icon o f St. L u k e p a in tin g a p o r t r a it icon o f th e V irgin M a r y , an d th e o t h e r is an
A d o r a t i o n o f th e M agi. T h e s e w o rk s e stab lish th e e x te n t o f k n o w le d g e of B y z a n ­
ti ne tr a d it io n s in C r e te w hich El G r e c o h a d a b s o r b e d a n d sh o w his abilities to
tr a n s f o r m t h e m t h r o u g h stu d y o f t h e a tm o s p h e r i c a n d sp atial dev ices o f c o n t e m p o ­
rary V e n e t i a n art.
T h e e x h ib i ti o n d o c u m e n t s th e b eg in n in g of th e r e m a r k a b l e c a r e e r of E l G r e c o .
H e is surely th e m o s t c halleng ing artistic figure to arise fro m it. D o e s his w o r k
r e p r e s e n t th e c u lm in a t io n o f B y z a n tin e a rt? O r d o e s it r e p r e s e n t th e b e tr a y a l of
B y z a n tin e tr a d it io n s ? D o e s it give a n e w m e a n i n g to G r e e k a rt ? O r is E l G r e c o an
artist w ho tr a n s c e n d s th e legacy into w hich h e w as b o rn ? Such q u e s t io n s can only
be a n s w e r e d w h e n th e c h a r a c t e r o f th e ‘ic o n ’ is also u n d e r s t o o d . It is e a s i e r to say
th at El G r e c o g re w o u t o f th e m ix e d tr a d itio n s o f G r e e c e , B y z a n tiu m a n d V e n ic e
th a n it is to e x p lo r e all th e q u e s tio n s ra ise d in the id en tificatio n a n d e x p l a n a t i o n of
lliese tr a d itio n s.
R O B IN C O R M A C K
Courtau ld Institute o f A rt, London
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 assii’iu 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 —
 T h e n a tu r a l d is aste rs in the m id d le o f th e sixth c e n tu r y - th e e a r t h q u a k e s o f
522 an d 551 - a n d m o r e im p o rta n tly th e in cu rsio n s o f th e A v a rs a n d th e Slavs
fro m th e e n d o f this c e n tu r y o n w a r d s , c a u se d m a j o r u p h e a v a ls. U r b a n life w e n t
into d eclin e a n d e c o n o m i c activity d im in ish e d . T his w as th e b e g in n in g o f th e
critical y e a rs o f th e ‘μ έ γ ισ τ ο ν χ ά σ μ α ’ ( ‘g re a t c h a s m ') in th e h istorical r e c o r d a n d
th e c u ltu ra l e v o lu tio n . T h e ro o t cau ses are to b e so u g h t in th e c o lo n iz a tio n b y th e
Slavs a n d in e v e n ts o f a m o r e g e n e ra l n a t u r e th a t w e re h a p p e n i n g in th e E m p i r e ,
such as th e c o n s o lid a tio n o f th e naval p o w e r of the A r a b s in th e M e d i t e r r a n e a n ,
a n d th e c o n s e q u e n t collap se o f th e B y z a n tin e s u p r e m a c y at sea. T h e d is tu r b a n c e s
o f th e s e v e n t h c e n tu r y signalled th e failure o f th e G r e c o - R o m a n p o litical, e c o n o ­
m ic a n d in te lle c tu a l system .
B e tw e e n th e e n d o f th e s e v e n th c e n tu r y a n d th e first d e c a d e s o f th e n in t h , th e
prov incial a d m in is tra tiv e sy stem of th e E m p i r e w as re f o r m e d by th e i n t r o d u c t io n
o f a n e w a d m i n is tra t iv e in s titu tio n , th e ‘t h e m e ’. T h e re a s se rtio n o f the a u th o r it y of
th e state w a s to m a r k a g ra d u a l re v italiz atio n of th e a r e a , d e sp ite all th e difficulties
it h a d to face as a resu lt o f th e inv asion s by th e A r a b s a n d th e B u lg ars d u rin g the
n in th a n d t e n t h c e n tu r ie s . T h e e c o n o m ic a n d d e m o g r a p h ic re c o v e r y c a n be d e ­
te c t e d in th e reviv al o f th e e a rlie r u r b a n c e n tr e s a n d th e f o u n d in g o f n e w s e t­
tle m e n ts. L o ca l in d u s try flo u ris h e d , an d th e q u a n ti ty o f c u rr e n c y in c ircu latio n
in c re a se d . In t h e c o u n tr y s id e , th e p o w e rfu l la n d o w n e rs o c c u p ie d g re a t e sta te s. A t
th e s a m e ti m e , the C h u r c h was r e o r g a n iz e d a n d t h e r e w as a revival in religious
a n d m o n a s tic life. T h e cultivation of le tte rs a n d a rt w as a f e a t u re o f th e p e r i o d
from th e b e g in n in g of th e n in th c e n tu r y o n w a rd s .
T h e d is tu r b a n c e o f th e in te rn a tio n a l b a la n c e of p o w e r in the M e d i t e r r a n e a n ,
th e d eclin e o f th e nav al p o w e r o f the A r a b s , an d th e e x p a n s io n o f th e W e s t e r n
p o w e rs in to th e E a s t u s h e r e d in a n e w p e ri o d . T h e N o r m a n raid s a g a in s t G r e e k
land s at th e e n d o f th e e le v e n th c e n tu r y w e re to b e r e p e a t e d m o r e savag ely in th e
tw elfth. T h e a b a n d o n m e n t of th e B y z a n tin e M e d i te r r a n e a n to th e m a r it im e cities
o f Italy w a s o n e o f the m ain fe a t u r e s o f th e last ce n tu r ie s of B y za n tin e h isto ry.
T h e L atin e c o n o m i c p e n e tr a ti o n th a t a c c o m p a n ie d th e d o m i n a ti o n by W e s t e r n
tr a d e led to th e de clin e o f B y z a n tiu m . T h e political a n d e c o n o m i c s o v e r e ig n ty o f
the W e st c u lm in a t e d in th e dissolutio n of th e B y z a n tin e E m p i r e in 1204. T h e L atin
feudal sta te s - th e k i n g d o m o f T h e s s a l o n ik e , th e D u c h y of A t h e n s , a n d th e P rin ci­
pality o f A c h a e a - w e re e re c te d on th e ru in s o f th e B y z a n tin e state. T h e V e n e ­
tians installed th e m s e lv e s at p o in ts th a t w o u ld secu re c o n tr o l of c o m m u n ic a t io n s
11v sea: the Io n ian islan ds, M o d o n a n d C o r o n in th e P e lo p o n n e s e , C r e te a n d th e
( yfilades b e c a m e V e n e tia n po ssessions. In 1204, the u n ity of B y z a n tin e G r e e c e
i .mu tu mii e n d . The effo rts of th e B y z a n tin e e m p e r o r s a n d th e d e s p o t s o f E p iru s
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111111 11' i iilli i uliiry saw th e b e g in n in g o f th e g ra d u a l e x p a n s io n o f th e O t t o m a n
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s e p a r a t e d fro m classical G r e e c e by an u n b rid g e a b le gulf? T h e d iffe re n c e is real
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th e y visit th e exh ibition . B y z a n tin e artists w e re n o t slavish copyists of m o d e l s from
a d is ta n t p ast. T h e y h a d th e ir o w n tr a d itio n s, th e ir o w n v alu es, th e i r o w n ideals.
Y e t th e y a n d th e society in w hich a n d fo r w hich th e y w o r k e d w e r e lin k e d by a
c o m p l e x w e b o f c o n tin u ity w ith G r e e k a n tiq u ity , a n d th eir w o r k c a n n o t be fully
u n d e r s t o o d unless w e b e a r in m in d th e s e links.
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o v e r th e cen tu rie s . B u t the ra te o f c h a n g e w as slow if we c o m p a r e it w ith th a t
w h ich led fr o m A n g lo -S a x o n to m o d e r n E ng lish . A n d the literary la n g u a g e o f the
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li te r a tu r e o f Classical G r e e c e , o f th e H ellen istic w o rld , an d o f th e F a th e r s o f th e
C h u r c h w a s in stantly accessible to an y e d u c a t e d B y zan tin e. A n d w ith th e litera
tu r e h e a b s o r b e d th e idea s a n d v alu es w hich it e x p re s se d . H e m ig h t well t a k e a
critical sta n c e to w a rd s so m e o f th e s e . H e m ig h t s o m e tim e s m i s u n d e r s ta n d th em .
B u t he w as n o t cut o ff by a la n g u a g e b a r r ie r fro m th e w o rld o f his a n c e s t o r s , as
w as th e m e d ie v a l Italian o r F r e n c h m a n , to say n o th i n g o f his E n g lish o r G e rm .in
contem porary.
T h e B y z a n tin e s , t o o , p o s s e s s e d a n d w e re a w a re o f a political an d in stitutio nal
c o n ti n u it y w ith th e p a st w h ich th e W e s t lack e d . In Italy, F r a n c e , S p a in , Mi it iin,
G e r m a n i c k in g d o m s h a d e sta b lish e d th e m se lv e s on th e ru ins o f th e R o m a n I in
p ire. T h e B y z a n tin e s ta te w as th e R o m a n E m p i r e , a n d its citizens i i l l r d l l u m
selves R o m a n s . T h e i r ru lers w e re th e direct successors o f A u g u s tu s , I i ij in .uni
C o n s ta n t in e . T h e i r in s titu tio n s h a d c h a n g e d o v e r the c e n t i m e s by e v o lm io n i.iiln i
th a n b y re v o lu tio n .
T h e y l o o k e d b ack w ith fam iliarity to classical ( Iraccc In lli ii .< 11 nl 1 11>
r e a d H o m e r a n d S o p h o c le s , D e m o s t h e n e s and A iistS lle while ρ ιh i . 11 nn r. nl
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a n d e r. H o w e v e r , th e long c e n tu rie s o f H ellen istic a n d R o m a n G r e e c e w e re clo ser
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
a n d th e G r e e k n o v elists, P to le m y a n d G a le n w e re m o r e read ily accessible to th e 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
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 .
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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
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
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
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
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 ­
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
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 ­
z a n tin e c u ltu re . T h e s e ra n g e d fro m p ro v e r b s a n d a n e c d o te s to a p h ilo so p h ic a l
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,
re c o n c ila b le w ith C h ris tia n d o c trin e - m ag ic, a stro lo g y , p o p u la r rites a n d c e le ­
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 ­
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 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
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
I lin n s ,mil y e a r s l a t e r G r e e k m o t h e r s w e r e still d o i n g j u s t t h a t .
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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
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 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
I m p n e it in p m <1 l i> n n s t o s l ’l< l l i o n ’s gr mil P la t o n i c vis io n ol th e w o r l d , in w h ic h
( In istiaflily i o n n d n o pi α ι 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 ­
tio n in t o 1 it in ol all P l a t o 's d i a l o g u e ; , w Iik I i p r o v i d e d th e e s s e n t i a l f o u n d a t i o n o f
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s t a n d s in F l o r e n c e c a t h e d r a l H e llio n 's m o rta l re m a in s w e re b ro u g h t fro m M istra
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 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 ­
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
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
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
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 .
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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 ­
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
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
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 .
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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
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
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 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
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
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
d o s c o p i c m o s a i c o f s t a t e l e t s w h i c h m i g h t g r o w , f l o u r is h a n d w ith e r a w a v wit Inn n
s in g le l i f e t i m e , t h e B y z a n t i n e E m p i r e , t h o u g h its f r o n t i e r s η ιη Ί ιι c.\[ mil .n i o n
t r a c t , r e m a i n e d a p o w e r f u l , d u r a b l e , s t a b ly a d m i n i s t e r e d s tati ol uiu-<|iii\cn il l<
g i t i m a c y , a l o n e o f its k i n d in m e d i e v a l E u r o p e , a n d c n g a r i n ) ' th e ιιη ΐ|ΐιΐ".ΐιο π Ιη μ
l o y a l ty o f t h e g r e a t m a s s o f its c it iz e n s . It n a t u r a l l y iiTfteri 11 d m a n s rli m n ts ol
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 Iu-.l nn .in I <>,/,· anil
D ig e s t in G r e e k t r a n s l a t i o n , anil w ith v a r i o u s a d a p t a t i o n s , i c m a i i n d a n tl io i Itaiivi-
s o u r c e s o t s u b s t a n t i v e law to tin end In tin W e sl R o m a n law h a d to In 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 In tin I list n w in
n e v e r lo s t. B y / a n lin e s o c i e t y , lo r all its m · is io n a l vtoli in in p i m i IpU hv d
u n d e r t h e r u l e ol law . no l ot irhit ra f y i l i x r e e oi I n i ti a l i us io n i \ in I il·. la w w a s a
d i r e c t h e r i t a g e fr o m tlie classical w o r ld
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 tlial m a i l i d th e Ity /an tin c
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 use ol n i n l i t i a d i t i . i u to mi t new
n e e d s . T h e B v z a n tin e s d id n ot ρι i sei v· cl ass n ; 1 11 .n In ion m n I n m g r d In a Kind ot
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 li w a s ill ii o w n In m a p ' w h ic h lliey
used for th eir ow n ends.
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 η ιο ιι 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 ρ ι- n o d s I will c o n f i n e
m y s e l f t o a f e w g e n e r a l c o n s i d e r a t i o n s . I irsi, il w o n lil rievei h a v e οι λ m i n i to a n y
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 h it w as l· Ii to th e < il iz c n s o f
E d i n b u r g h in 1822 - ' a n d t h e y ra n o u t ol m o n e y a flci e ie i mi)' tw 'd v e c o l u m n s '
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 ill i o n n d il ic m lar m o r e e x a m ­
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
c h a n g e d w i t h c e n t u r i e s . A t first t h e i r c o n n e c t i o n w ith pai h i cultu re e n d o w e d
t h e s e m o n u m e n t s w ith s i n i s t e r a nil t h r e a t e n i n g o v e r t o n e s I In. s t a t u e s in t h e H i p ­
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 ­
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
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
f u s e d w i t h C h r i s t i a n a r tis tic t r a d i t i o n s larg e ly o f N e a r I - a s t e r n o r i g in . O n e n e e d
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
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
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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
.14
T H E C U L T O F IC O N S
. ^ ^ . 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 Ιι,ιιΙ paiiii
Is
e d a p o r t r a it of th e Virgin M a r y a n d th a t C h ris t, after im p ress in g his f e a t u r e s o n a T H E T H E O L O G Y
to w el h a d s e n t it to K in g A b g a r o f E d e s s a . T h e la tte r (a lo n g w ith se v e ra l o th e r s )
w as an im a g e ‘n o t m a d e by h a n d ' (a c h e iro p o ie to s) a n d d e m o n s t r a t e d divine A N D SP IR IT U A L IT Y O F T H E IC O N
sa n c tio n fo r th e existe nce of icons. T o d a y we n o lo n g e r b elieve th a t ico n p a in tin g
w e n t b a c k to ap osto lic tim es. W e k n o w fro m arch aeo lo g ical e v id e n c e t h a t the
ea rly C h ris tia n s b e fo r e c. A D 300 cu ltiv a te d —if th ey d id so at all —an a rt th a t was
s y m b o lic r a t h e r th a n literal; th a t p o r t r a it s o f saints b e g a n to a p p e a r r a t h e r tim idly
at a b o u t th e tim e o f th e E m p e r o r C o n s ta n t in e a n d th a t so m e c h u r c h m e n did no t
a p p r o v e o f th e m . A s fo r th e cult o f icons, we c a n n o t tr a c e it m u c h b e f o r e the Δ .
m id d le o f th e fifth c e n tu r y . S p e a k in g historically, w h at th e O r t h o d o x C h u r c h has - 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
p e r p e t u a t e d is th e situ a tio n th a t p r e v a ile d in th e sixth a n d s e v e n th cc n tu rie s .
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
It is easy to d e sc rib e th e cult o f icons as crass s u p e r stitio n a n d e x p la in its
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 .
g r o w th as th e resu lt o f th e s p r e a d of C h ris tian ity to ru ral p o p u l a t i o n s th a t h a d
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
b e e n p a g a n fro m tim es im m e m o r i a l an d w ere in c a p a b le of a d o p ti n g a spiritu al
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
religion w ith o u t a physical focus of d e v o tio n . T h e Icon oc lasts, a lth o u g h th e y lac k e d
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
o u r h istorical p e rs p e c ti v e , clearly re g a r d e d it as id ola try . So d id c o n t e m p o r a r y
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
Jew s. Y e t th e p r o b l e m is n o t q u ite th a t sim ple. W h y is it th a t su b tle th e o lo g ia n s
tru ly itself.
like St. J o h n D a m a s c e n e , like St. T h e o d o r e th e S tu d ite an d th e P a tr ia r c h N i k e ­
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
p h o r o s , w h o w e r e c e rtain ly a w a re o f w h a t strike us as s u p e r s titio u s p ra c tic e s , felt
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
c o m p e l le d to d e f e n d in m a n y h u n d r e d s o f p ages b o th th e ex is te n c e a n d - u n d e r
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
c e rta in sa f e g u a rd s —th e cult o f icons, n o t as un q u a lified w o rsh ip {latreia ) , t h a t can
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
b e a d d r e s s e d on ly to th e D ivinity, b u t as ‘h o n o rific or relative w o rs h ip ( li/n etike
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 ­
o r sc h e tik e p r o s k y n e s is )? W h y w e re th e y c o n v in ce d th a t th e b a n n in g o f icons
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
stru c k at th e very h e a r t o f th e C h ris tia n m e ssa g e? I shall n ot d o t h e m th e d is se r­
b e c o m e in th e full sense a h o ly icon.
vice o f r e - s ta tin g th e ir a r g u m e n ts in t e r m s th e y w o u ld h av e f o u n d alien , b u t shall
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
p e r m it m y s elf o n e o b s e r v a tio n . T o th e m as to m o s t o t h e r B y z a n tin e s th e re la tio n
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
o f an im a g e to its m o d e l (o r ' p r o t o t y p e ') w as no t the sa m e th in g as it is to us. If
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
p re s s e d o n this p o in t, we w o u ld say th a t th e p ro d u c tio n of a lik en ess is a m a t t e r of
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
artistry , t h a t it d e p e n d s o n a co n fig u ra tio n of line a n d co lo u r w h ich c a p t u r e s th e
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
li n e a m e n t s a n d ex p re s sio n o f an in d iv id u al, n o t a g e n e ra liz e d h u m a n face. A B y ­
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
z a n tin e w o u ld n o t h ave p u t it in th o s e te r m s. T o him th e re latio n w as m o r e inti­
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
m a t e like th a t o f a signet to its im p re ss io n , different as to s u b s ta n c e , b u t id entical
the T rin i ty alon e.
as to fo r m o r ‘p e r s o n ’. T h a t is w hy he r e j e c te d th e s t a te m e n t th a t a n icon ot C h rist
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
o r o f a C h ris tia n sain t w'as an idol. H o w cou ld it be an idol if it r e p r e s e n t e d
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
C h ris t? A n idol was th e p ic tu re of a false g o d , w ho w as really a d e m o n , say A p o l ­
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
lo o r A r te m is . A n im ag e o f a holy p e r s o n a g e was n o t a m e r e o b je c t: it p a r t o o k
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
o f his n a tu r e . A n d since we w o rs h ip C h ris t w h o w as m a d e m a n a n d , t h e r e f o r e ,
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
o u g h t to b e r e p r e s e n t e d so as to m a k e m anifest th e p l e n i tu d e o f his m a n h o o d , it
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
follows th a t we m u s t do h o m a g e to his im ag e just as, on a lo w er p la n e , w e o ffer
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
respect to th e im ag e of an e m p e r o r .
'M o s t p e o p le to d a y ', if I m a y q u o t e E d w y n B e v a n , 'w o u l d feel th a t pic tu res 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
a n d im a g e s a re religiously in d iffe re n t: th e y w'ould n e it h e r s h a r e th e Ic on oclastic 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.
passion ag a in st th e m as id o la tr o u s n o r the O r t h o d o x passio n fo r t h e m as an e s s e n ­
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
tial e l e m e n t in th e C h ris tia n cult. W e value pictu res o n g ro u n d s q u ite o t h e r th a n
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
III. specifically religious, as giving us an a esth e tic p le a s u r e , w h e n th e y are g o o d
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
u l . not as giving us religious u p lift’. W e are free to e n jo y B y z a n tin e icons as g o o d
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
; 111 Init hi so d o in g we miss th e ir d e e p e s t m e a n in g .
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
C Y R IL M A N G O 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
Professor at the University of Oxford 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

.Ui '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 .
Π ιο 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
m u c h ’.
T i n r n m v . i m k a i i i \ i < i s w \ h i
11 i *.I μ ·| i »ι| I 'M u I· t ■·
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]3 y z a n tin e p ain tin g , e sp ecially m ural
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
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
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
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
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
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 ,
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 ,
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
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
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
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
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 ­
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
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 ­
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
c o n se rv a tiv e e le m e n ts should b e in c lu d e d th e te c h n iq u e s o f m u ra l d e c o ra tio 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 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
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
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
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
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 ,
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 -
ii\i .11 livilv 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
Ul
h i s t o r i c a l c i r c u m s t a n c e s o f t h e t i m e , t h e so cial c la s s e s t o w h i c h t h e p a t r o n s o f a r t
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
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
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
in t h e a r e a ol m o d e r n Greece, t o a c q u i r e a u n if ie d C h a r a c t e r tli.it would set it
a p a r t f r o m th a t o f o t l i c r w e g i o n s o u t s i d e Greece
It is p o s s i b l e , h o w e v e r , lo d is ti n g u is h c e r t a i n m o t e g c n c i il shafnci& i isties d<
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 n e ol tin-
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 ­
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 ,
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 ­
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
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
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
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
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 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 ­
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
k n o w fro m d o c u m e n ta ry sources th at there w ere m o re th a n a h u n d re d ch u rch es
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
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
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
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 ­
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 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
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
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
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 ,
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
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
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 .
S e c o n d l y , b e c a u s e w o r k s lik e t h e s e , w h ic h a r c ‘i m p o r t e d ’ in c h a r a c t e r , m ig h t infill
41
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 B Y Z A N T IN E IC O N S
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 p o r t a b l e ic o n o c c u p i e s a n i m p o r t a n t
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 . 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
A n o th e r eq u ally rem ark ab le 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 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 ­
tins p c i i o d In C'ro te S o f llu· s u r v iv in g B y z a n t i n e w all p a i n t i n g s a b o u t 9 0 0 in in g s g a v e v isu a l e x p r e s s i o n to t h e id e o l o g y o f t h e C h u r c h , t r i u m p h a n t a n d d i d a c ­
all 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
cen tu ries th a t is, d u r i n g th e V e n e t i a n p e r i o d . Λ s i m i l a r p h e n o m e n o n c a n b e un iv erse. A b o v e all it w a s t h e ic o n t h a t a c t e d as t h e c a t a l y s t o f t h e m y s ti c a l
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 tn d ,
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 . 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 m oral stren g th mil
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 s a l v a t i o n ol th e so ul Πιο beliol in th e e x i s t e n c e ol n o u s m a d e w i t h o u t tin in
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 terv en tio n of hum an h ands in d ol ic o n s ol tin V irg in p u n t e d by St I uki i he
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. su b tle th eo lo g ical p o sitio n s mil d is ti n c ti o n s l o i m u l i t i d by rhi l a t h , is ol tin
T h e s e c e n t r e s n o w ri v a ll e d C o n s t a n t i n o p l e , e v e n t h o u g h t h e y w e r e still d e p e n d e n t 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 th ■ s e n
o n it. 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 lino lo turn by th e
P a l a e o l o g a n p a i n t i n g s u c c e e d e d in c r e a t i n g p i c t o r i a l c o m p o s i t i o n s t h a t f r e ­ e x c e s s i v e w o r s h i p o f ic o n s cu l m i l * ting in I In g re a t crisis ol k o h o c l a r m all ill so
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 ­ 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 w o flll. (‘s p e c ia lly
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 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 F o r i c o n s w e r e t o b e f o u n d n o t o n ly in c h u r c h e s a n d o t h e f i c l u ' i o u s m s ti tu
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·- I’a lu c e in
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 ro y a l ‘p r o s k y n e t a r i a ’ a n d in t h e im p e r i a l t r e a s u r y , w h e r e llioy w e n e x h i b i t e d w ith
o f th e G re e k s after th e cap tu re o f C o n sta n tin o p le . 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 ( lu y s o iiik lm o s on d ay s w hen
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
M A N O L IS C H A T Z ID A K IS 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 . They
of th e A t h e n s A c a d e m y 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 ,

- 42 — — 43
(II will 11 III·· l i l y w.is u n d e r sie g e . T h e b r i l l i a n c e o f t h e p r o c e s s i o n s in h o n o u r o f
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 >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
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 -
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
i οι Μ'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
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
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 .
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
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 .
Π ι ε 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
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
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
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
te m p e r a , o n a g r o u n d p r e p a r e d w ith g esso, o r gesso on c a n v a s, a n d m o r e rarely
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 ,
th e r e w e re icons th a t a d o r n e d th e ico n o stasis, icons d e s tin e d fo r th e ep isty le w ith
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
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 -
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
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 ­
tin g s c e n e s f r o m t h e O l d a n d N e w T e s t a m e n t s , t h e L ife o f t h e V i r g i n , t h e lives
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 .
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
m ain ly ev an g elical scenes w h o se c o n te n t w as o f g re a t d o c trin a l im p o r ta n c e a n d
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
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
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
c re a tio n w as s u b je c t to th e lim itatio n s o f th e d o c trin e re q u irin g a g o o d lik e n e ss of
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
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
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
llu 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 ’
, i*1111ί i llu· lo i n c i r n t m o d e l s , d id fo l lo w , a l b e i t in a m o r e r e s t r a i n e d f a s h i o n , th e
4 ·)
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
‘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 .
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
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,
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
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
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 ,
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
d i s t r i b u t i o n o f ico ns. 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
E m p i r e , in w h ic h so c ia l a n d o t h e r a c tiv ity w a s a lw a y s o f t h e liv e lie st o r d 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 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
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
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 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
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.
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 ­
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
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 ­
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
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
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
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
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
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
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 ­
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
s o l id i n t e l l e c t u a l f o u n d a t i o n a n d its H e l l e n i s t i c r o o t s , t h a n k s t o its a d o p t i o n ol'
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
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.
M Y R T A L I A C H E I M A S T O U - P O T A M I A N ( >t I
D i r e c t o r o f the B y z a n t in e M u s e u m of A lin n

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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 ‘μ έ γ ι σ τ ο ν
χ ά σ μ α δ ι α φ ο ρ ά ς ' ( ‘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 Β ( ( ο ιλ ικ < tciv Ι’ο ιμ α ίο ιν ( ‘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 —
w h i c h l a s t e d u n til 1570. f r o m 1211 u n til 1669 C r e t e w a s t h e m o s t i m p o r t a n t
c o l o n y o f t h e n a v a l p o w e r , V e n i c e , in t h e e a s t e r n M e d i t e r r a n e a n . A t t i c a , B o e o t i a
a n d t h e M e g a r i d in itia lly c a m e u n d e r F r e n c h s o v e r e i g n t y , t h e first D u k e b e i n g t h e
B u r g u n d i a n O t t o d e la R o c h e ; t h e y w e r e s u b s e q u e n t l y r u l e d b y t h e C a t a l a n s , t h e
N a v a r r e s e a n d th e F l o r e n t i n e s . T h e P ri n c ip a l it y o f A c h a e a w a s o n e o f t h e m o s t
i m p o r t a n t L a t i n a r e a s in G r e e c e , a n d u n d e r t h e V i l l e h a r d o u i n s o c c u p i e d a u n i q u e
p o s i t i o n in t h e f e u d a l w o i k l o f (lie e a s t . T h e I o n i a n is la n d s w e r e g o v e r n e d by t h e
A n g e v i n s , O r s i n i , T o c c h i , V e n i e r a n d o t h e r L a t i n r u l e r s , u n ti l t h e y w e r e a n n e x e d
to t h e c o l o n i a l s y s te m o f V e n i c e . E u b o e a , h a v in g in itia lly b e e n g r a n t e d a s a fief to
t h r e e n o b l e s fr o m V e r o n a , w h o g o v e r n e d it as a t r i u m v i r a t e ( ' t e r z i e r i ' ) , a ls o
b e c a m e a V e n e t i a n p o s s e s s i o n . V e n e t i a n p o s s e s s i o n s in t h e P e l o p o n n e s e i n c l u d e d
M o d o n , C o r o n a n d l a t e r N a u p l i o n A r g o s a n d M o n e m v a s i a . T h e is l a n d s o f t h e
A e g e a n b e c a m e th e D u c h y o f Ih c A r c h i p e l a g o , a n d w e r e d i v i d e d as fiefs a m o n g s t
V e n e t i a n n o b l e s ( S a n u d i O u c r i n i , Baro/./.i, D a n d o l o , G h i s i e t c . ) . C h i o s a n d L e s ­
b o s w e r e G e n o e s e tr a i l i n g p o s t s , w h ile R h o d e s , u n d e r t h e K n i g h t s H o s p i t a l l e r s o f
S t. J o h n b e c a m e th e c e n t r e o f a c o n s i d e r a b l e s t a t e t h a t s e r v e d as a n id e a l b a s e o f
o p e r a t i o n s a g a in s t T u r k i s h a t t a c k s .
T h e n e w o r d e r o f t h i n g s e s t a b l i s h e d in th e G r e e k w o r l d in 1204 n o t o n ly
s i g n a l l e d t h e e n d o f a p o li ti c a l s i t u a t i o n b u t als o b r o u g h t a b o u t s i g n if i c a n t c h a n g e s
in t h e s t r u c t u r e o f G r e e k s o c i e ty . T h e i n t r o d u c t i o n o f t h e f e u d a l s y s t e m in t o
R o m a n i a g ra d u a lly p r o d u c e d a diversified reg im e c o m p o u n d e d o f fo r m e r B y z a n ­
t i n e i n s t i t u t i o n s , lo c a l c u s t o m s a n d F r a n k i s h p r a c t ic e s . B e l i e f in t h e e a s t e r n c r e e d ,
w h i c h , a l o n g w ith t h e l a n g u a g e , d i s t i n g u i s h e d th e n a t i v e e l e m e n t f r o m t h e f o r e i g n ,
c a m e t o b e t h e line t h a t d i v i d e d t h e L a t i n C a t h o l i c c o n q u e r o r f r o m t h e G r e e k
O r t h o d o x c o n q u e r e d . T h e r e s u l t w a s t h a t re l ig i o u s b e l i e f b e g a n t o b e c o n f u s e d
w ith t h e n a t i o n a l s e n t i m e n t s o f H e l l e n i s m , a n d g r a d u a l l y c a m e to c o i n c i d e w ith
n a tio n a l identity.
A lo n g ti m e w a s t o e l a p s e b e f o r e t h e t e n s i o n s b e t w e e n t h e tw o C h r i s t i a n
c o m m u n itie s o f L atin G r e e c e re la x e d , th eir d ifferen ces d im in ish e d a n d a c o m m o n
w a y o f life w a s e s t a b l i s h e d t h a t f in a lly e n a b l e d t h e t w o d i s p a r a t e r e l i g i o u s c o m m u ­
n it ie s t o c o e x is t in t h e s a m e g e o g r a p h i c a l r e g i o n . T h e c o e x i s t e n c e o f G r e e k s a n d
f o r e i g n e r s in t h e s a m e a r e a w a s t h e r e s u l t o f t w o p a r a l l e l h i s t o r i c a l p h e n o m e n a
t h a t c a n b e o b s e r v e d d u r i n g th is p e r i o d : o n th e o n e h a n d , t h e L a t i n s slo w ly but
s u r e l y c a m e u n d e r t h e i n f l u e n c e o f t h e n a t u r a l a n d h u m a n e n v i r o n m e n t a n ti b e g a n
t o b e a s s i m i l a t e d i n t o G r e e k c u l t u r e , a n d o n t h e o t h e r t h e G r e e k s , d e s p i t e r e l a in
in g t h e i r r e l ig i o n , l a n g u a g e a n d t r a d i t i o n s , a n d a t t e m p t i n g to p r e s e r v e t h e n
i d e n t i t y a n d p e r s o n a l i t y , b e g a n n o n e t h e l e s s to in f il tr a t e a n d p a r t i c i p a l e in I lie
so c ia l a n d e c o n o m i c s t r u c t u r e s o f t h e c o n q u e r o r s . H o w e v e r , a l t h o u g h a c u liim il
g a p c o u l d b e d e t e c t e d b e t w e e n G r e e k s a n d f o r e i g n e r s in t h e first < . m u i u ' . ul
L a t i n d o m i n a t i o n , H e l l e n i s m l a t e r c a m e u n d e r t h e i n f l u e n c e o f Ih e K e n . i r .11 it ■·
a n d a b s o r b e d t h e v a l u e s o f W e s t e r n c iv iliz a tio n . C o n t a c t b e t w e e n Wi . l e m mu I
G r e e k f o r m s f o u n d its f i n e s t e x p r e s s i o n s in C r e t e , ( ' r e t a i l c r a l i m e n in d n i l I
w h ile r e m a i n i n g t r u e to t h e B y z a n t i n e t r a d i t i o n , s u c c e e d e d m iimhi· new i p i. iw
m e a n s t o i n t e r p r e t R e n a i s s a n c e m o d e l s o f aicliilee.lu it a n d pauiiui)·
A l t h o u g h f o r e i g n d o m i n a t i o n u n d o u b t e d l y h a d ils p a in f u l n-.pei ι 1 1u I I i r e I
s u c c e e d e d t h r o u g h t h e i r o w n a b il it ie s in fi n d in g a nc w i niluT I |«.iili mil in O Pvning
up n e w a v e n u e s o f creativ ity .
< lll< VS A M A I II / ( M l
1*11ill··.·.! II II dll I h 11Vi' I ΜIV III ( i e t f
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IC O N P A IN T IN G IN C R E T E
D U R IN G T H E F IF T E E N T H
A N D SIX T E E N T H C E N T U R IE S
. ^ ^ . 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 Ιΐκ-ηι, 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 —
T h e s e wall p ainting s a n d icons fo r m an integral p a r t o f th e P a la e o l o g a n t r a d i ­
tio n ; at th e sa m e tim e th ey display th o s e fe a tu re s th a t g av e C r e t a n p a in tin g its
d istin ctive c h a ra c te r: th e p recise o u tlin es , th e m o d e llin g o f th e flesh w ith d a r k
b ro w n u n d e r p a i n t an d d e n s e tiny highlights on th e c h e e k s o f th e faces, th e b rig h t
c o lo u r s in th e g a r m e n ts , th e g e o m e tric a l tr e a t m e n t of th e d r a p e r y , a n d , finally,
th e b a l a n c e d a rtic u latio n o f th e co m p o s itio n . All th e s e a re h a ll m a r k s o f late fif­
te e n t h - o r ea rly s ix te e n th -c e n tu r y C r e ta n p ainting , w hich w a s to a c q u ir e a r a t h e r
a c a d e m ic c h a ra c te r. A t th e s a m e tim e , fe a tu re s fro m Italian p a in tin g w e re a ss im i­
la t e d a n d h a rm o n io u s ly a d a p t e d to th e a u s te re B y z a n tin e t r a d it io n w ith a qu ality
n o t e n c o u n t e r e d in e a rlie r wall p ainting s in flu en ced by Italian art.
T h e a rt o f th e p a i n t e r w h o signs his w o r k ΧΕΙΡ Α Γ Γ ΕΛ Ο Υ (‘t h e h a n d o f A n ­
g e lo s ’) clearly reveals the im p a c t o f th e P a la e o lo g a n tr a d itio n a n d th e assim ilatio n
o f s e c o n d a r y fe a tu re s fr o m Italian p a in tin g ; th e e m e r g e n c e of a n e w artistic
v o c a b u la r y can also b e d e t e c t e d at a d if fe re n t level in e a c h o f his w o rk s . T h is
p a i n t e r is p r o b a b l y to be id e n tifie d w ith the A n g e lo s A k o t a n t o s k n o w n fr o m the
t e s t a m e n t he d r e w up in 1436 b e fo re settin g o u t on a jo u r n e y to C o n s ta n t in o p l e ;
th e id e n tif ic a tio n , h o w e v e r , d o e s not solve all the p r o b l e m s re la te d to the v ariety
of styles th a t a rc disc ern ible in his signed w orks.
T h e c h ro n o lo g ic al fr a m e w o r k in which m a y be set the activity of the most
i m p o r t a n t p a in te rs , such as A n d r e a s R itz o s a nd his son N ik o la o s , A n d r e a s Pavias
a n d N ik o la o s T z a fo u ris, res ts o n d o c u m e n t a r y ev ide nc e. T h e s e p a in t e r s h ad ate
liers a n d c o n s i d e ra b l e n u m b e r s o f a p p re n tic e s , a n d c r e a t e d ic o n - p r o to t y p e s w ith a
n e w ic o n o g r a p h y . T h e V irg in , in th e ty p es o f th e H o d e g e t r i a , G ly k o p h il o u s a o r
th e V irg in o f th e P a ss io n , w a rrio r saints, St. N ic h o las a n d St. A n t h o n y , scen es
fro m th e D o d e k a o r t o n such as th e N a tivity , th e E n tr y in to J e r u s a l e m , th e R e s ­
u r r e c ti o n , th e A n n u n c i a t i o n a n d th e D o r m i t i o n of th e V irg in , a n d finally s u b je c ts
like th e H o s p ita lity o f A b r a h a m , th e Noli M e T a n g e r e an d th e D o r m i t i o n of
v a rio u s h e r m it s , w ere a m o n g th e m o s t p o p u l a r su b jects co p ie d fr o m such c o m m o n
ic o n o g r a p h ic a l m o d els.
A n i m p o r t a n t g r o u p of icons can n o w be d a t e d fro m th e m id d le o f th e fiftee n th
to th e b e g in n in g of th e s ix te e n th c e n tu r ie s ; th es e h a v e th e ir o w n p a rtic u la r c h a r ­
a c te r , a distin guish ing f e a t u r e o f w h ich w as th e s u p e r b tech nic al e x e c u tio n . T h e
p a i n t e r s o f th e s e w o rk s, m a s te rs o f a te c h n iq u e in h e r it e d fr o m P a la e o l o g a n a rt,
f r e q u e n tl y d is p lay ed an eclecticism th a t e n a b le d t h e m to in c lu d e e le m e n ts fr o m
Ita lia n a r t in th e ir p ain ting s.
T h e a c q u a i n ta n c e w ith th e Italian style o f p a in tin g is m u c h m o r e a p p a r e n t in
a n o t h e r g r o u p o f icons p r o d u c e d o n C r e te . T h e s e icons, w hich re v e a l an u n u s u a l
k n o w le d g e o f th e L a te G o th ic a rt a n d a re in a re f in e d style, w e re p a i n t e d by
N ik o la o s T z a fo u ris (cat. no . 42), A n d r e a s P avias, A n d r e a s R itz o s a n d o t h e r f a ­
m o u s artists. T h e y w e r e p r o b a b l y c o m m is s io n e d by C a th o lic c u s t o m e r s , a n d th e ir
ic o n o g r a p h y follows typical Italia n m o d e ls , such as th e M a d r e della C o n s o la z i o n e
(cat. no . 42), th e P ieta (cat. no . 45) an d th e M a n o f S o rr o w s (cat. no. 44). T h e s e
I t a l o - C r e t a n w o rk s a re r e t r o s p e c t iv e r a t h e r t h a n c o n se rv a tiv e in c h a ra c te r. T h e y
re fle ct th e tas te s o f th e clien tele w hich h e lp e d to defin e a n d d is s e m in a te this
u n i q u e i c o n o g r a p h y a n d style t h r o u g h icons th a t o ften h a v e a hyb rid cliaiacli-i
like t h e icon with the S a m a r it a n W o m a n , w hich w as p r o f o u n d ly in flu en ced by
T u s c a n p a in tin g of th e q u a t t r o c e n t o .
4<;
 ΓΙιβ 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 T A S T E A N D T H E M A R K E T
had i d iv isiv e in flu en ce o n th e w o rk o f th e C r e ta n p a in te rs o f th e fo llo w in g g e n ­
eratio n . 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
IN C R E T A N IC O N S IN Π Ι Ε
( 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 F IF T E E N T H A N D S IX T E E N T H C E N T U R IE S
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 K erkyra (c a t. no. 6 5 ), w h ic h is i n f l u e n c e d by th e art o f P ao lo
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 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 In 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 an d b o ie
fin e fru it in literatu re (C rete p ro d u ced a num ber of exam ples ol K enais
N A N O Cl IA T Z ID A K IS 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
Professo r at th e U n iv ersity o f l o a n n i n a 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 th e
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 111 * M ed iter­
r a n e a n w o rld and n o rth e rn E u r o p e t h r o u g h th e e x p o r t tra d e tin· i c l a l i o n s h i p
b e t w e e n p a t r o n s a n d p a i n t e r s , a n d t h e c h a n g i n g a t t i t u d e of tin- public to w a rd s
p ain tin g .
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 . I’lie 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 11 lists a n d W e s t e r n m a r ­
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 I V / , ) ol th e s u r v i v i n g c o m m i s s i o n s
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. Λ 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
1498. The constant d e m a n d for th ese ic o n s is d e m o n s t r a t e d b y t h e d e a l e r ’s
i n s i s t e n c e t h a t t h e o t h e r h a l f o f t h e o r d e r b e c o m p l e t e d as q u i c k l y as p o s s i b l e .

— 50 — — 51 —
 All οιιΐι-ι Ιπι h u n d r e d s o f icons of th e V irg in w as p la c e d in 1499 by tw o
ik-aleis m u lio in V en ic e a n d th e o t h e r fr o m th e P e lo p o n n e s e , w ith th r e e p a in t e r s
livmj’ in C a n d ia , ea c h o f th e m b ein g d e a lt w ith se p a r a te ly . T h e re s tric tio n s set by
lh« 1111 ' ii li . 1111s as to th e ic o n o g r a p h y a n d style o f th e p ain tin g s (in fo r m a greca or
in ju t m u ti la la tin a ), th e explicit in s tru c tio n s r e g a r d in g th e c o lo u rs of th e V ir g i n ’s
g a r m e n ts , an d th e o b lig a to ry use o f p r e d e t e r m i n e d m o d e ls , all reflect th e d e m a n d s
of I he foreign m a r k e t , w hich in f lu e n c e d a rt p r o d u c t io n in C r e te . T h e larg e n u m b e r
of the pieces c o m m is s io n e d (seven h u n d r e d ) a n d th e s h o r t d eliv ery p e r i o d (fo rty -
live days) a tt e s t to th e efficiency o f C r e t a n w o rk s h o p s , w hich c a n in fact b e
re g a r d e d as p r o d u c t i o n u n its w ith a c o n s id e ra b le o u tp u t . Five h u n d r e d o f th e icons
c o m m is s io n e d w e r e to be in th e style of L a te G o th ic p a in tin g , a n d th e re m a in i n g
tw o h u n d r e d in th e B y z a n tin e tr a d it io n , a p p a r e n t ly follow ing th e d e m a n d s of an
a u d ie n c e w ith d ifferin g a e sth e tic p re f e re n c e s . C r e t a n p a in t e rs , e x p e ri e n c in g p a r t ic ­
u la r historical a n d social c irc u m sta n c e s, w e re v ersatile. T h e i r re la tio n s h ip to th e
art o f th e d o m i n a ti n g political p o w e r , V e n ic e , a n d to o t h e r W e s t e r n in flu e n c es ,
c o m b i n e d w ith th e ta s te o f th eir m ix ed pu b lic (w hich in c lu d e d b o th G r e e k O r t h o ­
d o x a n d R o m a n C a th o lic , w ith a b r o a d social a n d cu ltu ra l r a n g e ) , led t h e m to an
o b v io u s eclecticism , as a resu lt o f w hich th ey w e re c a p a b le o f p r o d u c i n g icon s in
d if fe re n t tr a d itio n s.
D o c u m e n t s o f t h e a b o v e k in d a tte st n o t only to th e m a s s p r o d u c t io n o f fif­
te e n t h - c e n t u r y C r e t a n icons, b u t also to th e re p e titio n o f c e rta in ic o n o g r a p h ic
ty p es, a c c o rd in g to th e usual practice o f m e d ie v a l w o rk s h o p s . S urviving fiftee n th -
c e n tu r y ic o ns, b o t h sig n ed a n d u n s ig n e d , illu s trate this re p e titiv e use of successful
a n d e s ta b lis h e d ic o n o g r a p h ic m o d e ls. O n th e o t h e r h a n d , th e y rev ea l t h e high
level o f tech nical c o m p e t e n c e a n d artistic skill o f th e m e n w h o p a in t e d th e m .
It w as w ith in this f r a m e w o r k th a t th e t r a d e in art w as d e v e lo p e d in C r e te .
P ain tin g s w e re tr e a t e d as m e r c h a n d is e a n d th e p ro d u c t io n of icons b e c a m e p a r t of
th e sy stem o f su p p ly a n d d e m a n d . B esid es p a in te rs a n d th e i r a ss istan ts, o t h e r
p ro f e ssio n a ls, such as w o o d -c a rv e rs a n d c a r p e n t e r s , w e re also c o n n e c t e d w ith the
a rt tr a d e . P ain tin g s p r o d u c e d u n d e r th e s e c o n d itio n s m a y h a v e b e e n lack in g in
o rig in ality, b u t this w as offset by th e ir te c h n ical p e rf e c tio n , w h ich g u a r a n t e e d th e
fine qu ality of th e w o rk s an d s e c u r e d th e g o o d r e p u t a ti o n o f th e C r e t a n p a in t e rs .
In fact s o m e o f th e b est k n o w n f i fte e n th -c e n tu ry C r e ta n m a s te r s o fte n a d d e d th e
n a m e o f th e ir n a tiv e to w n to th e ir s ig n a tu re o n p a in tin g s d e s t in e d fo r e x p o r t a ti o n :
fo r e x a m p l e , A n d r e a s R ig o de C andia p in x it; A n d re a s P avias p in x it de C a n d ia .
T h e v ast p r o d u c t i o n o f fine icons in C r e te is also a tt e s t e d by th e t e s ti m o n y o f a
F r e n c h tr a v e lle r, J a c q u e s L e S aige, w h o visited C a n d ia in 1518: ‘e t il se fait aussy
a la d ite ville [de C a n d ie ] l a r g e m e n t d e belles y m aig es d e n o s tre d a m e e n c lo s e s de
ta b l e a u x d e c ip r e s ’.
T h e flo u ris h in g tr a d e in C r e t a n icons w h ich is m a n ife s te d to w a r d s t h e e n d o f
(he fifte e n th c e n tu r y d o e s n o t se e m to h a v e c o n ti n u e d in to th e s ix te e n th . D o c u ­
m e n ts su gg est e i t h e r th e failure o f c o m m e rc ia l e n te r p r i s e s o r a lack o f in t e r e s t on
I he p a rt o f th e m e r c h a n ts in th e m a r k e t in icons. A c o n tr a c t d r a f t e d in 1509 in
C a n d ia registers th e b e g in n in g o f an a t t e m p t to t r a d e in sm all trip ty c h s w h ich ,
h o w e v e r, n e v e r c a m e to fru itio n. In 1556 a m e r c h a n t p la c e d an o r d e r fo r a specific
nu trth er of icons w ith tw o p a in te rs e s ta b lis h e d in C a n d ia . A l t h o u g h th e c o m m is ­
s i o n was c a rr ie d o u t , th e m e r c h a n t e x h ib i te d o b v io u s in d iffe r e n c e to t h e d elivery
— 52 —
o f th e icons he h a d o r d e r e d , a p p a r e n t ly ow ing lo lack of sufficient d e m a n d .
T h e d if fe re n t p ic tu re to be d e riv e d Irom six te e n th -c e n tu r y d o c u m e n t s m a y be
i n t e r p r e t e d as th e result of so m e radical c h a n g e s in llie d e m a n d for an d d is tr i b u ­
tio n o f C r e t a n icons in th e W est. I lie art tr a d e in C r e te h ad most likely b e e n
a ff e c te d b y a shift in the taste of th e public. I he di p re c a t o ry re m a r k s m a d e by
G . B . A r m e n i n i (1587) a b o u t G r e e k icons w hich he hail see n in n o r t h e r n Italy
w e r e p e r h a p s th e result o f a shift o f this kind ; he d escrib es ‘p it tu r c delle saero
im a g in i, le qu ali e r a n o la m a g g io r p a r t e q u a d r e t ti di c e r t e figure latte alia g re c a ,
g offissim e, d ispiacevoli e tu t te a ff u m ic a te ’ ( ‘p ain tin g s o f sa c re d im age s w hich w ere
fo r th e m o s t p a rt p ic tu re s of c e rta in figures d o n e in th e G r e e k m a n n e r , most
u n c o u t h , u n p le a s in g a n d s m o k y ’).
In th e six te e n th c e n tu r y th e p r e d o m i n a n t artistic fas h io n s w e re th o s e o f th e
R e n a is s a n c e a n d M a n n e r is m , a n d th e s e o v e rs h a d o w e d th e e a r l ie r e n th u s ia s m fo r
p a in tin g in th e B y z a n tin e o r L a te G o th ic tr a d itio n s , a lt h o u g h m a d o n n e ca n d io tte
a n d q u a d ri d o ra ti de nostra d o n n a alia greca c o n ti n u e d to figure a m o n g th e v a lu a b le
p o ssessio n s o f late six te e n th -c e n tu r y w ealth y V e n e tia n h o u s e h o ld s .
N o t o n ly can this n e w t u r n in artistic taste be d e te c te d in th e a t t it u d e o f th e
Italian a n d th e C r e ta n pu blic; it is also d e m o n s t r a t e d by th e e n r i c h m e n t of the
existing tr a d it io n s of ic o n o g r a p h y w h ich w as a t t e m p t e d , w ith in th e limits o f reli­
gio us p a in t in g , by a n u m b e r o f C r e t a n artists. Suffice it to m e n t io n h e re th e n a m e s
o f th r e e s i x te e n t h - c e n tu r y m a s te rs , th e y o u n g D o m e n i k o s T h e o t o k o p o u l o s (la te r
th e f a m o u s E l G r e c o ) , M ic h a e l D a m a s k i n o s a n d G e o r g io s K lo n tz a s , w h o all
a d o p t e d a fresh a p p r o a c h to th e t r e a t m e n t o f tr a d itio n a l s u b j e c ts , in volving th e
use o f W e s t e r n e le m e n ts , a n d o fte n sig n e d th eir w o rk s in n e w a n d orig inal w ays.
T h e i r ic o n o g r a p h ic in n o v a tio n s w e re u n d o u b te d l y h e ld in e s t e e m by c e rt a in social
circles, such as th e m e m b e r s o f th e lite ra ry society o f th e A c c a d e m ia degli strava-
g a n ti o f C a n d ia .
A f u r t h e r d e v e l o p m e n t is th e a p p e a r a n c e , fro m the b eg in n in g of th e six te e n th
c e n tu r y o n w a r d s , o f p riv a te colle ctio ns th at included icons a m o n g s t th e Italian an d
F le m is h p a in tin g s an d p ieces o f sc u lp tu re o w n e d by C r e ta n s an d by V e n e tia n
n o b l e m e n a n d th e w ea lth y b o u rg e o isie of C a n d ia . Icons w ere n ow r e g a r d e d as
w o rk s o f a rt w ith th e i r o w n intrinsic aesth e tic v alu e, anil w ere ju d g e d to be ‘p i t
cious th in gs fo r G r e e k p a in t in g ’ (cose p retio se p e r p ittu ra greca).
By th e se c o n d h a lf o f th e s ix te e n th c e n tu r y large c o m m e rc ia l c o m m is sio n s a n d
th e m ass p r o d u c t io n o f icons b e lo n g e d to th e p a st, b u t a n ew c o n c e p t o f p a in tin g
a n d a m o r e f a v o u r a b le a tt it u d e to w a rd s p a in te rs an d th e ir w o r k h a d e m e r g e d in
R e n a is s a n c e C re te .
M A R IA C O N ST A N T O U D A K I-K IT R O M IL ID E S
Teaching fellow at the University of A thens

W O R K IN G D R A W IN G S
O F P A IN T E R S IN G R E E C E
A F T E R T H E F A L L O F C O N S T A N T IN O P L E
I c o n s a n d fresco es a fte r 1453 b e lo n g to th e
last p h a s e o f a p a in tin g tr a d itio n w h ich c an b e tr a c e d b ack in to A n tiq u i ty . T h e
te c h n o lo g ic a l b a c k g r o u n d o f this p a in tin g is accessible, to s o m e e x te n t , to m o d e r n
sch o lars, m ain ly t h r o u g h th e P a in ter’s M a n u a l by D io n y siu s o f F o u r n a , w h ich was
w ritte n o n M o u n t A t h o s , ro u g h ly b e tw e e n 1730 a n d 1734. D io n y s i u s ’s M a n u a l
p ro v id e s d e ta i le d in f o r m a t io n c o n c e rn in g th e p ro d u c t io n of d ra w in g s on tra c in g
p a p e r , a n d also o f a specific typ e of i m p r i n te d c a r t o o n , th e so-called a n th iv o lo n ,
w hich w as d r a w n fr o m an ex istin g w o rk , w h e t h e r a d ra w in g , p a n e l or wall p a i n t ­
ing: '.. . p u t s o m e b lack c o lo u r in to a scallop-shell w ith s o m e garlic ju ice ... an d
mix th e m ; t h e n go o v e r th e fo r m s o f th e w h o le figure o f th e s a in t t h a t y ou a re
co p y in g ... T h e n y o u mix re d co lo u r w ith garlic ju ice a n d go o v e r th e h igh lig hts of
th e face a n d c lo th e s ... th e n w e t a s h e e t o f p a p e r th e s a m e size as the p r o t o t y p e ...
p lace it on th e a r c h e t y p e a n d pres s it d o w n carefully w ith y o u r h a n d . . . Y o u will
th u s h a v e m a d e a p r i n te d cop y in e v e ry w ay identical to th e p r o t o t y p e ’.
T h e d e s c r ip tio n b y D io n y siu s refers to a fam iliar m e t h o d o f m a k i n g w o rk in g
d ra w in g s , usually in r e d an d black , a n d s o m e ti m e s a c c o m p a n ie d by a b b r e v i a t e d
v e rb a l in d ic a tio n s o f th e co lo u rs to b e u sed ; it w as po ssib le fr o m th e s e to o b ta i n
fu r th e r co p ies by m e a n s o f p ric k in g (p o n c if). Such p ri c k e d c o p ie s w e r e o ft e n e m ­
p lo y e d by p a n e l p a in t e r s in o r d e r to p r o d u c e a p o u n c c d d ra w in g o v e r th e gesso
g r o u n d p r e p a r a t i o n o f th e p an el. T h is in its tu r n w as incised a n d th e p a in te rs
p r o c e e d e d by a d d in g th e gold leaf a n d successive layers of egg t e m p e r a .
A c o n s i d e r a b l e n u m b e r o f p a i n t e r s ’ w o rk in g draw in g s h as su r v iv e d . T h e tw o
m o s t im p o r t a n t ( I h o u g h largely u n p u b li s h e d ) collectio ns a re fo u n d at th e B yzan-
liiu M u s e u m o f A th e n s , w hich o w n s m o r e th an 3,000 d ra w in g s , a n d at th e B e n a k i
M u s e u m ol A llie n s, which lias tw o p a i n t e r s ’ po rtfo lio s. A th ird sm a lle r co llection
ol so m e I M) dr iwings o w n e d b y S. M ilia llria s , is m I o n d o n . I lie B e n a k i M u s e u m
p o rtfo lio s a n p a r t i c u l a r ^ im p o rta n t b e c a u s e th e y a p p e a r to h a v e b e e n a c c u ­
m u la te d over llitee e e u tu i ie s liy suecossive g e n e r a t io n s ol p a in te rs , a n d con sist of
tw o distinctly d i H e i e n l types ol w o rk in g d raw in gs, e ith e r t r e e d r a w n s k e t c h e s o r
p ric k e d c a r t o o n s , fl u first p o rtfo lio consists ol 188 s k e tc h e s , o n m o s t o f w hich
n u m b e r s h ave b e e n w ritten, t he c iilii it ol th e s e '-ketches m ay d a te fr o m c. 1600,
a n d th e r e are sev eral nulu atio n s th at th ey w e re in te n d e d for use in th e m a k i n g of
wall p ain tin g s I he n u m b e r s on I h e u p p e r p art ol th e s e d ra w in g s su g g est t h a t th e y
w e r e a r r a n g e d by s u b |e c t roughly lo llow ing the ico n o g ra p h ic a l la y o u t o f th e
M a n u a l by D io n y siu s o f F o u rn a . I his first p o rtfo lio m u s t th e r e f o r e b e an i c o n o ­
g rap h ical i n v e n t o ry , a n d this e x pla ins w hy it inclu des a lim ited n u m b e r o f e n g r a v ­
ings, m o d e l s for capital letters a n d recip es t a k e n from th e M a n u a l o f D io n y siu s.
A m o n g t h e m o s t r e m a r k a b l e d ra w in g s a re nin e scenes o f an A p o c a ly p s e cycle
— 54 —
d a tin g fr o m c. 1600 a n d m ost p ro b a b ly d e riv e d from th e illu s tra te d B ib le s of
C r a n a c h a n d H o lb e in . A n o t h e r rare cycle, ol th e S u n d a y P ra y e r , is c o p ie d fro m
th e illu s tra te d B ible of the V ie n n e s e e n g r a v e r C h r is to p h W eige l (1654-1725),
w h ich s e r v e d as a p a i n t e r s m o d el b o o k in S erbia, llu* d ra w in g s a p p e a r to h a v e
b e e n b o u n d in to a v o lu m e , possibly in llu co u rse ol the e ig h t e e n th c e n tu r y . T h e
latest p a r t o f this p o rtfo lio cont.iins large, uirnjinibcrc d d ra w in g s , o l t e n sig ned by
m e m b e r s o f a w o r k s h o p Iro m CJalatista, n e a r T h e s s a lo n ik i The p a in te rs b o m this
w o r k s h o p a r e k n o w n to have b e e n active o n M o u n t A th o s in Ihe first hall o f the
n i n e t e e n t h c e n tu ry , l his an d several o t h e r in d ication s imply th it the p o r t f o l i o
m u s t h a v e c o m e from M o u n t A t h o s w hich, iller 1453, was ol eo u rs e a m a j o r
c e n tr e o f a rt, particularly o f m o n u m e n t a l painting.
T h e s e c o n d B en aki M u s e u m p o rtfo lio was a gitt o f th e By/.antinc s c h o la r A.
X y n g o p o u lo s . l i e r e l a te d so m e o f th e d ra w in g s to icons by th e C r e t a n p a in t e r
T h c o d o r o s P o u la k is (1622-1692). T h e p o rtfo lio c o n ta in s so m e 308 s h e e t s , o n to
w hich a re p i n n e d c a rto o n s o f d if fe re n t sizes for u se in icon p a in tin g . T h e c a r t o o n s
a r e in th e fo r m o f e it h e r draw in g s o r p ric k e d c o p ie s , m ostly fo ld e d in to fo u r . A
n u m b e r o f th e c a rt o o n s a r e o n ‘s t a n d a r d ’ p a p e r m e a s u r in g 3 T x 4 2 cm a n d sh o w in g
w a t e r m a r k s w ith th e initials V G (V a n G a n g e lt) . T his p a p e r s e e m s to h a v e c o m e
fr o m A m s t e r d a m .
T h e c a r t o o n s a re a r r a n g e d by s u b je c t; fo r in s ta n c e , s c e n e s fr o m th e O ld
T e s t a m e n t , P r o p h e t s , E v an g elists , p o rt ra it s o f C h ris t a n d th e V irg in , D o d e k a o r -
to n s c e n e s , a n d scen es fr o m th e life of v ario u s saints. T h e r e a re also t h r e e
c a r t o o n s fo r c h u rc h e m b r o id e r y . T h e e arliest o f th e s e d ra w in g s , su ch as, for e x a m ­
p le , a p r i c k e d c o p y with th e N ativ ity o f th e V irgin, a re c o n n e c t e d w ith six te e n th -
c e n tu r y icons. F o u r p ric k e d c a rt o o n s h a v e scenes fr o m th e life o f St. G e o r g e
co p ie d fr o m an icon in K e r k y r a ( C o rf u ) by th e C r e ta n m a s te r M ic h a e l D a m a s k i -
nos (activ e 1555-1591) a n d T h e o d o r o s P o u lak is, w h o is k n o w n sy stem a tically to
h a v e e x p lo i te d F le m ish en g ra v in g s by J. S a d e le r a n d J. W ierix . It th e r e f o r e s e e m s
th a t th e c o re o f this se c o n d B e n a k i M u s e u m p o rtfo lio r e p r e s e n ts th e e q u i p ­
m e n t o f s o m e w ell-o rg an ized w o r k s h o p o f ic o n -p ain tin g o f th e s e v e n t e e n t h c e n t u ­
ry in th e I o n i a n Islan ds, m o s t p r o b a b l y K e rk y ra . T h is island d e v e lo p e d in to a
m a j o r c e n tr e fo r icon p a in tin g a fte r th e fall o f C r e te to th e T u r k s in T669. T w o o f
th e m o s t in te re s tin g a sp ec ts o f this p o rtfo lio are th e c o m p lic a te d p e r m u t a t i o n of
sce n e s fr o m th e life o f v a rio u s saints (p r e s u m a b l y to be e x p la in e d by th e rising
d e m a n d f o r icons w ith such cycles in th e c o u rse of th e s e v e n t e e n t h c e n tu r y ) , an d
th e g ro w in g in filtra tio n o f W e s t e r n ic o n o g r a p h y , possibly d u e to th e availability of
en g ra v in g s a n d p r i n t e d bo o k s.
A d d i t i o n a l in f o r m a t io n a b o u t the w o rk in g draw in g s o f icon p a in t e r s is f o u n d in
th e V e n e t i a n A r c h iv e s o f C r e te . T h e earliest re f e r e n c e is in the will o f th e o u t ­
s t a n d in g C r e t a n m a s te r A n g e lo s A k o t a n t o s (cat. nos. 32, 33, 35 ), d a tin g fro m
1436. A n g e l o s w ro te it o n th e eve o f his d e p a r t u r e o n a trip to C o n s ta n t in o p l e ,
a n tic ip a tin g the d a n g e rs o f trave lling b y sea. In his will th e p a i n t e r re c o r d e d a
c o llectio n o f d raw in g s , his teseniasm ata (disegni) o r sk ia sm a ta . T h e s e w ere lo lie
given to his u n b o r n child w h ich his wife w as e x p ectin g at th e ti m e , p r o v id e d it was
a b o y a n d p ro v id in g it w ish ed to b e c o m e a p a in te r. O th e rw is e th e d ra w in g s w e ie
to b e g iven to A n g e l o s ’s b r o t h e r J o h n , also an icon p a in te r. It tr a n s p il e s from
la t e r d o c u m e n t s in th e s a m e archives th a t A n g e lo s ’s o nly child was a girl a n d ,o
- 55
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
PLATES
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 s-
inarit) 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 ο ι » 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 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
slight 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
hi t w e e n th e ( liiist I n l h i t m c d ol Z-ak.yflthos a n d th a t by Ritv.os o n P a t m o s ) . P e r ­
h a p s silt'll l e l a i i o n s b e t w e e n i c o n s a r t b e l t e r u n d e r s t o o d in t h e light o f t h e s e re-
e o it le t l c a s e s ol Lhf t r a n s m i s s i o n o f d r a w in g s .
I he s y s te m a t ic use o f p r i c k e d c a r t o o n s m o s t p r o b a b l y b e g a n in t h e f i f t e e n t h
e e n l u r y , w h e n t l i c i c w a s a s u b s t a n t i a l p r o d u c t i o n o f ic o n s , r e s u l t i n g in t h e d iv i s i o n
o f l a b o u r in p a i n t e r s ’ w o r k s h o p s . These d e v e l o p m e n t s c o i n c i d e w i t h t h e s t a n d a r d i ­
z a t i o n o f i c o n o g r a p h y t h a t m a y b e o b s e r v e d a r o u n d t h e y e a r 1500. 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 C r e t a n p a n e l p a i n t e r s w e r e n o t a l o n e in th is w i d e s p r e a d u se
of prick ed c a rto o n s. R e c e n t la b o ra to ry research has d e m o n s tra te d th a t th e ir use
w as c o m m o n a m o n g st E u ro p e a n p a in te rs of th e fifteen th and six te e n th c e n tu rie s ,
in clu d in g V a n d e r W e y d e n , M e m lin c , D a v id , J o o s v an C lev e a n d P a ris B o r d o n e .
A p p r e n t i c e s ’ c o n t r a c t s in t h e V e n e t i a n A r c h i v e s o f C r e t e s u g g e s t t h a t d e s i g n
r e t a i n e d a n i m p o r t a n t r o l e in t h e t r a i n i n g o f C r e t a n p a i n t e r s , b u t t h e s y s t e m a t i c
u s e o f p r i c k e d c a r t o o n s a n d t h e a c c e s s ib i lit y o f e n g r a v i n g s m a y h a v e a d v e r s e l y
a f f e c t e d t h e i r a b il it y in f r e e h a n d d r a w i n g . H o w e v e r , e x c e p t i o n a l l y g i f t e d m a s t e r s
s u c h as D o m e n i k o s T h e o t o k o p o u l o s a p p e a r to h a v e p r e f e r r e d f r e e h a n d d r a w i n g
t o t h e u s e o f c a r t o o n s . T h i s is t h e c a s e w i t h t w o o f his e a r l y w o r k s , t h e D o r m i t i o n
o f t h e V i r g i n o n S y r o s (c a t . n o . 6 3 ) a n d t h e A d o r a t i o n o f t h e M a g i in t h e B e n a -
ki M u s e u m , A t h e n s (c a t . n o . 6 2 a ) . C o n s i d e r a b l e e v i d e n c e p r o v e s t h a t w o r k i n g
d r a w i n g s w e r e t r a n s m i t t e d f r o m h a n d to h a n d t o b e u s e d b y s u c c e s s iv e g e n e r a t i o n s
o f ic o n p a i n t e r s . T h i s p r o c e s s m a y a c c o u n t f o r t h e e c le c tic c h a r a c t e r o f P o s t -
B y z a n t i n e a r t , a n d ju s ti f ie s t h e c la i m t h a t its i c o n o g r a p h y w a s t h e o u t c o m e o f a
‘c o l l e c t i v e ’ p r o c e s s .

L A SK A R IN A B O U R A S
Benaki M useum , Athens
I

I
C urved w ood en door* l2W»or I Mis

V>
 I 1 I
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
— ίι4
 •f/iitgm. iio^ptt-rtcG m <iw

·'· ",Mu ,Λ· P £-4

5 6
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 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 . I5‘J7
 8 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 D o u b le - s id e d Icon. B. T h e A k r a T a p e in o sis. Seco n d half o f th e 12th c e n tu r y

- 70 — 71
 9 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
St. John the H;i|>tist. <. 1300 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 14
V i r g i n a n d ( ΙιίΙςΙ L a t e 13 t h - E a r l y 1 4 th c e n t u r y 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 IS
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 D o u b l e sid e d Icon. Λ 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

— 7S — 7 ‘)
>

16
S t. P e t e r . 14th c e n t u r v

-- ko -
 18 IS
Double-sided Icon. Λ. T he Virgin H odegetria. Second q uarte r of the 14th century Double-sided Icon. B Si. Nijhohis Secniul ψι;ιιΙιΊ ol I he I lili i r n l u r

— 82
 19
Double-sided Icon. A. St. George. B. Decorative motif. 20
First half of the 14th century Christ the W isdom of G od. End of the 14th century
 21 21
Double-sided Icon with smaller icon inlaid. A. Christ with Angels, Apostles and Saints. I >nuhk'-suU <l Icon
14th and 16th centuries 0 I lit* ( niulixiiMi Kith iv nlui v

86 —
 22 23

Six scenes fr om the Passion. 14th c e nt u r y I'he Dominion. ΙΚμιιιιιιιιμ ·>Ι l hi· 15th i« nltuv

— 88 — N*>
 26 27
C h r i s t P a n t o c r a t o r . c. 1400 I Ik A k i ,i I ipi-nidsis. I 100

- 92 — <1 I
 2‘)
I In· I 1111y m io I·-1iis ii l c n ι < I 100

v*
— 100 —

I
 34 35
St. A nn e with the Virgin. Middle of the 15th century Angelos: T he Virgin Kardiotissa. Middle of the 15th century

- 102 — 103
 36
Si. Anne with the Virgin~15th century

lot
 38 39
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 . Sanctuary Doors. The Annunciation, SS Peter and lolin lh< I Ιι*ϋΙΟμ,ίιιη
S e c o n d h a l f o f t h e 15 th c e n t u r y Second half of the 15th century

- 106 — 107

__________________________________________________________________________ ------------ --------------------------------- '

 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
ΓΙκ' D onnition of St. Sahbas. 15th ccntury
 48
Sanctuary D oors, right leaf. Virgin of the A nnunciation, SS Basil and Nicholas. 48
Second half of the 15th century Sanctuary D oors, right leaf. Detail
 49
Christ iiiul I lie Saimirium Woman. L.isi quarter ol the 15th century
 51 52
T he Miracle at C hon ae. End of the 15th century 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

S an ctu ary Doors. A n n u nciatio n an d Saints. 15th ccnturv

122

Λ
125
 58
Noli Mo T a n g e re . 16th century

127
 59 60
Si (icorge mi llorschiick. Beginning (if the 16th century 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 (>3
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 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. Im ll ol Ih r K illi i H im

I u
 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 Michael Damaskinos: SS Sergius llacclius and luslimi, ΛΙΙι ι I / 1
 69
Triptych. End of the 16th century

— 138 —
 71
Silvestros Thcocharis: Triptych in a portable altar. 71
Altar: second half of the 15th century. Triptych: first half of the 17th century 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

- 140 — 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 3
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
O n e of the rarest and most r e p r e ­
sentative exam ples of Byzantine
wood-carving from G re e c e , this door
illustrates the im portance of this art
from the E arly Christian period o n ­
wards and also its relationship to
Islamic w ood-carving, to which it
had a similar develo pm en t. Both
leaves are divided into three dif­
ferently d e c o ra te d parts; the d ec­
oration consists o f geom etric motifs
2 E u b o e a (1245).
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
T he wall painting has been d etach ed
from the prothesis conch of the
Church of the Saviour P an to c ra to r in
the K astro on Z a k y n th o s. which was
c onverted into a C atholic C athedral
(.luring the early years of the R om an
Catholic episcopate on the island
(1207-1212). 11 was rem oved after
the e a r th q u a k e of 1953.
T he sem i-dom e is dec o rate d with a
bust of Christ E m m a n u e l in an atti­
tude of p raye r, and below it are SS
Cosm as and D am ian with their
m o th e r T h e o d o te . T he saints are
depicted frontally, as beardless
youths w ho hold the surgical tools
that are their usual attributes. T he
oval faces, with alm ond eyes and
fleshy fea tu re s are softly modelled
with a successive series of green
shadow s that replace the outlines.
T h e d rap e ry is trea ted in a d e c o r a ­
tive m a n n e r, as a series of triangles
with bright edges, but still retains
som e feeling of volume.
- 146
e n c lo s e d w ithin b o rd ers, each of a
d iffe re n t d esig n . The in laid ivory
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. T he w ork as a w h o le
d elicate and refin ed . T here 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 Π Ι]Λ Ε .
R i g h t : E T O Y C 5 Ω Δ Ι / E N ( o r Y ) ΝΓ.
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. Byzan-
linc 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,
T hese features set the wall painting
within the 'classical’ m onum ental
style of late C o m n en ia n painting.
T h a n k s to the conservatism of the
provincial w orkshops this continued
to be em p lo y ed until the late 12th or
early 13th century, to which period
this w ork should be dated: the
conversion of the church into a
C atholic C ath e d ra l furnishes a termi
nus ante quern.
Provenance. T he ruined Church of (he Sav­
iour in the K astro on Z akynthos. Rem oved
from wall in 1953 (M. C hatzidakis).
Conservation. K. K outsouris (1953-54).
B ibliography. Salvator 1904. pp. 99ff. C h a l/|
dakis 1956. p. 14. V okotopoulos 1970. pp
15Kff. K onom os 1979. pp. 41 ff. Byzantine
A rt. no. 25. pp. 39-40. 41. A ffrcschi e icone
1986. no. 9. pp. 46. 47.
M. (.
A n o n y m o u s D e a c o n (E u p lo s)
F ir st h a lf o f th e 13th c e n tu r y
1 9 6 X 5 8 cm
is A t h e n s . B y z a n t i n e M u s e u m , T . 2227
Full-length frontal portrait of a
youthful saint-deacon. A small area
of the feet and at the top of the head
is missing. In his left hand, which is
covered by a d e e p red-brow n m a te ­
rial, he is holding a tall censer, p a in t­
ed in ochre to represent gold; his
right arm is held in front of his chest
in a gesture of reverence. D espite
the fact that the wall painting was
exposed to the elem ents for m any
years, the original colours are still
fully preserved in the face: a thick
red-b ro w n outline encloses a b road
light are a of a cold grey colour, with
som e green to nes, on which the flesh
is re n d e re d by m eans of white
highlights. T h e nose is m ade to stand
o u t from the face by the use of a red
shadow to the left and a green
shadow to the right. T he sticharion is
w hite, with gree n , linear folds, sug­
gesting that originally the drapery
4
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
F ro m the ruined dom e d C hurch of
the Virgin at Patso. T he figure is
depicted frontally, supporting the
the o ry that the side walls of the
S an ctuary w ere dec o rate d with a row
of full-length, frontal r e p r e s e n ta ­
tions of bishops. In the alternative
iconographic type, the figures on the
side walls are turning so as to offi­
ciate in the ce rem o n y along with the
bishops p ainted in the apse. T he
style in which the wall paintings of
the C h urch of the Virgin are exe cu­
ted is that of Palaeologan painting
147
will have had a more scu Ip un ill
quality. It may be co njectured on lli>
basis of all this that the first painting
was executed in a fresco technique,
while the applied colours that gave il
the sculptural feeling that slill
survives in the face, were painted a
secco (tem p era).
T h e frontal figure is by no m eans
h an d s o m e , but the wilful head, with
its sidelong gaze, and the long,
sturdy neck, give it an air of pride.
All the characteristics of this wall
painting connect it with the m o n u ­
m ents of a w ider area dating from
the first half of the 13th century,
such as the C hurch of Mileseva, the
C h u rch of the A cheiropiitos in
T hessalo nike, and the neighbouring
C h u rch of Ioannis Kalyvitis on
Provenance. T he sanctuary of Ihe ruined
C hurch of A yios G corgios al I’alios O riip o v
B ocolia (1959).
Conservation. Ph. Z achariou (195H-59).
Bibliography C hatzidakis 1960 ( I) . QjiiriO
1979. p. 225.
M. C II
w hiili, with stylistic viiPiunis, pent,
liali il C rete lit Ihe beginning ol tIn
I-till le n l m y . I hi brOud figure, with
the neck almost sunk into Ihe stio n g
shoulders, freely m odelled face and
intense gaze, has a lifelike quality
associated with the wall paintings of
M acedonia.
Provenance. T he ruined Church of ihe Virgin
at P atso, A m ari in C rete.
Conservation. A. D asyras.
B ibliography. B orboudakis 1973, pp. 504ff
B orboudakis 1973-74. p. 941. pis. 711 712.
B yzantine A rt 1986, no. 54, pp. 56, 57. A flrc-
schi e icone 1986, no. 21, p. 58.
Μ H
 5 6
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
Wall painting rem oved from the wall
of the church of the form er M o n a s­
tery of the I lo d e g e tria n ea r Apol-
pcn a on Lefkas. It was pain ted on
the ea ste rn wall of the church, above
the Sanctuary apse; parts of a scene
of the Pentecost (originally situated
above it) an d of a decorative b o rd er
aro u n d the apse were rem oved with
it. It follows the usual iconographic
type: the angels flanking the man-
dorla of Christ, though reminiscent
of Byzantine m odels, seem m ore
directly influenced by W estern icon­
ography. T h e landscape is unusual,
having the th ree rocky hills u su ­
ally found in scenes of the T ra nsfi­
guration; they form a line, curving
dow n tow ard s the centre, as though
to suggest a horizon and a d ep th of
perspective. T h e sam e intention lies
behind the a tte m p t to render the vol­
u m es of the m o unta ins by m eans of
gentle transitions from lit to shaded
surfaces, so as to give the feeling of
fo re ground and backg ro und, along
with that of height and depth. T he
trees at th e sides w ere clearly m eant
by the pain ter to be recognizable as
olives (the scene takes place on the
M o u n t of Olives: A cts of the A p o s ­
tles 1.9-12). T h e aim was to achieve
a realistic effect, and to convey
things as they actually ap p e ared . T he
sam e aim lies behind the way the fig­
ures are a rra n g e d , in a kind of p e r ­
spective, th ough this is not scientifi­
cally based, th e re being no vanishing
point; the feeling of d epth is
conveyed by locating the figures in
such a way as to suggest m ov e m en t,
in this case m ov e m en t along two
sides of a triangle (the Virgin and the
angel on the left and Paul and the
o th e r angel on the right). This
artistic intent can also be seen in the
modelling of the exposed parts of the
bodies an d the d rap e ry , w here there
- 148 -
is an a tte m p t to em phasize the
curves and volumes, and in the
m aterial texture of th e objects.
O th e r notable features include the
balance betw een m ove m ent and
rest, the expression of the inner
m o o d of the figures, an d the ju d i­
cious use of colour. This wall p a in t­
ing from Lefkas reflects two dif­
ferent approa ches to the way in
which artistic form is conceived and
ren d e re d . In this it represe nts a
u niqu e m o m e n t in the history of
Byzantine painting, a m o m e n t of
creative contact with W e ste rn art, at
a tim e w hen the p red o m in an t style
was that of Late or International
G othic. In the perio d to which the
wall paintings of the H o d eg e tria
b elong, Lefkas was part of the
D uchy of K ephallonia, which was
ruled by the Florentine family of the
Tocchi. T h e secular and ecclesiastical
aristocracy of C o n stantino ple itself
w e re also familiar with W estern art.
T h e G r e e k artist w ho w ork e d on
L efkas, p erh a p s shortly before the
fall of C o n s tantinople, rem ained
true to traditional Byzantine ic ono ­
grap h y and the types of the figures
p o rtra y e d , but had assimilated the
new ideas of the art of the W est to a
r e m a rk a b le degree, and p roduce d a
w o rk of high quality which w ent far
beyond the traditional conventions
of Byzantine painting.
Provenance. T he C hurch o f th e H odegetria
n ear A p o lp en a on Lefkas.
C onservation. F. A sim akou. A. M argaritoff
and colleagues. S. V arotsis (1985).
Bibliography. Pallas 1956, p. 292, fig. 6, Pallas
1960, pp. 21 Off. Pallas 1961, pp. 83ff. Pallas
1968. p. 15 R ondoyannis 1973, pp. 27ff.
B yzantine A rt 1986. no. 62, pp. 60-62. Affres-
chi c icone 1986, no. 23. pp. 59-60, 61.
D. P
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)
T h e iconography of the wall p a in t­
ings rem o v e d from the walls of the
small d o m e d C hurch of A yios N ik o ­
laos in V eria follows the familiar
rep e rto ire of the period for churches
of this type. T h e Virgin, in the type
of P latytera, is r ep rese n ted on the
vault of the Sanctuary apse, with
the 'M elism o s’ and the Officiating
Bishops on the wall b en e a th ; the
A n n u n cia tio n is depicted on the
piers, and the D escent from the
C ross is pain ted in the prothesis. T he
S anctuary walls have representatio ns
of bishops. A b o v e the Sanctuary
d o o r of the iconostasis is the
inscription recording the decoration
of the church:
+ Ά ν ισ τ ο ρ ή θ η ό θ είος κ (« ί) π ά ν ο ι-
π τ ο ς ν α ό ς ο ύ τ ο ς τ ο ύ ί ν ( ιγ ίο ις
π α τ ρ ό ς η μώ ν Ν ικ ο λ ά ο υ ά ρ χ ιιπ ιο κ ό
π ο υ Μ ύ ρ ω ν τ ή ς Α υ κ ί α ς Ton Ο αιιμα
τ ο υ ρ γ ο ϋ (·-)> ο(|ΐΐλι οτ(<ίτοιι) ΐ/ΐιι>κ<>
π ο υ Β ρ ΐ 'ο τ ( ( ) ν ( ΐ | ζ ) Κϋζβ,)()|' Νι οΐ| ή
το ιι i v i τι ι ά π ό ιπ<<ι>(ι οις) κ ό ο μ ο ιι
ζ... y,„ y , ^(· τ η ς (‘νΐ)(ίοκ (ο ιι) ο ί κ ο
ν ο μ ί ( α ς ) τ ο υ κ υ ( ρ ί ο υ ) (C φ 1/|"' ζ"·....
7
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
This small icon is one from a series of
the twelve principal feasts of the
O rth o d o x C hurch on an iconostasis.
T h e T ransfiguration from the same
series is p reserved in the H erm itage
M u se u m . Both icons are of the same
size and style, an d have th e same
unusual red background. T he m o n u ­
m ental ch a racter of the com position,
with the d o m ina ting figure of Christ
1
T o the right and left are Christ and
th e Virgin en th ro n e d ; on the north
wall is the p ortra it of St. Nicholas
afte r w hom the church is n a m e d ; and
o n the lunettes the apostles Peter
a n d Paul. T he p ro m in e n t features of
the d a rk , melancholy faces arc
e m p h asized by delicate parallel
w hite lines, but these do not succeed
in lighting up their countenances.
T h e d rap e ry , which is som etim es
flowing in its tr e a tm e n t, is stiff, with
a n g u la r edges and harsh lighting. An
unsuccessful a tte m p t is m ade to
m a k e the figures stand out from tlie-
flat background by dividing it into
b a n d s of different colour. There is
no great variety in the colours used,
th o u g h different tones of the sanu
co lo u r have been juxtaposed in a
generally sensitive and carclul laili
ion. This is a conservative style
which reflects the Palaeolouan ail ol
the su rrou nding a n ;i (notably V
raki) and was clcnily, i n l l u i n u d by
portable icons.
Provt'tuim r I lit· ( hint li til Ayio* Nikolaos in
V i'i'in. I nkoniti I loin (lie Intel (m io iu I) lnvri
ol wiill | m 11 it ι ημ«*
( onset viithm S Ι’ηρημί'ΐιι μΙοιι. <· /ilstis, A
Mill is. k /iU n , I* .ind II ΙΙιιιιμιιιΙΐΗ, III
Viit liiivlolos. Ill Ι'<ΐ|ϋΐμιοιμιοιι (|WH^ H.**).
itihtiitfihijfhy llv/nniim · A iI I . no o7, |>p.
frf· A llii'siln i’ irtini' I9N6. no 2.V pp
fil ttZ
Ai B
in the ce n tre, the soft modelling, and
the econom ical m a n n er in which
space is indicated, all suggest that
the series should be d a te d to the tirst
half of the 12th century.
Provenance. M ount A thos.
Conservation. Ph. Z ach ario u (1958).
Bibliography. C hatzidakis 1964-65. p. 386, pi
8 7 a ( = Studies chap. X V III). C hatzidakis
1965 (2). pp. X X IV , LXXXII1. no. M .
C h atzidakis 1979 (1), p. 347, pi. X L ( h at/i
dakis-B ahic 1983 (b o th French an d 1 nglish
ed itio n s), p. 154. B yzantine A it 19X6, no. 74.
pp 72, 74. Λ fire sc hi e icone 1986, no. 2(>. p.
63
M C h.

8 rescued and carried to fre ed o m by
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
This icon is one of the masterpieces
of Byzantine painting, not only for
its sublime artistic quality but also
for the originality of the motif of the
A k ra Tapeinosis (or 'M an of Sor­
rows'), which a p p e ars here for the
first time. It is clear from the notches
at the b ottom of the panel that this
was a processional icon.
A. A feature of the icon of the
H o dege tria is the co ntrast between
the frightened expression and
sidelong glance of the Virgin, and
the serenity of Christ, whose w rin­
kled forehead gives him a m ature
ap p e aran c e. T h e em ph asis on the
em o tio n s, and the linear natu re of
the com position are both features of
the art of the second half of the 12th
century.
9 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
This icon (p ainted in egg te m p e r a on
gesso and linen over the wood
su pport) is in fine condition with
only a few paint losses and some
rubbing of the gold leaf webbing
used to highlight g a rm e n ts and o th e r
features. It has a m o u ld e d gesso
b ackground in im itation o f the p r e ­
cious metal reve tm ents which
som etim es w ere ad d e d to Byzantine
icons and which bec am e even more
p o p u la r in Russian icons. But the use
of such gesso is also found in
W estern E u ro p e a n painting of the
later Middle A ges, and the
im po rtance of this icon lies in the
150 - 151
B . T h e po rtray al of Christ in the type
of the A k r a T apeinosis on the o th e r
side is co n te m p o ra ry with the Virgin.
H e r e the groun d is blue, w hereas in
the case of the Virgin it is ochre. T he
ro u g h er modelling and the decidedly
linear tre a tm e n t of the face have
close affinities with works from the
end of the 12th century at K urbinovo
and in the C hurch of the Ayioi A nar-
gyroi at Kastoria. This is o n e of the
earliest k now n scenes of the A k ra
Tapeinosis.
Conservation. Ph. Z achariou.
Bibliography. C hatzidakis 1976. pp. 184ff.. pi.
X X X V II. 20-21. Byzantine Frcscocs 1976. no.
106. p. 77. C hatzidakis 1979(1). I. pp. 358ff..
pi. X L V . 20-21 Belting 1980. pp. 143ff.. figs.
49-50. Belting 1980-81, p. 4. figs. 2-3. Byzan­
tine A rt 1986. no. 75. pp. 72-73. Affrcschi e
iconc 1986. no. 27. pp. 64-65.
M. Ch.
evidence it gives of the constructive
contacts of E astern M e d ite rran e an
and W e ste rn E u ro p e a n traditions in
the C ru s a d e r period. While at first
sight this may resemble a Byzantine
icon with a sta n d ard scene from the
Byzantine life o f the saint, the first
publication cam e to the conclusion
that this was the work of a French
pain ter in the Holy L and working
from B yzantine models.
T h e nam e of St. G eorge can be
discern ed in the red letters in G re e k
to the right of the halo. T h e icono­
g raph y can be identified from the
G r e e k text of the posth um ous m ira­
cles of St. G eo rg e. T he scene shows
the saint rescuing from captivity
am o n g the Saracens of C rete a young
boy from M ytilene on the island of
Lesbos. T he boy was forced in his
captivity to serve food and drink at
table to th e Saracens, and he was
the saint just as he was serving a
glass to his captors. H e was tak en on
horseback o v er th e A e g e a n Sea back
to his hom e. W e see the act of rescue
and the flight ov er the sea. This is a
scene w hose popularity was limited
to O rth o d o x Christianity, but there
are tw o unstudied icons of the same
subject in the collection in St.
C a th e rin e 's o n Sinai (one published
in the first study of this icon, and the
o th e r n ote d on a visit by V alentino
Pace but not yet published).
T h e basis for the dating to the m id­
dle of the 13th ce ntury and a ttrib u ­
tion to a F rench artist is the c o m p a ri­
son of style with the wall paintings of
the K a le n d a rh a n e Camii in Istanbul
(a cycle of St. Francis of Assisi) and
the m in iatures of the A rsenal Bible
in Paris (Paris, A rsen al, 5211); all
these w orks share such features as
the p ro m in e n t bulging eyes and a
sense of ‘G o th ic swing'. These lea
tures seem to betray an arlislu.
training in the West which have been
modified by travel in lh« Last and a
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
T h e body of the Virgin lies on a bier
spread with a richly dec o rate d cloth.
T he apostles stand in two groups at
the ends of the bier, their faces c o n ­
to rte d with pain an d grief. A n u m b e r
o f bishops and dea co n s stand behind
the bier, and Christ, in the centre of
the com position, is holding the soul
of the Virgin in his hands. A n inter­
esting feature is the uncertain a t­
te m p t at the perspective of the build­
ings at the sides.
T h e painting in this icon is a good
illustration of the tenden cy to a b a n ­
do n the idealistic values of the
C o m n en ia n style an d establish the
principles of a new conception of art.
y
wish to p ro duce a work of ail of a
Byzantine kind. The difficulty of
course is w h eth e r such a work ol
m ixed origins m ight as easily bu
explained as the p rodu ct of a B yzan­
tine artist influenced by the W est. In
eith er case the historical im portance
lies in this illustration of the infinite
possibilities of th e cross-fertilization
of E a s te r n and W estern E u ro p e p a r ­
ticularly from the tim e of the
Crusades. T he first publication sug­
gested that the icon might have been
pro d u c e d for a pilgrim at L ydda, the
cult site o f St. G eo rg e in the Holy
L and . A n o th e r possible placc of
m a n u fa c tu re to be considered is
Cyprus.
Conservation. S. Mi ha lari as.
B ibliography. C or mack -M i hula i ins IMK-I, pp.
132ff.
It (
that a ttac h ed im portance lo hum an
qualities. I his conception is very
clear in the details of the faces, with
their realistic renderin g of hum an
natu re and em otions. The insistence
on the h u m a n , and the wonderful
colours - strong use was m ad e of
pink an d blue - p ro duce a work of
great aesthetic originality. T h e trend
in painting rep rese n ted by this icon
rea ch ed its culmination in w orks of
unrivalled b ea u ty, like the wall
paintings in Sopocani in Yugoslavia.
Provenance. From a church at K astoria.
Bibliography. Byzantine Frcscocs 1976. no.
109. p. 78. Affrcschi c icone 1986. no. 29. pp.
67-68.
T h . 1*.
 I

11 ‘b rough t with Syriac MSS from tin I .'t h i t-nl in v lull lh< I dmlnii Hi I es
M o n a stery of St. M ary Di ipara iu ,u fivnl I xli 11<11ion t ιΐΐιιίομιη· t I*>,S)
S t . J o h n th e B a p tis t the N atro n Lakes in Egypt'. The pioposud n iliitiuv in tin Ini I th oi
candlelight ra th e r than the full light
c. 1300 m anuscript to which the icon was i,u l y lllli it. 111 111 v I In Inlei diifiuv
of day. T h e condition of the icon is
attac hed was acquired by the is ||r e f e r n ΒΙι the ilnmiiiiit iii iiinu ni
2 5 .1 X 2 0 .2 cm good. M ost losses are in the gold
L ondon. B ritish M u seu m , M a n d LA D e p a rtm e n t of M anuscripts of the of i In I inn Ιιμιιι til uni wit Ιι I li' up·",
gro u n d and the icon has been ero d e d
1986, 7-8, 1 British M useum (now the British ties | ><■1 1 1 .i\ ><I in I In i pf
through w orm dam age , particularly
Library) in 1851 (18.812 - 18.821). positions i» Miiiu'tfyii|i will· li lly/nii
aro u n d the o u te r edges. T h e re is
I ho figure on the icon is represented S om e scholars have suggested that tine painters only clrvc|ci|.r I ullri
som e loss of paint in the left sleeve.
half-length. T he viewer is presented p erh a p s the icon was at o n e time in the middle ol lln I till ii nlinv illl·!
O therw ise the losses are due to
with the portrait of a young long­ the possession of the M onastery of o th e r features ol Ihi io.>n nn ιιΙμι In
abrasion, as in the inscription and in
haired and b ea rd e d saint. This is a St. C atherine on Sinai, but there is be most easily paralleled in I lit I lili
the original gold w ebbing which
portrait type often used for St. John no evidence for this speculation. century (such as the clnni’iilril
overlaid the tunic.
the Maptisl, Inil the fijjure lacks some T h e painting is fine and minutely form a t of the Baptism and tin ill In
T h e saint is evoked as a heroic and
of the o th e r co m m o n visual attrib­ executed and has rich, bright col­ tectural device* of 1 1if Λιιιιιιιι
noble figure rath e r than as the
utes of this saint, such as, for e x a m ­ ours, with some use of gold leaf for ciation). T h e m iniature qualilt nl
ex tre m e ascetic herm it in the desert.
ple, a cloak of camel hair. T he iden­ highlighting. T h e scenes are identi­ the icon can be stylistically p irallelid
T he im pression of the light touch of
tification is only confirm ed by the fied in a cursive G re e k hand. E ach is in the wall paintings of the < luirc li ol
the painting is on e of great elegance.
writing on the icon. T h e inscription set within a shaped lunette. In the A yios N ikolaos O r p h a n o s at 1hrssa
A small icon of this type might have
in G re e k on eith er side of the gold u p p e r left, the archangel G abriel lonike; this church is datable to
been in te n d e d for private devotions
groun d outside the halo is in reel let­ an nounc es the com ing birth of Christ c. 1315, an d the icon might belong to
at h o m e or in a small chapel. P re su ­
ters, now ab ra d ed . T h e letters on the to the Virgin Mary. T he angel the sam e d ec ad e . O th e r small icon,*,
mably it was too small and delicate
left side are legible: O A r i O C (Saint) sweeps dow n tow ards her while she with m ultiple festival scenes are
to be in te n d ed for p rom ine n t display
and IQ(ANNHC) (the usual a b b r e ­ stands in front of a thro ne behind found in the collection of St. l ather
in any large church, though as often
viation for Jo hn); but the letters on which rises a house. T he architecture ine on Sinai and in the collection ol
in icons it shows the great abilities of
the right are much less distinct. T hey is draw n to suggest depth and space the H e rm ita g e at L eningrad, but
Byzantine artists to produce m o n u ­
are to be read as P ro d ro m o s (usually in the com position. T h e Virgin holds both the exa m ple s which have been
m ental im ages on w hatever scale
translated as the ‘Forerunner* of a spindle with purple wool for the c o m p a r e d with this one seem stylisti
they w ere operating.
Christ), referring to the biblical role veil of the temple. cally s o m e w h at later in the Hy/an
A s usual with Byzantine icons, the
of John. T h e Nativity to the right is d o m i­ tine perio d. T he function of this type
panel contains no specific in fo rm a­
St. Jo hn is holding his right hand nated by the figure of the Virgin and has not yet been clarified.
tion ab o u t its d a te , artist or com m is­
up in a gesture ol blessing tow ards the crib, but the Christ Child is T he icon painting is of great quality
sioner. A n y decision about its date
the viewer, l ie holds a scroll in his receiving the first bath from the m id­ and no d o u b t the artist w orked loi
and pro v en a n ce has to be deduced
lelt hand, lie w ears a tunic (the wives in the lower left corner, and discerning Byzantine patrons who
from co m parisons with o th e r, b etter
u n d erg a rm e n t) which is reddish, lit Joseph contem plate s the events on could afford the best; w hether this
d o c u m e n te d , works. T he curren t
with blue-grey highlights, and a m a n ­ the right. T he figures in the hills artist was based in Constantinople oi
a ttribution is to C onstantinople c.
tle (the o v e rg a rm e n t) which is green aro u n d the cave at B e thlehem (in T hessalonike or was m ore ilineiant
1300 (derived from a com parison
with blue-grey highlights. T he main which Byzantine artists always r e p re ­ in his commissions is hardly possible
with the mosaics anti frescoes of the
colours used for the face, neck and sented the Nativity as taking place) to suggest.
C hurch of St. M ary P am m ak aristos,
hair are various ton es of brown and are the she p h erd s to w hom angels
now the Fethiye Camii, Istanbul). Conservation. S. M ihalarias
c ream , with the paint applied in thin are announcing the birth of Christ. Bibliography. D alton 1901. no 9K/ Million
tra n sp a re n t layers. T he effect of this Conservation. S. M ihalarias. T he lower left scene is the Baptism. 1909. pp. 230ff. D alton 191 I. p II'». pi I 1'-'
almost m o n o c h ro m e tre a tm e n t is to Bibliography. C orm ack-M ihalarias 1986. pp. St. John the Baptist is a tall elo n ­ Millet 1916. pp. 104. 124, IX4.229.<i7H Altt.t
6ff. lov 1917. pp. 79ff D alton 1925. pp .’<.111 HI
suggest that the figure is seen by soft gated figure standing on the rocky
R. C. XLV. L asarcff 1937. p. 2S.V I ,ιμιιιΙΙ 19 1/
b an k of the Jordan. Angels and wit­
1948. pp 222 ami 362. link· 27. pi III) I
nesses stand to the right. Christ is also the Italian edition ol till. Itonli I ill 411
12 full-length and nude. T h e final scene 1967). Bvzalltinc A rl I9.SK. no .'I .1
of the four is the Transfiguration. I( I
A n n u n c ia tio n , N a tiv ity , B a p tism idence of w ear an d tear and general Christ is at the top of M oun t T h a b o r
an d T r a n sfig u r a tio n flaking and both w ere covered with with the im ages of Moses and Elijah
E a r ly 14th c e n tu r y d ark varnish w hen acquired by the on each side. Below them two of the
3 8 . 8 X (a p p ro x .) 25.6 cm
M useum in the 19th century. T he three witnessing apostles (P eter,
L ondon. B ritish M u seu m , M a n d M L 52,
icon passed into the possession of the Jam es and John) are shown flung
1- 2 , 1-2
D e p a r t m e n t of Medieval and L ater headlong at the shattering vision.
I he two small panels fit to gether. A ntiq u ities in Ja n u ary , 1852. David In the first publication of the icon
T h e ir surface con dition shows ev- B uck ton (letter) records that it was D alton ( I901J) dated the panel to the

IM
 13
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
106.8X 67.2 cm
A thens. J .C . C a r r a s C ollection
P re p aratio n with gesso on canvas.
T he w oo den panel has a b road raised
fram e. T he large icon, which will o ri­
ginally have a d o r n e d the iconostasis
of a church, is quite extensively d a m ­
aged. T h e left an d right sides of the
panel and sections of the to p and
b o tto m edges are cut away, and
som e parts of the painting are miss­
ing; fortunately these are not crucial
areas of the figures p o rtra y ed , which
are in a good state of preservation.
T h e b u rnt reverse side of the panel
and som e d am ag e d areas of polish
show that the icon was at some stage
exposed to serious risk of fire. New
pieces of w ood have been ad ded to
the panel to restore it to its probable
original dimensions.
T he rep rese n tatio n is an interesting
variation of the type of the Virgin
I lodegetria. T he Virgin, w ho is lo o k ­ and painterly, only the area around
ing directly at the viewer, is turned
slightly to w ards the baby Christ,
w hom she is holding tenderly in both
arms. H er right arm passes b eneath
the child's legs to supp ort him, and is
bent at the elbow in such a way as to
fram e the com position. T he child,
sitting com fortably in his m o th e r's
arm s, is looking to w ards the Virgin
and leaning slightly backw ards, in a
position not unlike that of the
A n a p e s o n (Pallas 1965, pp. 1S l f f .).
H e is blessing with his right hand and
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
tures and gesture o f the Virgin and
Christ are very different from the
severe type of the H o d eg e tria,
recalling rath e r the L ate C om n enia n
type of the Virgin of the Passion
(Sotiriou 1953-54, pp. 87ff., pi. 1.
Belting 1980-81, pp. 10ff., fig. 16.
Stylianou 1985, p. 159, fig. 85), and
C o m n en ia n rep rese n tatio n s of the
Virgin G lykophilo usa (Sotiriou
1956, 1958, pp. 73ff., pis. 54-55, pp.
119ff., pi. 135. C hatzidakis 1979 (1),
154
pp. 359ff., pi. X L V I, 22. H ader-
m ann-M isguich 1983, pp. 10ff.. pi. 1,
1-2) contain in g allusions to the fu­
ture Passion of Christ. T he c o m p o ­
sition has closer ic onographic affi­
nities with 13th- and 14th-century
icons in the M onastery of C helandari
on M o u n t A th o s (Pelekanidis 1977,
pp. 17ff., fig. 1. Tatic - D juric - D or-
devic 1984, no. 5), in the B yzantine
M u s e u m , A th e n s (Chatzidakis 1965
(2), pp. X X X f f ., pi. 58) and in Och-
rid (R ad o jcic 1965, p. L X V , pis. 159,
171).
A limited n u m b e r of colours are h a r ­
m oniously co m bin ed in the c o m p o ­
sition. A w arm ochre colour is used
to suggest gold on the b ackg ro und
and for the highlights in C h rist’s
him ation; the V irgin’s m ap h o rio n is
a blue-m auve colour, the child’s
him ation a dull o range, and there is
som e light green in the V irgin’s
h e a d b a n d and C h rist’s belt. T he
m odelling of the faces is soft, even
the V irgin ’s eyes being re n d e re d in a
m ore linear m a n n er; the lighting is
allusive, with broad bright surfaces
and brow n shadows that assum e a
greenish colour at the edges, and the
highlights at the p rom ine nt points
are r e n d e re d by 'disguised' b rush­
strokes; all these are features of the
painting of the late 13th and early
14th centuries. T he lack of gold in
the b ack g ro u n d and in the gold w e b ­
bing in C h rist’s garm ents, the limited
range o f colours, and the dull light­
ing in the faces probably point to
w o rkshop. T h e facial characteristics
of the ra th e r tall Virgin are in te n tio n ­
ally lacking in beauty. T he a s y m m e t­
rical features, the large sloping eyes,
with their intense gaze, the long
thick eyeb row s, the aquiline nose
and the small full m ou th, are further
indications of a n o rth ern G reek
origin.
Conservation. Ph. Z achariou
Bibliography. U npublished.
M. A .-I’.
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
T h e icon of Christ is painted on a
panel with a raised fra m e, the edges
of which are em phasized by a red
b o rd er. G esso on canvas.
Christ is po rtra y ed half-length on a
silver ground. In his left h an d he
holds a richly bou nd G ospel book,
and his right hand is exten d e d in
benediction. H e is wearing a light
brown chiton and a dark blue
him ation. T h e d rape ry hangs in
b ro ad , sw eeping lines, in dee p folds;
it is bro k en by very few angular fea­
tures and consists of a series of flow­
ing planes that give the figure a feel­
ing of volum e. T h e face is p artic­
ularly lively and expressive, an effect
achieved by the light lines stressing
the wrinkles on the fo rehead; by the
delicate red lines defining the e y e­
lids, ears and the base of the nose; by
the olive green u n d e rp a in t on which
m uch use is m a d e of the brow n skin-
colour; by the linear highlights on
the foreh ead and aro u n d the eyes;
and by the diffused areas of red on
the cheeks. T he physical type of
Christ, with the oval face, long fleshy
nose, arched eyebrow s and d e e p ­
ly sh adow ed eyes, derives from 12th-
century m odels (Byzantine Icons
1976, p. 36, fig. 7), which were
revived in the art of the second half
o f the 13th an d the beginning of the
14th cen turies (Io a n n o u 1959, fig.
15. N aum a n n -B eltin g 1966, pi. 37a.
M ouriki 1978, p. 76, fig. 51). T he
basic features o f technique and style
are also related to artistic trends of
the same period: the realistic p o r ­
trayal o f the figure, which is anti-
classical in cha racter, the metallic
gleam in the chiton, the d rapery with
its deep, wide folds, and the almost
sculptural sense of volum e can all be
d e te c te d in the art of the second hall
of the 13th century (( haU-ulakis
1977-79, p 160, pis 47. (ill). Some ol
I SS
the specific technical le atu ic in I hi
ren d e rin g of the face, in ΙιιςΙ, in
rem iniscent of the icon of St I >· ι<it
trius in the M onastery ol Vato|H'di
(Chatzidakis 1972 (2), fig 60). (In·
wall paintings of St. D em etrius ill
M akrycho ri, E u b o e a (1302 I Kl.<
I o an n o u 1959, fig. 15. Mouriki I97H,
p. 76) an d the wall paintings in t hi·
C hurch o f the Virgin at Kalamoti, on
Chios (betw e en 1295 and 1320, Mini
riki 1978, p. 78, fig. 51). T h e silvei
g r o u n d and halo are related to
certain technical features of My/an
tine painting th at can be detected
from the 12th century onw ards in
icons from Cyprus, V eria, Kastofin
and M ace d o n ia in general. In Kaslo
ria this technique continued to 1>ι·
used w ithout interru ption until tin
15th century. A n o th e r icon in the
K astoria Archaeological Collection
is a ttrib u te d to the painter of tin·
icon of Christ - that of SS C'osmii
and D am ian (Affreschi e icone I'Wd,
no. 28, pp. 65-66), which has a mini
b e r of technical and stylistic I'eaUii·
in co m m o n with this latter woik
(C hatzidakis 1966 (1), pi. 40 <<. t>)
Provenance. Church o f Ayios N iknl.iu· m Ih*
parish of St. L uke. K astoria.
Conservation. Ph. Z achariou (Ι*)7')
B ibliography. A ffrcschi c iconc I'JNfi no M
pp. 68-69.
I N I

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.
Λ. T he Virgin is show n half-length,
in the most co m m o n type of the
H odegetria. She holds herself u p ­
right and looks directly tow ards the
viewer. She su p p o rts the Christ
Child with her left arm and raises her
right h and to point at him. She is
w earing a purple m a phorion with a
yellow-brown edging. T h ere is a lit­
tle blue in her h ea d d ress and right
sleeve. Christ, seated as though on a
th ro n e, extends his h and in benedic­
tion. and holds a closed scroll. T he
d ra p e ry of the yellow-brown chiton
and himation is relieved by the use of
ochre to suggest gold w ebbing. T he
delicate physical features of the
faces, with their firm lines and bright
surfaces, attest to the artistic m a tu r ­
ity of the painter and his d e e p k n o w ­
ledge of hum an nature. T he fact that
the icon is dated to the beginning of
the 14th century and that it com es
Irom the C hurch of ‘Christos' in
V eria, and a co m parison of the
painting with the wall paintings of
16
S t. P ete r
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
This p ortra it icon of St. Peter was
found by chance in the course of the
restoration of a 17th-century icon of
Christ; it lay u n d e rn e a th layers of
w hitewash and varnish on the back
of the icon of Christ. T he cedar
panel was cut transversally during
the restoration. T h e painting is in
egg te m p e ra painted on gesso and a
coarse tabby linen which is laid over
156
this church both suggest that it is to
be assigned to the oeuvre of G eor-
gios Kalliergis, the 'best pain ter in all
T h essaly ’ (as he describes himself in
a pain ting in the church).
B. T he Virgin is shown in much
1 1 7
the sam e form as the one on the o th ­
er side, and has the inscription
H riA M A K A P H C T O C . D espite a
certain roughness in the handling
of the d ra p e ry , the work is im pres­
sive for the exceptionally careful
tr e a tm e n t of the faces, with their
c on trasts betw een light and shade.
T h e a n o n y m o u s pain ter of this icon
is though t to be responsible for som e
of the best 16th-century icons and
wall paintings in Veria. A n y r e se m ­
blance to the C retan painting of this
perio d is m erely superficial; the
roots of the painting r ep rese n ted by
the icon are to be sought in no rth ern
G re ec e.
Provenance. T he Church of C h risto s’ in
Vcrin.
Conservation A. M argaritoff.
Bibliitgraphy. Byzantine A rt 1964. no. 221. p.
264. C hatzidakis 1965 (1). p 13. pi l l a - 6 .
X yngopoulos 1967. p. 77. fig. 3. T albot Ricc
196H. p. 115. pi. 1 0 1 . Byzantine Frescoes
1976. no. 102. p. 47 Papazotos 1980. pp.
167ΙΪ. B yzantine A rl 1986. no. 79. pp. 76-77.
A ffrcschi e icone 1986. no. 32. pp. 70. 71.
T h . P.
the w ood su p port. T he panel has suf­
fered so m e w orm dam age. T he icon
has been cut down from its original
size, but originally did probably
show the saint in half-length. A full
description of the restoration of the
panel and the technical aspects of the
icon will be found in the Barbican
ca talogue (1983). Parts of the nose
are repa in ted and the surface of the
painting has suffered some abrasion,
T h e saint can be identified as Peter
on the basis of the portrait type (an
old man with hair and beard cut
short) an d of the text on the scroll
which co m es from the first epistle ol
St. Peter (cha pter 2, verse 11):
‘D early Beloved. I beseech you as
strangers and pilgrims, abstain from
fleshly lusts’. I h e text may suggest
that the icon was intended for
display in a m on astery, perhaps on
the main icon screen of the church.
The b road and expansive style of the
icon is reminiscent of wall painting,
a n d in the first publication a c o m p a ­
rison was made lot dating purpose
with the mosaics and Irescoes ol the
Kariye C amii in Istanbul (previously
the Byzantine M onastery ol the
C h o ra ). This d ec o ration is datable to
c. 1315-1321. It was suggested that
the icon was sufficiently close in style
as to need consideration w heth er it
w'as by the sam e artist. W eitzm ann
(1983 (1) accepted this dating to the
first q u a rte r of the 14th century. T he
icon has also som e stylistic co n n e c­
tions with a series of sanctuary
17
T h e T h re e C h u rc h F a th e rs
1 4 th c e n t u r y
126X90 cm
A thens. B yzantine M u seu m , T . 1031
D ouble-sided icon, with a raised
fra m e and gold b ackground on both
sides. A vertical notch in the centre
of the lower edge of the fra m e ind i­
cates that it was a processional icon.
T he painting of the Virgin and Child
on one side is badly dam ag e d . W h at
remains of it has been d e tac h ed from
the panel and is now in conservation,
prior to being replaced. O n the o th e r
side, the T h re e Church 1 athers were
painted in two layers. I lie later ol
them which was probably produ ced
by a north G re e k w orksho p at the
en d of the 17th century, has been
rem oved anti tran slerre d to an other
panel, to reveal the Byzantine r e p r e ­
sentation.
T he original icon ol Ihe I liree
C hurch F ath e rs is in a good state
of preservation. T h e three frontal,
standing figures are, Irom left to
right, SS G re g o ry , Jo h n Chrysostom
— 157 —
screen icons from C yprus, including
one of St. Peter (cf. Byzantine Icons
1976, no. 24. from th e C hurch of the
Virgin M ary Chrysaliniotissa. N ico­
sia). So far in the literature this St.
P e te r icon from C yprus has been
d a te d to the late 14th century. F u r ­
th e r research is n ee d ed to resolve
th ese dates and to decide how much
later than the British M use um icon
the panels from Cyprus might be.
I he British M useum icon is an
excellent exam ple of the highest
quality work to he tound in C o n ­
stantino ple in Ihe 14th c e ntury, and
is im portant lor the study ol the
de v e lopm e nt ol t>hi iconostasis in
B y/an tiu m .
Consvrvation. S . M i l t n l a i i n s .
H ihliogniphy. M ihalaiias I oi mack 1983 (1).
M ihalarias-C onnack 1983 (2), pp. 13011.
W eitzm ann 1983 (1).
R. C.
an d Basil. A bo v e their hea ds are the
inscriptions with their nam es. In
their left hands, which are covered,
they are holding a closed, b ou n d
b o o k . SS G reg ory and Basil are
blessing with their right hands, while
that of C hrysostom , is held low er, on
the book. T hey are wearing arc h b ish ­
o p s ’ robes with plain phelonia. O n
the crosses on their o m o p h o r ia are
m o n o g ram s, e.g. Φ(ο»ς) |Χ η ιο τ ο υ |
Φ ( α ίν ε ί) Π (ύ σ ι) ( I h e Light ol
Christ Shines on All) and Ε (λ ίν η )
Ε ( ύ ρ ι ) 1·(λ(·οιις) li(f.)im|Kt) (H elen
D iscovered a Pillar of C om passion).
Similar m onogram s are to be lound
in wall paintings ol the C h u rch F a ­
thers in Kastoria (Pelekanidis 1953,
pi 134$, 13(><i and 1456) an d the
M onastery ol C he la ndari on M o u n t
A th o s (D juric 1961, fig. 58), and
also in an icon of St. N icholas in this
sam e m onastery (T a lbot Rice 1963,
fig. 199).
T h e T h re e C hurch F ath e rs w ere r e c ­
ognized as being of equal status and
having equal authority at the en d of
the 11th ce ntury, and their feast day
was established after they had
a p p e a r e d in a vision to Ioannis Mav-
 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 i-
n 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
18
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 I’a 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 — I5>)
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. Papageor-
giou. T h. Papageorgiou, A. Sim andoni
(1984).
Bibliography. E xhibition for the C en ten ary of
C h .A .H 1984. no. 7. pp. 18-21.
M. A.-P.
Conservation. A. M argaritoff. F. A sim akou
(1964)
Bibliography. A chcim astou 1966. pp. 62ff..
pis. 31-35. insert pis. A-B. C hatzidakis 1968.
no. 186a. p. 24(1. Byzantine A rt 1986. no. 80.
pp. 77-78. A ffrcschi c icone 1986. no. 33. pp.
71-72.
M. A.-P.
19
D o u b le -s id e d Icon
A . S t. G eo r g e
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 (Pana-
gia 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-
20
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 .
n i a l i n n ol Ihc hul© e n iileil In low
rid it I , mid I In i o iu wntrii m 1 s ol
th e a rm o tii .11 I»■>1li ill i|‘" bn l o r .
in the d e e m Olive el 1 1 I <»I III·
c o m p o s it io n I hi m ■in )ιιγ· ■•ijj'iijl!·
affin ities w ith I In· n o il ol Μ I ί·Ί·ιμι·
in th e l.cile s iaslieid Miim'iiiii mi
M y t il e n e anil i· closely le l n le d Ιο IIn
a r t o f C o n s t a n t i n o p l e ιιΐΐΐιοΐψΐι ιι
c e r t a i n lack o f c h a r a i t e i , a n d tin lint
t h a t th e ind iv idu al lo i n is >111 mil
p r o p e r l y in t e g r a t e d , su g g ests llial 11
is p r o b a b l y a c o p y o f an o rig in a l βΙ
h igh q u a lity p a i n t e d by a p ro vincial
a rt is t (M . C h a tz id a k is ) .
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.Ή,
pp. 272ff. C hatzidakis 1965 (2). p. X X X . |>ls
74-75. Byzantine A rt 1986. no. 78, pp. 75·7ίι
A ffrcschi c icone 1986. no. 35, p. 74.
M <i
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 Γι
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 ρΙι ΐΗψ
th e s a m e su b je c t d a t e d lo the Ιιι··Ι
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 Μΐ’Ίιιι
( 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 - l’e p e k Ι’*(·Κ, p p ‘ 1/ MM f(
8; cl a h o ( h a l/ id u k m ll-diir Ι Ί Μ
lig. |>. I'>·’ ),
T h e laig e s l/e nl llil I· mi ιιι·Ι lit
ailiM n ijijtlilv m u ·1 II ί 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 ar-
g aritoff (1959).
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
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
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
5 1 X 4 1 cm
Thessalonike. M onastery of Vlatadon,
Sacristy
I'he icon d e p ic ts six sc e n e s a r r a n g e d
in th r e e row s: th e L a st S u p p e r a n d
th e W a s h i n g o f t h e F e e t , th e A g o n y
in th e G a r d e n a n d t h e B e tr a y a l, th e
I la g e lla tio n a n d t h e P ro c e s sio n to
C a lv a ry . T h e w o r k h a s a n u m b e r o f
f e a t u r e s ty pical o f th e classicizing
t r e n d in 1 4 th -c e n tu ry p a in tin g . T h e
free m o d e l li n g o f t h e flesh w ith g r a ­
d a t i o n s o f c o l o u r s u g g e s ts a d a te in
th e th ird q u a r t e r o f t h e 14th c e n tu r y .
— 160 —
B ibliography. Sotiriou 1931. p. 80. Sotiriou
1956. p. 17, pi. X X . C hatzidakis 1960 (2), p.
11, pis. 6-7. C halzidakis 1969, p. 8. C hatzida-
kis 1974 (3). p. 336. fig. 14. C hatzidakis 1974
(4). p 184. fig. 18. Chatzidakis 1977 (1), pp.
83-84. C hatzidakis-B abic 1983, p. 192.
N. Ch.
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.
Conservation. Ph. Z achariou.
Bibliography. Xyngopoulos 1948. pp. 114ff.
B yzantine A rt 1964. no. 199. p. 253. T o u rta
1977. pp. 133ff. Byzantine A rt 1986. no. 83.
pp. 82-83. Affrcschi e icone 1986. no. 36. p.
75.
A . T.
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.
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
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
b a c k g r o u n d il is also In In- In u u d III
th e 15th l e n l m v wall p n m iin i" in lln
C h u r c h ol A \ i o s I , m u m ! " it Vifl
s a m o n e i o , ( n*u ( kiiluk vi ι·- I1* / '
fig. B W 55).
B o t h th e c o m p o s it io n a n d tin lull
b u ild in g s in th e bai k g in u in l Willi
th e i r sm all d e c o ra tiv e I·.■I......... .m<l
larg e n u m b e r s o f o p e n in g s , h n n i' I lit··
w o r k e v e n c lo s e r to I 5 l h i e n t u i s
C r e t a n ico ns like th e o n e by Anil·
R itz o s in T u rin (Babic-C h a t / u l a k i s
1983, p. 317). icons in V e n ic e
( C h a t z i d a k i s 1962. nos. 15. Ui p p
3 5 f f . , pis. 14, 15), a n d e sp ecially a
s c e n e o n th e f r a m e o f an icon by
N ik o la o s R itzo s in S a r a j e v o (M abie
C h a t z i d a k i s 1983, p. 321). w hich
e v e n h a s the sm all tr e e s th a t can be
s e e n b e h in d th e wall in the back
ground.
A f u r t h e r p o in t o f sim ilarity is tin-
t r e a t m e n t o f th e b e d . w ith th e typical
d e c o r a t e d b a n d a r o u n d the ed g e.
F in a lly th e p recisio n o f th e d ra w in g
o f th e fig u re s, a n d th e lin e a r, g e o
m e t r i c a l h a n d lin g o f th e d r a p e r y can
also be f o u n d in th e a b o v e m m
ti o n e d w o r k s by C r e t a n p a in t e r s
T h e r e s e e m s , h o w e v e r , to b e a closet
c o n n e c t i o n w ith P a la e o l o g a n m o d
els. T h e sm all sc e n e s o n th e Irani'
such as th e B irth a n d th e P r c s e n ta
tio n o f th e V irgin (cf. ( h a t / i d a k i \
( N . ) 1983. n o . 3) s e e m to be i m a w m e
o f th e ic o n o g r a p h y th a t w as lo i n u i
la t e d in C r e t e in th e se c o n d hall ol
th e 15th c e n t u r y : in its place we littd
t h e ic o n o g r a p h y a ss o c ia te d with tin
c a p ita l in th e 14th c e n li u v ( i l
L afo n tain e-D o so g n e |9(iS, pp
172-181). T h e flawless tc c h m i|in ·μ
th e p a in t in g o f th e Ia n n't,ill*
m i n i a t u r e s in m a n u s i u p l llhnul
n a ti o n s fro m th e e n d ol II·· I Mil
c e n t u r y , like the ( a i i l m u / r n innmi
script ( P a r . gt I ’-I.’ I.illuil Ι Ί
1959. pi. 190), anil the m i n i- nl
l lie b u ild in g s , the i r l n l i w 'h liinn
n u m b e r ol d a s s u i /ιιιμ ll(imi · priinl
ed in m o n o i limm - III tin I>·ι· I'
g r o u n d like i h r Uni.M'l» in · I n im
m a n d o l i n , mil the ij m a l l < mu*··
 oil I lie a rc h ite c tu re recall the p a in t­
ing o f C o n s ta n t in o p l e ( M o n a s te r y of
C h o r a ) o r o f M istra (C h u rc h o f the
I’c rib le p to s an d C h u rc h o f th e Pan-
ta n a s sa). Finally, the extensive texts
relatin g to th e D o rm itio n o f th e V ir ­
gin 0 1 1 the scrolls held by th e hym no-
g r a p h e r s reveal th a t the p a in te r was
a m an o f lea rn ing . T h e icon m ay be
24
T h e V irg in H od egetria
S econ d h a lf o f the 14th cen tu ry
9 0 X 7 1 cm
l'hessalonike. M onastery of Vlatadon,
S a c r isty
A w ork o f high qu ality e x e c u te d in
the spirit o f C o n s ta n tin o p o lita n
pain ting . F r o m a stylistic p o int of
view , the icon has very close affini­
ties with th e wall painting s recently
u n c o v e re d in the nav e an d the so uth
ch ap el o f th e k a th o lik o n of the
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
T h e saint is d e p ic te d frontally at half
length, w ea rin g b is h o p 's rob es. H e
m a k e s a b e n e d ic tio n an d holds a
closed b o o k .
A lth o u g h large a re a s o f co lo u r have
b een lost, th e size o f the saint an d
the w a rm t h o f th e colouring still
m a k e this an im pressive w ork. The
design is v ig o ro us, but th e s a in t’s
-M3* \JLw. lace has a tr a n s lu c e n t qu ality , as
I hough lit by an in n e r light, and
ev o k e s in th e b e lie v e r a feeling o f
tranquility a n d security. T h e firm ­
in' >s o f line a n d th e calc ula ted use of
thinly ap p lied layers o f colo u r, w ith ­
out any s u d d e n , a b r u p t tran sition s,
em p h as ize th e s a i n t’s h u m a n quality.
This w o rk has m a n y affinities with
tlic m o n u m e n ta l p ain tin g o f th e e a r ­
ly P a laeo lo g an p e ri o d , at the e n d of
] 62
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 Pa-
la 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.
Bibliography Byzantine A rt 1964. no. 197. p.
252. Affrcschi c iconc 1986. no. 40. pp. 80. 81.
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.
Conservation. N. Nomikos (1985).
Bibliography. Stoyoglou 1971, pp. 132ff.
Byzantine A rt 1986. no. 84. p. S3. Affrcschi c
iconc 1986. no. 37. p. 76.
C h M .- T .
th e 13th c e n tu ry . T h e revival o f the
v alu es an d ac h ie v e m e n ts o f the
p a in tin g o f th a t p erio d at a tim e after
th e m id d le of the 14th c e n tu ry is an
in dic atio n o f the general co n c ern to
u n d e r p i n religious values at a histo ri­
cal p e rio d o f crisis and political in sta­
bility in B yz antium .
T h e su g g es tio n that th e icon o f St.
N ich o las sh o u ld be d a te d to the final
q u a r t e r o f th e 14th c e n tu ry is
s u p p o r te d by a c o m p a r iso n with
m o r e a c c u rate ly d a te d w orks o f art
fro m th e se c o n d half o f th e 14th
c e n tu r y , such as th e wall p aintings in
the M o n a s te r y of th e P a n to c r a to r on
M o u n t A tlio s (1360-70), o f the
C h u rc h of P r o p h e t Elias in Thessalo-
n ik e, a n d of th e C h u rc h of St.
A n d r e w n e a r S k o p je (1388/9).
Provenance. From a church in Kastoria.
Conservation. Ph. Z achariou.
Bibliography. Byzantine Frcscocs 1976, no.
1 10. p. 78. Affrcschi c iconc 1986. no. 41. pp.
80. 82.
Th. V
26
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
The p a in tin g is d a m a g e d . C h ris t, in
Ihe type o f th e l ’a n t o e r a i o i , has the
title O CC2-THI’ (' The Sav io u r'). I he
a u s t e re figure, with its d a rk colo u rs,
illu m in a te d by Ihe gold lighl ol the
g r o u n d , lias all the force ol ils m o n u ­
m e n ta l m o del.
A w o rk of artistic quality with the
h a llm a r k s o f th e p aintin g o f th e turn
o f th e 14th c e n tu r y , it h as certain
stylistic fe a tu re s in c o m m o n with
a n icon o f th e Virgin in th e Sinai
M o n a s te r y , w h e re similar sm all-scale
27
T h e A k ra T a p ein o sis
1400
8 7 X 6 8 .5 cm
A th en s . P r i v a te Co llection
T h is icon is p a in t e d directly on
w o o d , an d h as a fra m e in low relief.
T h e figure of C hrist is d e p ic te d h a lf­
len g th , with his a rm s fo ld ed , o n an
o c h r e g ro u n d . In the relation sh ip o f
th e h e a d to the sh o u ld e rs an d th e
a rr a n g e m e n t ol the curls ol hair, this
ty pe is th e successor to the earliest
kn o w n type (cl. cat no. 8), lo unil in
icons of the 13th a n d 14th c e n tu ries
(in the M o n a s te ry o f l a l a m a , in
R o m e an d in manuscript·.) (H elling
1981, figs. 57, 58. 73 e tc.). It is f u r ­
t h e r related to the icons ol this
p e rio d th r o u g h th e d ram atic co n trast
b e tw e e n the s tro n g , health y body
and the e m a c ia te d a rm s, an d the
e m p h a s is on the a n a to m y ol the
c h e st, a f e a tu re which m ay b e in­
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
e x a g g e ra te d exp ressiv e n e ss, d u e in
p a r t to th e m o de lling , with its small
clusters of w hite lights on th e b r o w n ­
ish-grey u n d e r p a i n t, w hich e m p h a ­
icons o f C hrist an d th e V irgin a re to
be fo u n d (S otiriou 1956, 1958, no.
226, pp . 198ff., an d nos. 227-229, pp.
199ff.).
Provenance. Acquired in 1985.
Conservation. Th. Papageorgiou (1985).
Hihliogniphy. Byzantine A rt 1986. no. 87. p.
85. Affrcschi e iconc 1986, no. 43, pp. 82. 83.
M. A . - P .
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 ­
ral q ualities can also be seen in the
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
th e A k r a T a p e in o sis in te r m s of
ic o n o g r a p h y a n d p o rt ra it u re is th at
o n th e diptych at M e t e o r a (cf. also
th e wall pain tin g in C re te 1401/2,
B o rb o u d a k is 1‘>71 pi. 535t»); c o m p a ­
rison ol the tw o show s how in th e
p re s e n l w ork th e fe atu re s b e c o m e
h a r d e n e d as a result ol the m o re lin­
e a r t r e a tm e n t, and d e m o n s tr a t e s
ho w o n e an d Ihe sam e scen e, s ta rtin g
with residual classicizing fe a tu re s, is
t r a n s f o r m e d into an anti-classical
g e n re . T h e e ru d ite c o n te n t of th e
inscrip tion s is o f significance, as is
th e eq u ally e ru d ite calligraphy. All
the fe a tu re s of this w o rk po int to
w e ste r n M a c e d o n ia a b o u t 1400 (cf.
th e icon fro m P o g a n o v o w ith the
sa m e inscrip tion . M ilosevic 1980. no.
27).
Bibliography. Byzantine Art 1986. no. 86. pp.
83-85. Affrcschi e iconc 1986. no. 42. pp. 80.
82-83.
M. C h .
 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 ( I’c 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 —
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 .
Provenance. Church of the Ayioi T reis, Kas-
toria.
Conservation. Ph. Z achariou (1973).
Bibliography. T sigaridas 1972, p. 572, pi.
512a. A ffresehi e icone 1986. no. 44, pp.
84-85.
E. N . T.
2 9
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 ele-
k 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 ' Ί tin
fle sh , w ith reil the ιιιο·.ι 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 ·ι| 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 Λ \Ι« ·Ι li> l· I
l u i i«i .
( o n s t 't v n t m n I'll / ,u Iiiiiihim I'» <1
Itih h ifffftt ft h i M i l l Hi I I I i I I «Hi ll |'M h : I
pp Kit Η I
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)
X X X I X ) . T h e skill w ith w h ich th e
b l i g h t , light c o lo u r s a re c o m b i n e d so
as to s u g g e s t th e re la tiv e im p o r t a n c e
o f th e ev en ts depicted, d em o n strates
t h a t th is w a s th e w o r k o f a n u n u ­
sually skilful p a in t e r . R e d is u s e d in
t h e V i r g i n ’s p a lle t, th e g a r m e n t s o f
th e s e r v a n t , o n e o f th e M agi o n th e
w ith h e r rig ht h a n d . T h e Ita lian
in f lu e n c e , c o n f i r m e d by th e L a tin
in s c rip tio n in a b a n d o n th e a rc o f th e
sk y , su g g e s ts th a t th e p a in t in g , w hich
w as th e w o r k o f a fine a rtist fa m ilia r
w ith th e p r e c e p t s o f P a l a e o l o g a n a r t ,
w a s i n t e n d e d f o r a n Ita lia n c u s ­
31
t o m e r , p e r h a p s a Veuiirtflft Ιινπιμ mi
C rete.
B ibliography. G arrison 19-l‘i. p I II mi "
C hatzid ak is 1962. p. 30. I.itwuelT |< I1»
fig. 51. Lazarev 1967. pp. *10717 I«μ ‘i Mu
C h atzid ak is 1974 (1). p. 120. pi XXXII '
C hatzid ak is (T h .) 1982. no. 10.
N. < ll

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 i-
tan 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
left, a n d t h e s h e p h e r d p la y in g th e
f l u te , a n d u n d e r n e a t h th e s h e e p s k in
w o r n b y th e s h e p h e r d n e x t to
J o s e p h ; d e e p b lu e in t h e V i r g i n ’s
d r e s s in t h e m i d d le , a n d in p a r t o f
t h e a r c o f h e a v e n a t th e t o p o f th e
c o m p o s i t i o n ; a n d light g r e e n h e r e
a n d t h e r e in th e c o s t u m e s o f the
a n g e ls ; all t h e s e t o n e h a r m o n io u s l y
w ith t h e light b r o w n o f th e l a n d ­
sc a p e .
T h is t r a n q u i l , yet rich la n d s c a p e
re v e a l s t h e in f lu e n c e o f Ita lia n p a i n t ­
in g; it is c o m b i n e d h e r e w ith th e n a t ­
u ralistic r e n d e r i n g of t h e a n im a ls
a r o u n d t h e m a n g e r th a t is k n o w n
fr o m a g r o u p o f C r e t a n ico ns fr o m
th e s e c o n d h a lf o f th e 15th c e n tu r y
w ith sim ila r ic o n o g r a p h y . T h e g r o u p
i n c l u d e s icon s in V e n ic e a n d L e n ­
i n g r a d , a n d in th e B y z a n ti n e M u ­
s e u m , A t h e n s ( F e l ic e t ti -L ie b e n fe l s
1956, pi. 129 B . C h a tz i d a k is 1974
(1 ), p p . 203 ff., pis. X X X I , X X X I I .
C h a t z i d a k i s 1977 (1 ), p p . 88ff. E x h i ­
b it io n fo r t h e C e n t e n a r y o f C h . A . E .
1984, n o . 13). T h e inclusion o f tw o
p e t d o g s is also Ita lia n in o rig in an d
reca lls t h e s im ila r use o f a n im a ls tha t
a r e n o t ju s tifie d b y th e i c o n o g r a p h y
in p a i n t i n g s by P is a n e llo ( B e r e n s o n
1968, II, fig. 544). T h e an im a l
s c r a tc h i n g its e a r in th e lo w e r right
c o r n e r is also to be f o u n d in th e
N a tiv i ty in th e C h u r c h o f t h e P an ta-
n a s s a a t M i s tr a ( C h a tz i d a k is 1981,
fig. 65). T h e p r e s e n t icon a p p e a r s to
b e e a r l i e r t h a n th e s e . Its ico n o g ra-
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
F r o n t a l , h alf -le n g th p o r t r a i t of St.
M a r i n a o n a g o ld g r o u n d , w ith h e r
left h a n d in a g e s t u r e o f p r a y e r . S h e
is h o ld in g a sm all g o ld cross in h e r
rig h t h a n d . B o th t h e b e a r i n g a n d th e
a u s t e r e , n o b le fa c e o f th e sa in t a re
r e m in i s c e n t o f t h e figu re o f th e V i r ­
gin. T h e d a r k u n d e r p a i n t h a s a few
w h ite h ig h lig h ts o n th e n o se a n d
c h e e k s , in th e m a n n e r o f P a l a e o l o ­
g a n ic o n s, like th e icon o f C h r is t in
L e n i n g r a d ( W e i t z m a n n 1983, p p . 82,
83). H e r d re s s , h o w e v e r , p o in t s t o a
l a t e r d a te . T h e re d m a p h o r i o n is
t r a c e d in s t r a ig h t fo ld s o f a d a r k e r
t o n e a n d h a s no sen s e o f v o l u m e ; it is
like th a t o f St. A n n e in th e 15th-
c e n t u r y ico n o f th e B e n a k i M u s e u m
( c a t. n o . 34). T h e lu x u r io u s d re s s
e m p h a s i z e s th e a ris to c r a tic o rig in s o f
th e sa in t. T h e r e d m a p h o r i o n h a s a
d e c o r a t i v e g old b a n d w ith a frin g e at
th e to p , a n d th r e e p ie ce s o f g o ld
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
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 ( ‘litislΙιιιι 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
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 I' m i
h i s s h o u l d e r s a n d lall·. I n I In H i'I h ·■ ·
e n d in a p o i n t . A lU i .1 lull 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 Λ< Λ ( h a i l .I o l Hue· ' 1

w o r n by th e a n g e ls , th e V irg in , p h ic m o d e l will h a v e b e e n closely T h e s ain t is s h o w n as a w a r r i o r , w as rev ealed al Ihe lin iin n i ilplH
J o s e p h a n d t h e m id w ife is b r o k e n r e l a t e d to th a t o f th e P e r i b l e p t o s at heav ily a r m e d a n d o n f o o t , slaying a g iving us llii· m i n i · ol Ili·· ' i> 1

in to sm a ll, elegant, geom etric M i s tr a ( C h a tz i d a k is 1981, fig. 47). d r a g o n , a g a in s t a gold b a c k g r o u n d . p ain lei A n ^ e ln '. kmiVMi l i m n B i(
s h a p e s , re ca llin g m i n ia t u r e s from e v e n in d e ta ils suc h as t h e d re s s anil H e s ta n d s o n a h u g e scaly d r a g o n ico n s nud tli - 1111 >11 >.t ■1· M11 |i ill'l l ilil
th e e n d o f th e 14th c e n tu r y , such p o s t u r e o f th e m id w ife , w h o is ( t h e right leg , w h ic h is b e n t at th e sig iiiitu ii' II 111 |i 11 ■ ) 11 <| ■<i ·< 1 1·

as th o s e in th e C a n t a c u z e n m a n u ­ h o l d i n g th e in fa n t in h e r a r m s anil k n e e , b e a r s all th e w eig ht ol the Ιίμ Ι Η ίΛ ιιιχ ιιν ιιΐ! m i I . li ;ι M

scrip t (T alb o t R ic e 1959, pi. te s ti n g th e t e m p e r a t u r e o f th e w atci lire) a n d raises his lo n g s w o rd th r e a t al I lie 11 1 1 I I 1 im I· 11 l< I“ I

— 166 — 167
 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 ‘Ε γ κ ώ μ ι ο
ε ις τ ό ν μ έ γ ο ν μ ά ρ τ υ ρ α Θ ε ό δ ω ρ ο ν ’
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 ( ‘ή μ ί ν δ έ τ η ν μ ν ή μ η ν τ ο ϋ
άγώνος έη οα σ κ άλ ιον κ α τέλ ιπ ε,
λαο ύ ς ά θ ρ ο ίζω ν... δα ίμ ο να ς άπε-
λ α ύ ν ω ν ’... 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 11th-
c 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
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 Ri-
l/ 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 Χ Ε Ι Ρ
Λ Ι Τ Ι ί Λ Ο Υ ( ‘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 — 1(1*1
1909). A p a in t in g o f th e s ain t slaying
a d r a g o n o n fo o t m a y well lie b e h in d
t h e d e s c r ip ti o n by Io a n n i s M a v r o -
p o u s ( D e L a g a r d e 1882, pp . 119 ff.),
in w h ic h St. T h e o d o r e is o n fo o t.
T h e s a i n t is also p o r t r a y e d o n f o o t in
a n e n a m e l fr o m L e n i n g r a d d a ti n g
f r o m t h e 13th c e n tu r y ( B a n k 1977,
n o . 124), in w hich th e h o rs e is tied to
a t r e e , in a c c o r d a n c e w ith t h e n a r r a ­
ti ve in an A r m e n i a n m a n u s c r ip t fr o m
t h e 10th c e n tu r y . T h e ic o n o g r a p h ic a l
ty p e o f th e slay ing o f th e d r a g o n in
w h ic h t h e fig u re is s h o w n s t a n d in g
o n th e d r a g o n is k n o w n in th e W e s t
f r o m t h e 10th c e n t u r y , m a in ly in
s c e n e s r e l a t e d to St. M i c h a e l ’s s t r u g ­
gle w ith th e dev il; it w as r e v iv e d in
th e 14th a n d 15th c e n tu r ie s in a large
n u m b e r o f sc e n e s w ith a p r e f e r e n c e
f o r St. G e o r g e as a d ra g o n - s la y e r .
T h e in f lu e n c e o f this revival o f th e
subject on 1 5 th - c e n tu r y C retan
p a i n t i n g s o f m ilitary sa in ts killing
d r a g o n s is c le a r in this s c e n e , in
w h ic h t h e W e s t e r n in f lu e n c e s a re
o b v io u s .
C onservation. S. B altoyannis. Th. Papageor-
giou (1980).
Bibliography. C hatzidakis (N .) 1983. no. 8. p.
24. A ffrcschi c iconc 1986. no. 55. pp. 96-97.
Ch. H.
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). ’
Conservation. Z akynthos M useum La horn
lory.
Bibliography. D randakis 1962. pi. 386. lo t
the d ate of the p ain ter, cf. V assilakes-M avin
kakes 1983. pp. 290ff. Babic-C hatzidakr.
1983. p. 314. colour plate on p. 360. Byzanlini·
A rt 1986. no. 100. pp. 99. 101. Affrcschi
icone 1986. no. 53. pp. 94. 95.
M. ( li
34
S t. A n n e w ith th e V irg in p o r t i o n s o f th e figures in l i u l l i l l n ■
M id d le o f th e 15th c e n tu r y w o r k s h a v e affinities llml Μίμμι >
106X76 cm t h a t th e y w e re p a in t e d by th mimi
A thens. Benaki M useum 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
St. A n n e is d e p ic t e d h a lf-le n g th n o t on ly in its d o c tr in a l c o n t e n t , bui
h o l d i n g th e V irgin in h e r left a r m , a ls o in its te c h n ical e x e c u tio n
j u s t as th e V irgin h o ld s C h r is t in T h e p a n e l b e a r s th e fo rg ed sig nalim -
icon s o f th e H o d e g e t r i a ( X y n g o p o u - o f E m m a n u e l Tzanes.
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 Conservation. L aboratory of the llennkl Mu
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 scum (1982-83).
B ibliography. X yngopoulos 1936, no pp
C h ris t d e r i v e d fr o m h y m n s su c h as
40-41, pi 20. Lafoniaine-DosogiK· 19(>,V pp
th e Ρ ό δ ο ν τ ό ά μ ά ρ α ν τ ο ν ' (T h e 134-135. fig.79. C hatzidakis 1979 (2), p I W
U n f a d i n g R o s e ) . T h e c o m p o s it io n , fig. p. 131. D clivorrias 1980, lig. 62 lluhlt
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 h atzidakis 1983. p. 314. fig. p. 3(»6 (I»»· I hi
recognition that the inscription is Ιοιμ«'<Ι)
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
C hatzid ak is (N .) 1983, no. 11. p. 2(i
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 N ( It
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

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
T h e saint is d e p i c t e d s t a n d in g full-
face in m ilita r y d re s s. H e h o ld s a
lan ce in his right h a n d a n d a sw o rd in
his le d . Ilis sh ie ld can be se e n
b e h in d his left s h o u l d e r . H e w e a rs a
red a n d g r e e n c lo a k , w h o s e o u t e r
s u r fa c e is p a i n t e d so as to give th e
im p re s s io n o f h e a v y fabric. The
t h o n g s b in d in g his legs, th e sleev es,
a n d th e w h o le o f th e lo w e r p a rt o f his
c o s t u m e a r e t r e a t e d w ith sim ilar
r e a lism . T h e c o n c e r n fo r a c c u r a t e
d e ta il is c le a r in t h e g old w e b b in g
w ith w h ic h th e b r e a s t- p l a te is
d e c o r a t e d , a n d t h e d r a p e r y in th e
l o w e r p a r t o f his c o s t u m e ; this has
th e tw o a t t a c h e d e m b r o i d e r e d p a n e ls
w ith th e p s e u d o - k u f i c d e c o r a t i o n
usually f o u n d o n this k in d o f
c o s t u m e in th e 15th c e n t u r y ( C h a t z i ­
d a k is 1977 (1), p. 118, pi. 27. C h a t z i ­
d a k is ( N .) 1983, n o . 6, p. 22). T h e
h a lo h a s a n in cised floral d e c o r a t io n .
G o l d g r o u n d w ith a b r o w n a r e a at
th e b o t t o m . Slightly ra ise d fr a m e .
The facial f e a t u r e s a n d d re s s o f the
s ain t h a v e affin itie s w ith an icon
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 pal-
m 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 t-
c 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 —
a n d th e lo w e r p a r t o f th e leg is w h ite b o r d e r a n d I lie denm wlilli
h ig h lig h ts, a re reuiinis· n i l nl win I·
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 by A n d r e a s R itzos (cl < Im l/liluki .
d e p ic t in g St. F a n o u r i o s w hich is
soft w h ite l e a t h e r , a n d h a v e th e c h a r ­ 1977 (1 ), p. 60). The s a m e is i m >1
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
acte ris tic re d line t h a t c a n b e s e e n in t h e g e o m e t r i c t r e a t m e n t ol tin
( C h a t z i d a k i s ( N .) 1983, no . 12, pp .
th e ico n o f St. F a n o u r i o s o n P a t m o s . d r a p e r y , w h ic h e x te n d s to I lie liosr
2 6 f f .). T h is is th e o n ly o n e o f th e
St. G e o r g e ’s s w o r d is also to be o f St. G e o r g e . T h e S a n c tu a r y iloiu·.
ico n s w ith w a r r i o r sa in ts (ico n s o n
f o u n d in ico n s by A n g e l o s , a n d St. f r o m T in o s sh o u ld t h e r e f o r e l<
P a t m o s , in th e B e n a k i M u s e u m , a n d
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 a t t r i b u t e d to a very g o o d I retail
in o t h e r co lle c tio n s; cf. X y n g o p o u l o s
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 . w o r k s h o p t h a t c o n t i n u e d to use llii
1936, n o . 5, pi. 7b. C h a tz i d a k is 1977
T h e s a m e ty p e o f s w o r d a n d th e v o c a b u l a r y o f A n g e l o s , a n d possibly
(1), pis. 26, 27. 204γ. V a ssilak es-
s a m e g e s t u r e s o c c u r in tw o icon s of to t h e w o r k s h o p o f A n d r e a s K n / o s
M a v r a k a k e s 1981, pis. 5 2 a -b , 5 7 a -b ,
St. F a n o u r i o s a n d St. D e m e t r i u s w h ic h in h e r i t e d A n g e l o s ’s w o rk in g
58, 59) t h a t h as so m a n y p o in ts o f
a t t r i b u t e d to A n g e l o s (cat. n o . 37). d r a w in g s ( C a t t a p a n 1973, pp. .’.M
sim ila rity w ith th e p r e s e n t w o rk . T h e
A t th e t o p o f t h e d o o r s , th e h a n d 26 2). If th is is t r u e , th e T in o s d o o i s
stylistic d e ta ils , su c h as th e soft
of G o d e m e r g e s fr o m a p a in t e d blu e t h e P a t m o s d o o r s (cat. no. 3 9), a n d
s t r a p s b in d i n g th e legs o f th e sa in t,
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 t h e d o o r s in th e E c o n o m o p o u l o s
w h ich a r e so sim ila r to th o s e o f St.
th e tw o m a r ty r s . T h e h a lo e s a re C o ll e c ti o n (B a lt o y a n n i 1986 (2), pi
T h e o d o r e by A n g e lo s (cat. no. 32)
b o r d e r e d by a ro w o f im p r e s s e d 10-11) a re th e e a rlie s t k n o w n S a m
s u g g e s t t h a t this icon w as also by
r o u n d e l s , as in th r e e icon s f r o m Spi- t u a r y D o o r s by th e C r e t a n School
h im . W e m a y n o te th a t St. D e m e ­
lia, K is s a m o s ( B y z a n ti n e A r t 1986,
tr iu s 's h a ir falls in sm all cu rls b e h in d Bibliography. K outclakis 1981. p. ‘J Πν/πη
no s. 105-107) w h ich a re t h o u g h t to tine A rt 1986, no. 109, pp. 109-111 A l l i o i l ti
his e a r s , j u s t like th a t o f St. F a n o u ­
be th e w o r k o f A n d r e a s R itzo s. c iconc 1986. no. 6 ). pp. 105-107.
rios. It m a y be c o n j e c t u r e d fr o m a i h
T h e ty p e o f t h e s t a n d in g , d r a g o n -
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 ,
sla y e r s a in t o c c u rs in late P a l a e ­
n e a r th e lan ce a n d th e le t te r in g in
o lo g a n w o r k s , like t h a t in th e ka-
th e in s c rip tio n , th a t this w as o rig i­
t 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 -
nally a r e p r e s e n t a t i o n o f St. F a n o u ­
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 -
rios h o ld in g th e c ro ss, b u t t h a t it w as
T s io u m i 1985, pi. 3). A n u m b e r o f
la t e r a d a p t e d as a p o r t r a it icon o f St.
o rig in a l v a r i a ti o n s o f this t h e m e a re
D em etriu s.
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
B ibliography. C hatzidakis (T h.) 1982. no. 3. p a i n t e r A n g e l o s ( C h a tz i d a k is 1977
C hatzidakis (N .) 1983. no. 13. p. 27. A ffrcschi (1), p. 7 6, n o . 24). T h e ty p e s h o w in g
c iconc 1986. no. 58. pp. 100-101. St. D e m e t r i u s a n d th e s c o r p io n is
N. Ch.
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 h e left d o o r h a s a s c en e o f St. G e o ­ 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 ­
rg e slay in g th e d r a g o n , w hile o n th e 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 ,
rig h t. St. D e m e t r i u s is p o r t r a y e d t h a n k s to th e in clu sio n o f th e d r a g o n
c ru s h in g a s c o r p io n , s h o w n larger a n d th e s c o r p io n .
th a n lite-size. T h e tw o sa in ts, in s y m ­ It is p o ss ib le to d e te c t in b o t h sain ts
m e tric a lly b a la n c e d c o n t r a p p o s t o , f e a t u r e s ty pical o f th e a rt o f A n ­
a re w e a r i n g e l a b o r a t e m ilitary d re ss, g e lo s , w h o s e w o r k has r e c e n t ly b e ­
w hich is b a s e d o n P a la e o l o g a n e n d a t e d to th e first h a lf o f th e
m o d e ls . T h e y a re d re s s e d in a sh o r t 15th c e n t u r y (V a s s i la k e s - M a v r a k a -
c h ito n w ith le a t h e r m a n i p le s , a n d a k e s 1981, p p. 290-298). A l t h o u g h th e
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 d r a w in g is fin e , th e fig u res h e r e a re
by a d o u b l e ro w o f le a t h e r ‘w ings' 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 ­
in th e a r e a o f th e pelvis a n d on tic p ie c e s b y A n g e l o s , su ch as th e
th e u p p e r a rm s . T h e r e is a d o u b le icon o f St. F a n o u r i o s o n P a tm o s .
m e ta llic strip w ith m o n o c h r o m e T h e light a n d s h a d o w in th e face of
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 St. G e o r g e , e sp e cially th e lo ng
n e c k . T h e sain ts a re w e a r in g ‘h o s e ’. 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
I’nliniis, ( Jfora. Church o f Ayios Geor-
«ios Apiirlhiunon (or Dimarchias)
Λ 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
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
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 etti-
L 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 Π Ν Ε Υ Μ Α Κ ΥΡΙΟ Υ.. ( ‘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
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
( l<JW>-jp.
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.
1974 (1 ). p. 202 a n d n o s. 112, 113).
A f u r t h e r a llu sion to th e P assio n can
be se e n in th e g a r m e n t s w o rn by
C h ris t: a c h it o n tie d w ith a sa s h an d
tw o v e rtic a l s t r a p s , as in th e icon of
th e K a r d io t is s a (cf. H a d e r m a n n -
M isg u ich 1983. p. 14).
T h e tw o a n g e ls p a in t e d in m i n ia t u r e
at th e u p p e r c o r n e r s w ith th e i r c o v ­
e r e d h a n d s in a n a t t i t u d e o f p r a y e r ,
a n e l e m e n t th a t o c c u rs in o t h e r r e ­
p r e s e n t a t i o n s o f th e V irg in G l y k o ­
p h il o u s a (C h a tz i d a k is ( T h .) 1982.
no s. 6, 2 3 ), a r e also r e l a te d to this a s ­
p e c t o f th e c o m p o s it io n .
T h e ico n is in a v e ry g o o d s ta te of
p r e s e r v a t i o n , a n d h as a g o ld b a c k ­
g r o u n d . T h e h a lo h a s a d e lic ately
incised flo ral d e c o r a t i o n , sim ila r to
t h a t in a n o t h e r icon o f th e V irgin
G l y k o p h i l o u s a in a p riv a te collectio n
in L o n d o n ( C h a tz i d a k is ( T h .) 1982,
no. 6 ). a n d in an icon o f th e V irgin
H o d e g e t r i a in th e B y z a n tin e M u ­
seum of A th en s (L overdos Codec
ti o n , A ff r e s c h i e ic o n e 1986, n o. 59)
T h e p r e s e n t icon h as a n u m b e r ol
f e a t u r e s in c o m m o n w ith th e s e tw o
th a t s u g g e s t th ey a re all th e w o rk ol
th e s a m e p a in t e r : th e excellent
te c h n i q u e r e f le c t e d in th e m o d e llin g
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,
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
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
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)
Athens. P. K anellopoulos Collection
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
319) su g g e s ts that lliey s h o u l d In
a t t r i b u t e d , if n ot to the p in n lci him
self, at least to his w o r k s h o p
Bibliography. Fine Icons l ‘W0. no (if, liji V
C hatzid ak is (T h .) 1982. no. V
N ( h
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 1‘nliu 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 : Χ Ε ΙΡ Ν ΙΚ Ο Λ Α Ο Υ ΙΟ Υ Α Λ Μ
Π Ο Υ Δ Η 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 Μ α τ θ α ί ο ς σ ε β α ο τ ό ς Λ α μ π ο ή
δ η ς ό Π ε λ ο π ο ν ν ή ο ι ο ς ( M a l t ΙιιιΙο·.
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 theby’s ( ‘;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 Ή, |·|<
117-118.
Μ Λ I·
w estern-style shirt, tin· μοΜ Iminl
w ith pseudo-kulii d e i o i . i l t o n ιΐΐιιιιμ
the edges of the < i i h o li· m i p l m i i o n
w orn by the Virgin innl iiIm n .ill
the I.ate G othic sI%Ί<· In w-lili h tin
tw o f i g u r e s are p niiH , d A i m v*ιι11
le a v e s a n d th e sy m lio li ol iln I <
sion is p a i n t e d o n tin i vt m nl t i n
icon, on ιι μιοιιιηΙ 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 ; · | "
tal l e l l i i N c a n lie n i m l i o u t it <i’
b o tto m , u I v 111 (.< i.ifi I h e l l i i n n Ί |li<
Inmotis I i'th i i ill i n \ t f # l n (·*!}!*»
N lk ohio1. l/'ilo n ilM Mi 1 1 1 (· -
N tC O l.O Z . A F U K I ( . . ) A D I ( . . ) O T U ­
B R I O . Ί 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 l-
P 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 15th-
c e n tu r y C retan p a in tin g . U n til
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 l-
I’ii 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 — 177
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.
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 a-
b 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 t t r i b u t e d to a iMli i ιιΐιιιν Vein
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 t i a n - F e r a r r e s e sc h o o l (Piivim 197·»
ic o n o g r a p h y , as also s e e n in an icon p. 93, n o . 154), w inch is e x m l l y 11·■-
in th e f o r m e r L i c h a c h e v C o lle c tio n s a m e s h a p e as this m u O tlii’i I n p
(F e lic e t ti - L ie b e n f e l s 1956. pi. 108b). ty ch s s h a p e d like this, with ii Mill lop
O n t h e in side o f th e rig h t w in g a re a n d b a s e , in clu d e a C r e t a n w o ik
d e p i c t e d tw o a n o n y m o u s C a th o lic fr o m th e s a m e p e r i o d in a L o n d o n
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 co lle c tio n ( B y z a n ti n e G r e e k am i
to n s u r e . T h e y a r e w e a r in g rich red R u s s ia n Ico n s 1979, p. 43, no. 29)
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 a n d a tr ip ty c h in th e V a tic a n (H etlini
ea c h is h o ld i n g a b o o k in his left 1933. pi. X X I I ) .
h a n d ; in th e righ t h a n d , o n e figure T h is tr ip t y c h r e p r e s e n t s th e tw o pal
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 ­ allel styles a d o p t e d by C r e t a n painl
n e r. T h e style a n d th e s u b j e c t e c h o e r s in th e 15th c e n tu r y , w ith th e Ita
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 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 c e n tr a l p a n e l. T h e g e n e r a l f e a ­ th e rig h t w in g , a n d tr a d it io n a l ( le
tu r e s , a n d p a r t ic u l a r ly th e re la x e d ta n style o n b o th sides o f th e Ii II
p o s t u r e o f t h e s a in t o n th e right w ing. T h e carefu l e x e c u tio n o f llie
recall th e fig u re o f th e d e a c o n S t e ­ flesh a n d d r a p e r y , th e brillian ce ol
p h e n o n a p a n e l o f th e p o ly p ty c h by t h e re d in th e c lo t h e s , an d the c o m b i
L o r e n z o V e n e z i a n o in V e n ic e (1371) n a ti o n o f b r o w n a n d b rick red in llie
( K a ft a l 1978, fig. 1227) H e is n o n e ­ h i m a t i a o f P e t e r a n d P a u l, indii ite
th e le s s to b e id e n tif ie d w ith St. t h a t all t h e s e sc e n e s w'ere th e w o rk ol
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 t h e s a m e p a i n t e r , w h o se talen t lot
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 d r a w i n g a n d c o lo u r recalls th e a il ol
1978, p p . 2 5 4 f f ., n o. 80. fig. 304). N ik o la o s T z a fo u ri s . T h e typo lo gical
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 a n d stylistic re s e m b la n c e o f l In·
id e n tif ie d w ith e i t h e r St. S t e p h e n o r M a d r e d e ll a C o n s o la z i o n e in I In
St. L a u r e n c e (K a fta l 1978, pp. c e n t r a l p a n e l to th e sig ned icons bv
9 4 6 ff., no. 283 . p p . 587ff., fig. 741). T z a f o u r i s in T r ie s te (B ia n c o l io n n
T h e b a c k o f t h e rig h t leaf is 1983) a n d th e K a n e llo p o u l o s Colit
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 tion ( A ffr e s c h i e ico ne 1986, n o < ’ )
p lin th p a i n t e d in g o ld o n a b a c k ­ 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
g r o u n d c o v e r e d w ith flo ral scrolls. tr ip ty c h to th e C r e t a n p a in tc i (< lin
B e t w e e n th e a r m s o f th e cro s s are tz id a k is 1974 (1 ), pp . 1X3 IHH il
th e a b b r e v i a t i o n s IC XC NK ('J e s u s B ia n c o F io r in 1983. p. 169)
C h r is t C o n q u e r s " ) , Φ X Φ Π ( ‘T h e
L ig h t o f C h ris t S h in e s o n A l l ') , T Κ Π Γ
Bibliography. Fine Icons 1981. no Mfi < IntUI
( ‘T h e P lace o f t h e Skull is P a ra d is e d akis (T h .) 1982. no. 22. ( ΊιιΜ/hlnkU |N I
N o w ') . S im ila r d e li c a te d e c o r a t i o n is 1983, no. 38. pp. -4-4-46.
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 N i h
4 4
N ik o la o s T z a fo u r is (?): 14th a n ti 15th cen lu iu .............
T h e A k r a T a p e in o s is 1981, pp . 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 t h e e x t e n d e d ai m s , n m l ·11* p> i >|" 1
Patm os, Chora. M onastery of Zoodochos tive in tin· sarcoplui^u ί nm iil
Pigi c o p i e d by I lu-itphaii· In l i n M "
tery of A napalvi· (I >I · Imki
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 ­ dakis 19 7 4 ( I ). |> ΊΜ . | Ί ' \ I
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 bi l l a l s o f r o m III n m l· 11·i o l Hi·
m o d e l s , in th e ty p e th a t w as f o r m u ­ s i,f o i l W llll ( m l l l l ipllm l l i i l l e l - 1
la t e d in Italy , a n d m o r e specifically I In ' l o p o l I Ii i ii·· . I * | i l l l ' - >1 ( ! 1
in F l o r e n c e a n d V e n ic e , d u r i n g Ihi III llllll l ul l I M III· lu ll· lin 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
Γ/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
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 y
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 ise-
r 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 —
p a r t ic u l a r ly close affinity w ith th e
s i g n e d w o r k by him in V i e n n a
( K r e i d l - P a p a d o p o u l o s 1970. p. 30,
fig. 39).
Conservation. S. Baltoyannis (1964).
B ibliography. Byzantine A rl 1964. no. 213. p.
260. C hatzidakis 1977 (1). no. 40. pp. S9ff..
pis. 33 and 101. Byzantine A rl 19S6. no. 111.
pp. 111. 112. Affrcschi c iconc 1986. no. 63.
pp. 108-109.
M. C h.
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 ΘΥ. 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. 10ΧΙΪ..
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.
Μ . 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>>
O r t h o d o x C h u r c h e s until tlu· I /tli
c e n tu r y . T h is is a t t e s t e d by th e uiclii
val s o u r c e s , w h ich re f e r to c o u n t li ,s
ic o n s o f th e V irg in p a in t e d a /<; ϊι,ι
lia n a , a n d by th e large n u m b e r ol
t h e m th a t su rv iv es in G r e e c e an d
e ls ew 'h e re, a m o n g s t w h ich a re two
s i g n e d icons by i m p o r t a n t I7 th -cen
tu r y a rtists. E m m a n u e l T z a n e s (in
a p r i v a te c o lle c tio n in A t h e n s , un
p u b l i s h e d ) a n d V ic to r (in th e Moil
a s t e r y o f A y io i T h e o d o r o i o n Kei
k y r a , u n p u b li s h e d ) .
T h e B y z a n ti n e M u s e u m ico n, o n e ol
t h e fin e st a n d e a rl ie s t, s t a n d s out
fr o m t h o s e c o n t e m p o r a r y w ith it loi
its sp iritu a lity a n d th e se v e r e c lu J
a c t e r o f th e fig ures. Its typ olo gic al
f e a t u r e s a r e a k in to th o s e ol tin·
M a d r e d e lla C o n s o la z i o n e by N ik o
laos T z a f o u r i s , k n o w n fr o m eailic i
w r it te n s o u r c e s , w h ich w as re cen t
ly d i s c o v e r e d by C h . B a lt o y a n n i ill
th e P. K a n e l l o p o u l o s C o lle c tio n in
A t h e n s (cf. cat. n o . 4 2 ), a n d also to π
s im ila r icon o f th e V irgin sign ed Us
N i k o l a o s T z a f o u r i s , re c e n tly di
c o v e r e d in a p ri v a te c o llectio n in I ιί
e s te (B ia n c o F io rin 1983. p p Id til
fig. 1).
N o t a b l e f e a t u r e s of the icon in. hide
t h e e x c e p t io n a ll y fine tc chn n|iii' mid
t h e m a t u r e use o f colon* t In I u>i■i ■
o f C h r is t w ith his red liin iallo n. t In
p a r t ia l lightin g o f th e flesh <ιιιιιΙ>ιι
to t h a t o f th e V irgin in III t w o li Ol
by T z a f o u r i s ; th e soil I ill· C io ij l ll
d r a p e r y , stro n g ly lit ill the pi'uloi nl
th e fo ld s o f th e m a p h o i i o n w m fl )n
th e V irg in ; th e soli slvli . d fnld*
c r o w n in g h e r la c e , n mi tin l i h t h
V irg in a n d in a n o lh i I I r o n l>\ l i
fouris in Vii mill ( Ki t nil I*··|n ln |.....
los 1970, pp. (> Ί I a n d 1Ί I
fig. 39): a n d I lit pt'i hi I ιι i i! . n nl
th e line go ld di o i i i i i m ili'l.ill
lilt’ c h ild 's sliu i I In \ ιι |iln ill ilm
li o n , th e lii‘loi'‘i a n d Μ I iiiiu l
Icallii'i I>i1111id bllili
l a k c n tojiv tin i III * l\lM |i n ul
ly pologK nl li ill in < nl llil" li mi «un
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.
Provenance. T he C hurch o f Christ D im archias
or M cgalis Portas in C h o ra. Patm os.
( om crvation. Ph. Z achariou (1977). F. G ala-
kou ( 1987).
Bibliography. C hatzidakis 1977 (1). no. 38,
pp. 87IT.. pi. A and pp. 98-99 Byzantine A rt
1986. no 113. pp. 112. 114-115. Affreschi c
iconc 1986. no. 68. pp 115. 116.
M . Ch.
— 180 —
Provenance. C rete. D onated by I. F rangoudis
in 1897 to the C hristian A rchaeological So­
ciety (X A E 2338).
C onservation. T h. Papageorgiou (1974). A.
Sim andoni (1986).
B ibliography. C hatzidakis 1977 (2). p. 688,
fig. 49. B ianco Fiorin 1983. p. 167. fig. 8.
A ffrcschi c icone 1986. no. 67. pp. 113-115.
M . A .-P .
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 ­
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
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. Ιιμ. 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
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 ■*ιIn i
still a r e w re stlin g a n d pliivinji mi ·>
hill in fr o n t ol a ΓοιιιιΙιιίη 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 IVfiK II 11p in i Ι Ι 1. Ί 1
'arbitrary in· l u s l o n i n l l n ,■ ■ n iti·
be cinnpiu I w i t h lltitl n l Hi
animal·, i hul m hiilni 11 ill tnlni -
( ielan m m i nl l i i m il i n J i l l · ■ ; n
i le f 111r l>\ 11 <11it 11 |mlM|]Hj> I*
d a k is 1974 ( I ) , pp. 203-204). T h is
ic o n o g r a p h ic ty p e o f th e E n t r y in to
J e r u s a l e m w as p o p u l a r in C r e t a n
p a in t in g , as w a s th e ty p e f o u n d in a
n u m b e r o f o t h e r icon s (cf. C h a t z i d a ­
kis ( N .) 1983, n o . 28. V o k o t o p o u l o s
1978-79, pis. 116, 117, 121). It also
o c c u rs in th e 1 5 th - c e n tu r y wall p a i n t ­
ings al S k l a v e r o c h o r i , a n d in an icon
in th e M o n a s t e r y o f D io n v s io s fr o m
111* s a m e p e r i o d (C h a tz i d a k is 1969­
70. figs. 122, 130).
I'he i c o n o g r a p h ic m o d e l f o r th e
c o m p o s it io n is t o b e so u g h t in Mis-
ira , in th e w all p a in tin g s o f th e
C h u r c h o f th e P e r i b l e p t o s , a n d p a r ­
ticu larly t h a t o f th e P a n t a n a s s a
(1430) ( C h a t z i d a k i s 1981, figs. 52,
67, 68). C lo s e s im ilarities ca n be
d e t e c t e d in th e n a r r a t i v e a sp e c t o f
th e c o m p o s i t i o n , th e v e ry ro ck y
l a n d s c a p e , a n d th e g ra p h ic d etails o f
th e e p is o d e s w ith c h il d r e n , a m o n g s t
w h ic h is th e sp in a rio (th e b o y r e m o v ­
ing a t h o r n f r o m his fo o t) (M o u rik i
1970-72, p p . 5 8 f f . , pis. 23 a-b). T h e
s im ila ritie s e x t e n d to o t h e r details,
like th e m i n i a t u r e fig u re s o f w o m e n
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
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.
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<
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
5 3
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 Δ Ο Υ Λ Ο Υ T O Y Θ1-.ΟΥ
Α Ν Δ Ρ Ε Ο Υ T O Y [Λ Ι)Μ Ο Γ Α Λ Λ |Ο Υ |.
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 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. <Ίι
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 Ή 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 . <itt·I
S a n c t u a r y d o o r s ( ΙΙιιΙΐογιιιιιιι I'im i
p. 51) th at follow a I’nI...... 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 Ί 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· m l i i l l o n f h i p ol lin i m
to th e a b o v e w i n k s p o in t', m I ill
c e n t u r y ( r e t a i l p a i i i l l u i ' \MI Ιι II > > I n n
H c t c r i s t i c i v l e t tii K i n i di 111 ■ I ■ **
W e s le t n eltim «nl In l i n »■ ■ mi· lm
t h e s e m e l o I·· I m i n i ill ill llit p i iliil
i n g o l t III·· p e l toil in < n l > ) In ι Ι ι Ι ί ι Ι
w μ 11 llii lo lu in n 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 -
54
TIu- H o sp ita lity o f A b ra h a m
15 1li c e n tu r y
7 2 X 5 7 cm
A t h e n s . Ily/.iiiiliiie M u s e u m , T . 911
T h e s c e n e is a n illu s tra tio n o f G e n e ­
sis (1 8 .1 -1 5 ). d e s c r ib in g th e d in n e r
given by A b r a h a m to th e t h r e e
a n g e ls n e a r t h e ‘o a k o f M a t u r e ’. It
in c lu d e s t h r e e a n g e ls s e a t e d a r o u n d
a s q u a r e ta b l e l o a d e d w ith d is h e s a n d
f o o d , A b r a h a m a n d S a r a h , tw o tall,
n a r r o w b u ild in g s a t th e sid es, an d
tw o leafy tr e e s le a n i n g in w a rd s , all
a r r a n g e d in a c lo s e d c o m p o s it io n ,
d e v e l o p e d v ertic a lly a r o u n d th e fig­
u re o f th e c e n tr a l an g e l. T h e tw o -lin e
in s c rip tio n o n th e g o ld g r o u n d b e ­
t w e e n th e tw o t r e e s r e f e rs to th e
— 184 —
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 ) : Ι Δ Ο Υ Η Π Α Ρ Θ Ε Ν Ο Ο E N
ΓA C T P I ΕΞΕ1 Κ Α Ι Τ Ε Ξ Ε Τ Α Ι Υ ΙΟ Ν
KAl KAAECOYCl TO ΟΝΟΜΑ
Α Υ Τ Ο Υ Ε Μ Μ Α Ν Ο Υ Η Λ ; 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.
Provenance. M essina. Italy.
Conservation. S. Baltoyannis. S. V arotsis. A.
S im andoni. G. Skaraki (1981).
Bibliography. Baltoyanni 1984. pp. 43-72.
A ffrcschi e iconc 1986. no. 87. pp. 136-138.
C h . B.
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 ΑΒΡΑΑΜ
[T |H C Ζ Ω [ A P ]X IK H C T P IA A O C Φ Α -
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
o f this O ld T e s t a m e n t scen e fr o m the
B ible in th e B y z a n ti n e a n d Post-
B y z a n ti n e p e r i o d s is a c c o u n t e d for
by th e fa ct th a t it s y m b o liz e s the
I loly T rin ity .
The i c o n o g r a p h y o f th e H o s p ita lity
o f A b r a h a m w a s e s ta b lis h e d in E a rly
C h r is ti a n ti m e s , b u t th e ic o n o g r a p h ic
ty p e in t h e B y z a n ti n e M u s e u m p a n e l
w a s m o s t p r o b a b l y f o r m u l a t e d in
C o n s t a n t i n o p l e d u r i n g th e P a laeo lo -
g a n p e r i o d , as m a y be in f e r r e d fro m
a n u m b e r o f e x a m p l e s in m a n u s c rip t
m i n i a t u r e s , ico ns a n d wall p ainting s.
T h e p re v a i li n g a e s t h e ti c p r e f e r e n c e s
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
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 tIn-
185
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 tin-
r 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 < Ιικ ιί
lam pous-M ouriki 1962-63, pp, H711 1 IhiIcIiIh
kis 1969. fig. p. 45. Affrcschi ν κοη»* (ίμιί ini
H8. pp. 138-140.
I» M
Islan d in I he I akt n l liiiin illHii l> I
A ffrc s c h i e icone l'*Hl> n n 1' ,
119).
/'ro ve m tn te llu ΜηιιιΜι ιι >·Ι IIt· I I· ■■
1 lit. · M u t u l iti Hit- I ilkr nl Iikhiiiiim
( i>n\rrvaUifH < h Λι< ΙιιημιηΙι Id· I I*> '!
/iihtu»finipliv I i h m l i i p l t i I l n p H i i l i * I '
IίιΛΙΊ M v /iiiililii S 1 1 I'Ollt n n I 1 · |
Allirsi 111 i‘ l i h i m I ' I M l i lit: '■ |i i
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
G esso on canvas. G o ld ground.
F r a m e w ith m o u l d in g s . B u s t o f St.
N ic h o la s , willi C h r is t a n d th e V irg in
in m i n ia t u r e a b o v e h im , o fferin g him
th e g o sp e l a n d o m o p h o r i o n . T h e
iM flJ n a r r o w h a n d b e lo w e n c lo s e s th r e e
sc e n e s o f his m ira c le s p a i n t e d o n a
s m a ll e r scale in a c o n t i n u o u s c o m p o ­
sitio n : th e s a in t sav in g th e th r e e
in n o c e n t s fr o m t h e s w o r d o f th e
e x e c u t i o n e r , p r o v i d in g d o w rie s fo r
th e t h r e e d a u g h t e r s o f t h e i m p o v e r ­
is h e d n o b l e , a n d r e s c u in g a sh ip
in d a n g e r at sea. T h e h a lo e s h a v e
r o u g h p o in tille d e c o r a t i o n , a n d vivid
c o lo u r s a r e u s e d . T h e d a r k u n d e r ­
p a in t o f th e face s c o n t r a s t s w ith th e
flesh t o n e s a n d w h ite h igh ligh ts. T h e
sc e n e s o f t h e m i r a c l e s c o n ta i n m a n y
5 7
S t. N ic h o la s w ith s c e n e s fr o m his life
c. 1500
41 X 3 6 c m
A th e n s . U. A n d r c a d is C o lle c tio n
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 — IS7
w e s te r n e l e m e n t s o f Ita lian o rig in .
T h e s e a s c a p e in th e m ira c le o f th e
sh ip is p a r t ic u l a r ly im p re ss iv e fo r this
p e r i o d . T h e icon is p a i n t e d in th e
m a n n e r o f C r e t a n p a in tin g o f th e
15 th-16 th c e n t u r i e s , an d th e m o d e l
f o r th e s a in t is to be fo u n d in icons by
A n d r e a s R i t z o s (C h a tz i d a k is 1977
(1), pi. 2 0 3 a . B y z a n ti n e A r t 1986,
no . 107, p. 108). A n u m b e r o f e l e ­
m e n t s , h o w e v e r , su g g e st th a t it
s h o u ld b e a t t r i b u t e d to a w o r k s h o p
in I o a n n i n a . A n ic o n o f th e V irg in in
th e M o n a s t e r y o f t h e E l e o u s a o n th e
Is lan d in th e L a k e o f I o a n n i n a m a y
b e a t t r i b u t e d to th e p a i n t e r o f St.
N ic h o la s .
Provenance. T he M onastery of the E leousa on
the Island in the L ake of Ioannina
Conservation. C h. A rchim andritis (1974).
Bibliography. A cheim astou-P otam ianou 1973­
74, p. 613. B yzantine A rt 1986. no. 123, pp.
122-124. A ffreschi e icone 1986. no. 80, pp.
129, 130.
M. A.-P.
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 15th-
c 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
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
w h ic h o th e r w i s e follo w e d llie ( iie ek
m a n n e r , in t e r m s o f hot Ii ιι ο ιιομ ιιι
p h y a n d style.
Bibliography. C hatzidakis (T h.) 1982. no .M
C hatzid ak is (N .) 1983, no. 33, p. 41. Ιιμ.
S evccnko 1983. A ffrcschi e iconc 1986, no. 81,
pp. 130-131.
Μ . V.
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 V
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 ι γ ί Ι ι π ι Ι ι Ί hi
blessing.
'I'he b a sil c o m p o '.il Ion \Mlll ill-
d r a g o n slayer *>ιι1111 on In ί In i
occu rs w ith .lli'lit v j lliillm u in ■
g r o u p o l al I fiml I« · l> · lui|
ic o n s , 11*.i in 11v o l Iii 11: >l· in
V o m e r . Iv ι ί K\ 111 ι ι· i i | nil
I'alm o·. A n l io n nl Hi ( : · ■ • « φ 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
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
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. I’craticos 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 -
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.
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.
fig u re o f C h ris t in a 1 4 th-cen tu ry
d ip t y c h a t M e t e o r a ( B y z a n ti n e A n
1964. n o . 210).
T h e fig u re o f C h ris t in th e p rese n l
icon d o e s n o t follo w th e ro b u s t,
h e a l t h y ty p e w ith th e la rg e , alm osl
s q u a r e h e a d fa m ilia r fr o m o t h i i
B y z a n ti n e w o r k s (cat. no s. 8, 27); ils
a ffin ities a r e r a t h e r w ith th e type
u se d by T h e o p h a n e s in a wall pam l
ing in th e C h u r c h o f A y io s N ik o la o s
A n a p a f s a s at M e t e o r a (1527) (Clin
tz id a k is 1974 (1). p. 201, pi. Ι Δ ’. Ί
F e a t u r e s s h a r e d by the tw o th at sc I
t h e m a p a r t fr o m th e tr a d itio n a l typi·
are th e frail b o d y a n d th e s h a p e ol
th e h e a d , s e t o n a th ick n e c k , which
d o e s n o t d r o o p o n to th e s h o u h le t
T h e a r m s a r e c ro s s e d at th e wrisl imil
n o t f o l d e d , as in th e icons ol I In
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 14th-
c 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 is-
to r is c h e M u s e u m , V i e n n a (K re id l-
P 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
fin e d e ta il, se e n in llu· ren d i ■111μ ol
t h e v e in s o f th e m a r b k ol i h r ν ι π ι χ
p h a g u s a n d th e t h r e e s o in 11 ι < I It-1
li o n 's h e a d s , sh o w s th a t Ihe ufltai
w a s f a m ilia r w ith Italian p a m l m g
t h e p re c i s io n o f th e d ra w in g in lli
m i n i a t u r e p a in tin g s o f th e angel·,
m o u r n i n g at th e to p recalls C r e t a n
ico n s fr o m th e e n d o f th e 15th i o n
tu r y . T h e soft m o d e llin g o f t h e flesh,
a n d t h e u se o f an ic o n o g r a p lm
m o d e l sim ila r to th a t e m p l o y e d by
T h e o p h a n e s at M e t e o r a sug gests
t h a t t h e icon s h o u l d b e d a t e d to the
b e g i n n i n g o f th e 16th c e n tu r y .
B ibliography. Fine Icons 1981. no. 69. < luit/l
dakis (T h .) 1982, no. 8.
N . C l'
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 >■ί 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 ( η ο ι μ Ι ο · 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 / ιι ί mi 11>■ I' (Ini
tr ip ty c h (< Ιιιιΐ/lilnl·u 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 : Χ ΕΙΡ
Δ Ο Μ Η Ν ΙΚ Ο Υ ( ‘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
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 Koime-
sis tis Theotokou (Panayia ton Psarianon)
P anel with a p r e p a r a t i o n o f a thin
lay er o f g esso o n c a n v a s . T h e p a i n t ­
ed s u r fa c e is n o w c le a n a n d in p laces
sh o w s c le a r signs o f r e p a i n ti n g a n d
c h a n g e s o f g la ze . T h e silver th a t w as
la ter a d d e d to th e t w o m ain fig ures
has c a u s e d i r r e p a r a b l e d a m a g e to
sm all a r e a s in th e c e n t r e o f th e icon.
By g o o d f o r t u n e , t h e s ig n a tu r e o f th e
artist, t h o u g h d ifficu lt to re a d , is
p r e s e r v e d in its e n t i r e t y at the b o t ­
to m in c a p ita l le tte r s: Δ Ο Μ Η Ν Ι Κ Ο Ο
B E O I O K O I I O Y A O C Ο A E IH A C .
The m ain s c e n e o f th e icon h as a r e p ­
r e s e n ta t io n of th e D o r m i t i o n o f the
- 190 - I ' JI
Conservation. M. R ousea. D. Bakalis and
colleagues (1976-77).
Bibliography. A cheim astou-P olam ianou 1976.
p. 16. pi. 18α-β. A cheim astou-P olam ianou
1977, p. 8. pi. 9. V okotopoulos 1984, p. 397.
no. 25. B yzantine A rt 1986, no. 144, pp.
139-140. A ffrcschi e icone 1986. no. 99, pp.
150. 151. A cheim astou-P otam ianou 1987 (in
print ).
M . A . -P.
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 .
V irg in , in a ty p e w h ic h , in its basic
c o n c e p t i o n , is q u it e well k n o w n in
O r t h o d o x C r e t a n icons fr o m th e 15th
a n d 16th c e n tu r ie s . T w o g ro u p s ,
c o m p r is i n g th e a p o s t le s . C h u r c h
f a t h e r s a n d a n u m b e r o f w o m e n , are
l e a n in g w ith r e s t r a i n e d g rief to w a rd s
th e b ie r o n w hich th e V irgin is lying.
In th e c e n t r e C h ris t, fl a n k e d by
a n g e ls , is s t o o p in g to receiv e th e soul
o f his H o ly M o t h e r , in th e fo r m o f a
b a b y . T h is strictly o r g a n i z e d trad i
t io n a l c o m p o s it io n has a s c e n e o f tin·
A s c e n t o f th e soul o f th e V irgin paint
e d o n a s m a ll e r scale in an Italian
style at th e t o p , w'hich in c lu d e s tin·
h a n d i n g o f th e g ird le to th e aposlli
T h o m a s . In th e c e n t r e o f th e c o m p o
s itio n , in t h e m i d d l e g r o u n d . is a
d o v e , s y m b o liz in g th e H o ly S pirit,
this is c le a rly in s p ire d by W e s t e r n
i c o n o g r a p h y a n d h a s a d d e d signifi
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
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 ΛιιΙι
g u o , in T o l e d o . T h e v e r b ΐ>ηκνι<μι
( a o r is t p a rt ic i p le , δ ε ί ξ α ς ) 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 < ϊιμ η /
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 ιι
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 ·Μ
Bihfiogra/ihy M.islnii>|nmlihi ΙΊΜ I I I μ 1
E xhibition tor I hi- < im rn iiiy nl ι Ιι I
l l)N4. no. 2 I . |>p. '-I, U
II AI
* I 01 iriiMins util m n n ci Ιι·ι| 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 , Χ ΕΙΡ Ε Μ Μ Α Ν Ο Υ Η Λ AAM-
Π Α Ρ Δ Ο Υ . 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
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 — I Tv
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
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 D a m a s k i n o s w as in l h ic n s e d hy I o n
V ic to r y . In th e c e n tr e . C h ris t is t e m p o r a r y V e n e t i a n a r t , pai I iculni lv
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 ­ th a t o f P a o lo V e r o n e s e .
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
Conservtuittn. E. Kar;iynnm
M a r k , t h e p a t r o n saint o f V e n ic e ,
B ibliography. V okolopoulos 19,S3, pp 1HI1
a n d St. S y m e o n . w h o se feast d ay was
pi. V I. 2. A ffrcschi c iconc 19X6. no. *M. μ
t h e d a y a f t e r th e b a tt le . T h e icon is 14ft.
typ ical o f th e w o r k in w hich IV I V
66
M ic h a e l D a m a sk in o s: Provenance. T he Church of Ayios Spyridnn
S t. J o h n th e B ap tist F lam bouriaris on Z aky n th o s (retrieved in
1953).
S e c o n d h a lf o f th e 16th c e n tu r y
Bibliography. D randakis 1962. pp. 12611
111.4X 60.2 cm
B abic-C hatzidakis 1983. p. 313. fij>. p. 360 (in
Zakynthos. M useum English and F rench). Byzantine Art I9X(>, no
139. pp. 135-136. A ffrcschi c iconc I9H6. no
T h e w in g e d fig u re o f St. J o h n th e 95. pp. 147. 148.
B a p ti s t is facin g to th e left; his right Μ. O i
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 ΠΛ-
C X O Y C IN ... S ig n a tu re : Χ ΕΙΡ Μ Ι­
ΧΑΗΛ 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 15th-
c 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.
 67
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
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 - l')S
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.
544γ. B yzantine A rt 1986, no. 141. pp.
137-138. A ffrcschi c icone 1986. no. 96. pp.
147, 148.
Μ. B.
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
Ρ Λ Δ \ 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.
Μ 11
69
T r ip ty c h
E n d o f th e 16th c e n tu r y
2 0 x 2 8c 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
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
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
f r o m t h e u sual e arly C r e t a n icon o
g r a p h y , a n d a ls o fr o m that u sed liv
T h e o p h a n e s in th e 16th curriLPy
(C h a t z i d a k i s ( N . ) 1983, no . 4Q
C h a t z i d a k i s 1969-70, figs. 34, <iN).
T h e v ig o r o u s strid e o f th e a rc h a n g e l
a n d th e figu re o f th e V irg in s e a l e d
u p o n th e t h r o n e follow a m o d e l
f o u n d in th e well k n o w n bilin gu al.
G r e e k - I t a l i a n m a n u s c r ip t fro m th e
e n d o f t h e 13th c e n t u r y P a r. gr. 51
( L a z a r e v 1967, fig. 390).
T h e s h a p e o f th e tr ip ty c h is sim ilar to
t w o l a t e r o n e s in t h e B erlin M u s e u m
a n d th e B e n a k i M u s e u m , A t h e n s
( E l b e r n 1979, no . 4, p. 16. X yn go -
p o u l o s 1936, no. 53, p. 76). ΓΙιι·
o v e ra l l d e sig n w ith th e D e e s is in Ihe
c e n tr a l p a n e l a n d th e sa in ts on th e
sid e le a v e s is th e s a m e b ut th e
p r e s e n t w o r k is o f a m u c h b elli i
q u a li ty , r e f le c te d in th e carefu l
t e c h n i q u e a n d th e p o lish in g o f ihe
g o ld b a c k g r o u n d . T h e figures an·
so lid , a n d th e i r e x p r e s s io n s s e v e r e ,
th e m o d e l l i n g c o m p a c t , using p ie
d o m i n a n t l y d a r k to n e s , anil ihe
t r e a t m e n t o f th e d r a p e r y is liaishei
t h a n t h a t in w o r k s fro m th e e n d
o f th e 15th a n d b e g in n in g ol tl·
16th c e n tu r ie s ; th e tr ip ty ch s e e m s
t h e r e f o r e to h a v e b e e n p a in t e d by it
fin e a rtist fro m th e e n d o f tin- loili
c e n tu r y .
Bibliography. Byzantine A il I'WC, ι,,ι ||
pp. 142-143.
N l li
on eith er sid e . The sceiiu ol ill·
T ran sfig u ratio n is a c c o n i p . m i i ι i
tw o secondary ep iso d e·, ',Ιιον,Ιιψ
C h rist lead in g 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 ιι-, l l n \
d ep art. The arli.t w a< t l r i n l v m il
ta tin g a g o o d C re ta n mini Ί ι| I In
15th cen tu ry llu- Μι «ιι κ·ι 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.ι ιι ιι 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
kyr;i ( C h o r e m i s 1981. pi. 5). T h e
C ru cifix io n follo w s th e ty p e w idely
e s t a b li s h e d by th e C r e t a n S ch o o l in
th e 16th c e n t u r y , w h ic h c an be se e n
in an icon in th e B e n a k i M u s e u m
a t t r i b u t e d to N ik o la o s R itz o s. In it
the e n d s o f th e a r m s o f th e cro s s a re
d r a w n in p e r s p e c ti v e , a n d t h e r e is a
g r o u p o f fo u r w o m e n on th e right
anil th e g riev ing J o h n w ith L o n g in u s
o n th e left. In th e p r e s e n t icon,
h o w e v e r , th e w alls o f J e r u s a l e m in
th e b a c k g r o u n d s u g g e s t a s o m e w h a t
la ter d a te .
T h e o u ts id e o f th e p a n e l w ith the
R e s u r r e c t i o n h a s a s c e n e d ep ic tin g
t h r e e f o u n d e r s o f m o n a s ti c is m in
E g y p t a n d P a le s ti n e , s h o w n f r o n ta lly
a n d full-len gth : SS A n t h o n y , S a b b a s
a n d E u t h y m i o s . F in a lly , o n th e o u t ­
side o f th e tr ip t y c h a t th e b a c k o f the
C ru c if ix io n , th e fig u re o f St. C a t h e ­
rine ca n b e d is ti n g u is h e d , d e s p i te th e
d a m a g e , w e a r i n g im p e ri a l r o b e s a n d
r e n d e r e d in th e I t a l o - C r e t a n ty pe
th a t b e c a m e a s s o c ia te d w ith th e
M o n a s t e r y o f Sinai f r o m th e b e g i n ­
nin g o f t h e 17th c e n t u r y o n w a r d s
( W e i t z m a n n 1982 (2 ), p. 40). T h is
last s c e n e is also d ir e c tly c o n n e c t e d
w ith th e re lie f at t h e to p o f th e t r i p ­
ty c h . w h ic h d e p ic t s M o u n t Sinai. In
th e c e n t r e o f it is a s c e n e o f th e b u r ­
n in g b u s h , fr o m b e h i n d w h ic h th e
a n g el is e m e r g i n g at th e left, a n d
c o m m a n d i n g M o s e s to ta k e o ff his
sa n d a l s ( E x o d u s 3 .5 ) , w hile at th e
rig ht M o s e s is k n e e li n g b e f o r e his
flo ck, in o r d e r to o b e y . A t th e
s u m m i t o f th e m o u n t a i n M o s e s is
sh o w n fo r a th ird t i m e , rec eiv ing th e
T a b l e s o f th e L a w f r o m th e h a n d o f
G o d . O n a lo w e r p e a k , at th e rig h t,
ca n b e se e n t h e relic o f St. C a t h e r i n e
b e t w e e n tw o a n g e ls , in th e sam e
fo r m in w h ich it w a s p a i n t e d by
M ic h a e l D a m a s k i n o s in th e icon w ith
t h e B u r n in g B u s h in Ir a k lio n , C r e te .
F in ally, th e c ave o f th e P r o p h e t E lias
c a n b e se e n o n th e left, o n a third
p e a k , b e h i n d w h ich rises th e su n ,
c a r v e d in relief.
T h e in clu sio n o f th e t h r e e fo u n d e r s
o f m o n a s tic is m su g g e s ts t h a t th e
tr ip ty c h w as p r o b a b l y c o n n e c t e d
w ith a m o n k . M o r e o v e r , th e d e p i c ­
— 1% — 197
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 Iere-
m 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 ιι
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.
I u
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)
Athens. Private Collection
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 ­
ing a n g e ls a b o v e St. N ich o las m e i>
t u r n i n g to h im his b i s h o p ’s insignia
th e G o sp el book and o m n p h o n o n ,
a n d a c r o w n . O n th e b ack o f th e Itfl
leaf, th e a p o s t le s P e t e r a n d Pau l are
h o l d i n g a m o d e l o f a d o m e d c h in c h ,
a b o v e w h ic h can b e se e n th e I Inly
T r in i ty . F in a lly , th e b a c k o f th e light
w in g h a s t h e m o s t ca re fu lly exeeult>cl
s c e n e o f t h e tr ip t y c h , w ith a d u p it
tio n t h e T h e o t o k o s - Z o o d o c h o s Pigi
( F o u n t a i n o f L ife ) a n d th e signaling
o f t h e a rt is t at th e b o t t o m left: X Γ Ί I·
CYABECTPOY ΙΕ Ρ Ο (M O N ) Λ Χ ( ) Y /
T O Y Θ ( Ε ) Ο Χ Α Ρ Ι . 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 ιι
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). ΓΙι« 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 Ιι ηιιη«ι·ι«ίι
( W e i t z m a n n l ‘W2 I I I |i V ■
a / ill \ I m l t l i it M ill* |· fin i ■,. im
< IlillM llllk l* ( N I ΙΊΗ Ι Mil III | I M il.
cln i" i m n r I'JMti. nit // |i|i I j| 1
I ll
 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, Φ 22.113Α
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
’Α θ α ν ά σ ι ο ς 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 : Η ΑΓΙΑ T O Y
XI’ICTOY 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 - I W
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 ’Α θ α ν ά σ ι ο ς 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.
73
C a r to o n o f th e B a p tism o f C h rist f r o m th e b e g in n i n g o f I ho I (>■Ii c m
17th c e n tu r y 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
42X 3 1 .6 cm th e C retan pain ter Ihcoplm iH ".
Athens. Benaki M useum , Xyngopoulos ( C h a t z i d a k i s 1969-70, pi. 37). Il also
C ollection, Φ 22.88 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
P ric k e d d r a w in g w ith th e B a p ti s m of k a o r t o n icon o n K e r k y r a allrihu ti.il
C h r is t i m p r i n t e d in red a n d black . to E m m a n u e l T z a n e s (1610 lo9(l)
T h e p a p e r h as a w a t e r m a r k w ith a ( C h o r e m i s 1981, p. 220).
b ir d , a n d tw o strip s h a v e b e e n a t ­ T h is p r i c k e d c a r t o o n , w h ich w as o n
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 gin ally f o l d e d in to fo u r , w as niiidi
s id e ; o n th e r e v e r s e is a grid for a c c o r d i n g to th e in s tru c tio n s o f I >io
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 n y siu s o f F o u r n a , like th e p re v io u s
d if f e r e n t scale. T h e figu re o f C h ris t, o n e (ca t. n o . 72). D ra w i n g s like this
in t h r e e q u a r t e r s v iew , is t u r n e d 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
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 ­ ic o n o g r a p h i c ty p e , a n d acc o u n t foi
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 ­ its use w ith a lm o s t im p e rc e p tib le
izing th e H o ly S p ir it, a n d th e h a n d v a r i a t i o n s in w o r k s th a t m ust be til
o f G o d em erging from a radiant leas t a h u n d r e d y e a r s a p a rt.
circle. T h e s c e n e is v ie w e d fr o m
Conservation. J. Brow n (1983).
a b o v e , so th a t C h r is t's b o d y is set B ibliography. U npublished.
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 i li
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 ty p e is known

MAP WITH T H E PR O V E N A N C E
OF THE WORKS
SELECT BIBLIOGRAPHY
J. B E C K W IT H , E arly C h ristian and B yzan­
tine A r t. H a rm o n d sw o rth 1970.
C A T A L O G U E E X H IB IT IO N . A ffrcschi c
icone d alla G rccia (X -X V 1I seco lo ). A tc n e e
F ire n ze, P alazzo S trozzi (16 S c ttc m b rc - 16
N o v cm b rc 1986). A te n e 1986.
C A T A L O G U E E X H IB IT IO N , B y zantine
an d P o st-B y za n tin e A rt, A th e n s , O ld U n i­
v ersity (Ju ly 26th 1985 - Ja n u a ry 6th 1986),
A th e n s 1986.
M. C H A T Z ID A K IS . leo n es d e S ain t-G co r-
gcs d es G re c s c t d c la C o llectio n d c l ln stitu t,
In stitu t G rc c d e V e n ic e , N cri P ozza-V enicc
1962.
M . C H A T Z ID A K IS - V D J U R IC , L es ico-
n es d a n s les C o llectio n s S uisscs. B ern e 1968.
M. C H A T Z ID A K IS . Icons o f P atm o s. N a­
tio n al B a n k o f G re e c e , A th en s 1985.
T H C H A T Z ID A K IS . E x h ib itio n C a ta lo g u e ,
L 'a rt d es ico n es c n C re te el d a n s les lies ap rcs
B y zan cc. E u ro p a lia G re c c 1982. C h a rle ro is.
P alais d e s B eau x A rts, 3 O c to b re - 21 N o v cm ­
b rc 1982.
N. C H A T Z ID A K IS . E x h ib itio n C a ta lo g u e .
Icons o f th e C re ta n S chool (15th - 16th c e n tu ­
ries). B cn ak i M u seu m . A th en s 1983.
R. C O R M A C K . W ritin g in G o ld . L o n d o n
1985.
G . G A L A V A R IS . T h e Icon in th e Life o f the
C h u rc h . Ic o n o g ra p h y o f R eligions X X IV . 8.
L eid en 1981.
A. G R A B A R . B y zan tin e P ain tin g . G en ev a
1953.
P. H E T H E R IN G T O N . T h e P a in te r s M anual
o f D ionysius o f F o u rn a , L o n d o n 1978.
M A N G O . T h e A rt o f th e B yzantine
E m p ire 312-1453. N ew Je rse y 1972.
A. P A P A G E O R G I O U . E x h ib itio n C a ta ­
log u e. B y zan tin e Icons o f C y p ru s. B cnaki M u ­
seu m . A th e n s 1976.
K. W E IT Z M A N N . T h e M o n astery o f Saint
C a th e rin e at M o u n t S inai. T h e Ico n s, vol. I:
I to m th e Sixth to th e T e n th C e n tu ry , P rin c e­
ton 1976.
K W E IT Z M A N N . T h e Icon. C h a tto and
W indus, L o n d o n 1978.
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.
ABBREVIATIONS
AAA Α ρ χ α ιο λ ο γ ικ ά Α νά λ εκ τα εξ Α θη ν ώ ν
ΑΔ Α ρ χ α ιο λ ο γ ικ ό ν Δ ελτίο ν
AE Α ρ χα ιο λ ο γικ ή Ε φ η μ ερ ίς
ΔΧΑΕ Δ ελ τίο ν τη ς Χ ρ ισ τια ν ικ ή ς Α ρ χ α ιο λ ο γ ικ ή ς Ε τ α ιρ ε ία ς
ΕΕΒΣ Ε π ετη ρ ίς Ε τ α ιρ εία ς Β υ ζα ν τιν ώ ν Σ π ο υ δ ώ ν
ΕΕΛΜ Ε π ετη ρ ίς Ε τα ιρ εία ς Λ ευ κ α δικ ώ ν Μ ελετώ ν
θ η σ α υ ρ ίσ μ α τα Θ η σ α υ ρ ίσ μ α τ α , Π ε ρ ιο δ ικ ό ν το υ Ε λ λ η ν ικ ο ύ Ινσ τιτο ύ το υ
Β υ ζα ν τιν ώ ν κ α ι Μ ετα β υ ζα ν τιν ώ ν Σ π ο υ δ ώ ν
Κ ερκυρ. Χρον. Κ ερ κ υ ρ α ϊκ ά Χ ρ ο ν ικ ά
Κ λ η ρ ο νο μ ιά Π ε ρ ιο δ ικ ό ν δ η μ ο σ ίευ μ α το υ Π α τ ρ ια ρ χ ικ ο ύ Ιδρύ μ α το ς
Π α τερικ ώ ν Μ ελετώ ν
Κ ρητ. Χ ρον. Κ ρ η τικ ά Χ ρ ο νικ ά
Μ α κεδο νικ ά Μ α κεδο νικ ά , Σ ύ γγρ α μ μ α π ερ ιο δ ικ ό ν της Ε τα ιρ εία ς
Μ α κεδο νικ ώ ν Σ π ο υ δ ώ ν
ΝΕ Ν έος Ελληνομνήμω ν
ΠΑΕ Π ρ α κ τ ικ ά τ η ς εν Α θ ή ν α ις Α ρ χ α ιο λ ο γ ικ ή ς Ε τ α ιρ ε ία ς
A rtB A rt B u lletin
BCH B ulletin de C o r r e s p o n d e n c e H ellen iq u e
CA C a h ie rs A rch eo lo g iq u es
DOP D u m b arto n O aks Papers
JO B 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
PKg 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 = Α χειμ ά σ το υ M .. C h a tz id a k is M ., Le iconc della penisolu Mul
Α μ φ ιπ ρ ό σ ω π ε ς ε ικ ό ν ε ς τη ς Ρ ό δ ο υ . Η εικ ό ν α can ica c d cllc isolc G rc c h e (2 ). W eil/n u iim
τη ς Ο δ η γ ή τ ρ ια ς κ α ι το υ Α γ ίο υ Ν ικ ο λ ά ο υ , Κ .. A libegasvili G .. V o lsk a ja A ., liab le <i
Α Δ 21 (1966): Μ ελ έτα ι. p p . 62-83. C h a tz id a k is M .. A lp ato v M .. V oincseu I I ι
ico n c. M ilan o 1983. p p . 305-371.
A C H E IM A S T O U -P O T A M IA N O U 1973­
74 = Α χ ε ιμ ά σ τ ο υ -Π ο τ α μ ιά ν ο υ Μ .. Β υ ζ α ν ­ B A L T O Y A N N I 1984 = Μ π α λ τ ο γ ιά ν ν η Χμ
τ ιν ά . μ εσ α ΐίο νικ ά κ α ι ν ε ώ τε ρ α μ νη μ εία Η π ε ί­ Π α ρ ά σ τα σ η Ε υ α γ γ ε λ ισ μ ο ύ κ ά τω ιι>ιή
ρ ο υ . Α Δ 29 (1973-1974): Χ ρ ο ν ικ ά , pp. νεο ιτερ η ε π ιζίο γ ρ ά ψ η σ η στο β η μ ό θ υ ρ ο I Μ /
609-614. το υ Β υ ζ α ν τ ιν ο ύ Μ ο υ σ είο υ , Λ Α Λ X VIII
A C H E IM A S T O U -P O T A M IA N O U 1976 = (1 9 8 4 ), p p . 43-72.
Α χ ε ιμ ά σ τ ο υ -Π ο τ α μ ιά ν ο υ Μ .. Κ έντρο Σ υ ν - B A L T O Y A N N I 1985 = Μ π α λ τ ο γ ιά ν ν η \»ι
τη ρ ή σ ε ω ς Α ρ χ α ιο τ ή τ ω ν . Α Δ 31 (1976): Χ ρ ο ­ Ε ικ ό ν ε ς. Σ υ λ λ ο γή Δ η μ η τρ ίο υ Ο ικονομο>ιοι·
ν ικ ά , p p . 14-20. λ ο υ . Α θ ή ν α 1985.
A C H E IM A S T O U -P O T A M IA N O U 1977 =
B A L T O Y A N N I 1986 (1) - H alloytuim t Ιι
Α χ ε ιμ ά σ τ ο υ -Π ο τ α μ ιά ν ο υ Μ .. Κ έντρ ο Σ υ ν-
E x h ib itio n C a ta lo g u e , Icones ilc t oll· · linn·
τη ρ ή σ ε ω ς Α ρ χ α ιο τ ή τ ω ν , Α Δ 32 (1977): Χ ρ ο ­
p riv ecs en G rc c e , A th c n e s 1986
ν ικ ά , p p . 8-14.
B A L T O Y A N N I 1986 (2) lialto y m tn i < li
A C H E IM A S T O U -P O T A M IA N O U 1987 (in Ico n s, D cm etrio s E k o n o m o p o u lo s ( ollt i llmi
p rin t) = Α χ ε ιμ ά σ το υ Π ο τα μ ιά ν ο υ Μ .. Η
A th e n s 1986.
Κ οίμ ησ η τη ς Θ ε ο τό κ ο υ σε δ ύ ο κ ρ η τικ έ ς
B A N K 1977 = B ank A .. I ‘a it hy/iiiiilii «I....
ε ικ ό ν ε ς τη ς Ken, Δ Χ Α Ε , π ε ρ . Δ - τ. ΙΓ'
les m u sccs d e l'U n io n S o v ietism I ι itlniHHlhl
(1987) (in p rin t).
1977.
A F F R E S C H 1 Ε 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 B E L T IN G 1980-81 B elling II Λιι hinn
(X -X V II se c o lo ). A te n e c F ire n ze, Palazzo and its F u n ctio n in the I ϊΐιιιμ ν Ih e M nn "I
Slrozzi (16 S c ttc m b rc - 16 N o v cm b rc 1986), S o rro w s in B y zan tiu m . IX >1* M L | | 1 n
A te n e 1986. 1981), pp. 1-16.
A IN A L O V 1917 = A in alo v D .. B yzantine B E L T IN G 1981 B elting II Mu· M*l«l und
P ain tin g o f th e F o u rte e n th C e n tu ry (in R u s­ sein P u h lik u m im M illcliillei M iilln l ,J| I
sia n ). P c tro g ra d 1917. B E R E N S O N 1968 IU h i i , imi It Iitill.m
A U F H A U S E R 1913 = A u fh au ser B.J . Mi- P ictu re s o f th e K enaissiiiut A Imi ι ·I Μι» |Hfli
racu la S. G e o rg ii. L eipzig 1913. cipal artists an d th en w nil wllli nil III·li “ I
B A B IC 1968 = B abic G .. L es discussions
p lates, vol. Il l o n tlo n MJliH
C h risto lo g iq u cs ct 1c d e c o r d es eglises byzan- 111 M IN I I') 1 ί Mil I Mil S I < |·«Ι I (M ill
tins au X II sicclc. F ru h m ittclaltcrlich c S tu ­ ico n c c ie le s e veinvliiiiii ι I iiiihIinun 1 1 Γ ■ι ■■
dio n. B erlin 1968, p p . 368-386. 1933.
B A B IC -C H A T Z ID A K J S 1983 = B abic G - HI 1 I INI I'MII II· Mini IMllun · · ■
v c n c z ia n c . slave e d italiane del M u sco N azio-
n ale di R a v e n n a . R avenna 1940.
B IA N C O F IO R IN 1983 = B ianco F iorin M .,
N icola Z a fu ri. C rc tc sc del Q u a ttro c c n to . c
u n a sua in c d ita 'M a d o n n a '. A rte V c n e ta ,
X X X V II (1983). pp. 164-169.
B O R B O U D A K IS 1969 = Μ π ο ρ μ π ο υ δ ά κ η ς
Μ .. Β υ ζ α ν τ ιν ά κ α ι μ ε σ α ιω ν ικ ά μ νη μ εία
Κ ρ ή τη ς. Κ ρητ. Χ ρ ον. Κ Β ' (1969). p p. 521­
528.
B O R B O U D A K IS 1971 Μ πορμπουδάκης
Μ .. Μ ε σ α ιω ν ικ ά μ νη μ εία Κ ρ ή τη ς. Α Λ 26
(1971): Χ ρ ο ν ικ ά , p p. 520-533.
B O R B O U D A K IS 1973 - Μ π ο ρ μ π ο υ δ ά κ η ς
Μ .. Β υ ζ α ν τ ιν ά κ α ι μ ε σ α ιω ν ικ ά μ νη μ εία
Κ ρ ή τη ς. Κ ρ η τ. Χ ρ ον. Κ Ι;' (1973), pp. 478­
511.
B O R B O U D A K IS 1973-74 Μ πορμπουδά-
κ η ς Μ ., β υ ζ α ν τ ιν ά κ α ι μ ε σ α ιω ν ικ ά μ νη μ εία
Κ ρ ή τη ς. Α Δ 29 (1973 1974): Χ ρ ο ν ικ ά , pp.
935-945.
B O R B O U D A K IS 1985 = Μ π ο ρ μ π ο υ δ ά κ η ς
Μ .. Η μ ε ρ ο λ ό γ ιο 1985. κ ο σ μ η μ ένο με κ ρ η τικ έ ς
φ ο ρ η τ έ ς ε ικ ό ν ε ς , έ χ δ . Δ ή μ ο υ Η ρ α κ λ ε ίο υ .
Η ρ ά κ λ ε ιο Κ ρ ή τη ς 1985.
B O U G R A T 1982 B ougrat Μ .. 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 Μ π ο ύ ρ α A .. Έ ν α τ ρ ίπ τ υ χ ο με
ο ιν α ϊτ ικ ή ε ικ ο ν ο γ ρ α φ ία σε ιδ κ ο τικ ή συλλογή
τω ν Α θ η ν ώ ν . Π έ μ π το σ υ μ π ό σ ιο Β υ ζ α ν τ ιν ή ς
και Μ ε τ α β υ ζ α ν τιν ή ς Α ρ χ α ιο λ ο γ ία ς κ α ι
Τ έχ ν η ς. I Ιερ ιλ ή ψ εις α ν α κ ο ιν ιό ο ειο ν, θ ε σ ο α ­
λ ο ν ίκ η 1985. pp. 62-63.
Β Υ Ζ Α Ν Τ ΙΝ Ε Α Κ Ι 1958 I n h ib itio n C at-
a 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 , Β υ ζα ν τ ιν ές α > ιχο γ ρ α φ ίες
κ α ι ε ικ ό ν ε ς . Ε θ ν ικ ή Π ιν α κ ο θ ή κ η ( £ ιπ τ έ μ
6 ρ ιο ς -Δ ε κ έ μ β ρ ιο ς 1976), Α θ ή ν α 1976.
Β Υ Ζ Α Ν Τ ΙΝ Ε 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.
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 A R L I 1957 — C arli E .. L cs prim itifs sicn-
n o is. P aris 1957.
C A T T A P A N 1973 = C a tta p a n Μ . I pitto ri
A n d re a e N icola R izo da C a n d ia , θ η σ α υ ρ ί-
σ μ α τ α 19 (1973). p p. 238-282.
CECC HI 1928 = C ccchi E .. T rccen tisti
S en esi. R om a 1928.
C l I A R A l .A M P O U S -M O U R IK I 1962-63 =
Χ α ρ α λ ά μ π ο υ ς-Μ ο υ ρ ίκ η N .. Η π α ρ ά σ τα σ η
τη ς ‘Φ ιλ ο ξενία ς το υ Α β ρ α ά μ σε μ ια εικ ό ν α
του Β υ ζα ντινοί» Μ ο υ σ ε ίο υ , Δ Χ Α Ε , π ε ρ . Δ -
τ. Γ (1962-1963), p p . 87-1 14.
C H A T Z ID A K IS 1950 = Χ α τ ζ η δ ά κ η ς Μ .. Ο
Α ο μ ή ν ικ ο ς θ ε ο τ ο κ ό π ο υ λ ο ς κ α ι η Κ ρητική
ζιο γ ρ α φ ικ ή . Κ ρ η τ. Χ ρ ο ν . Δ ' (1950). pp.
371-440.
C H A T Z ID A K IS 1953 = C h a tz id a k is Μ ..
C o n trib u tio n a I’c tu d e de la p c in tu rc post-
b y z a n tin e . A th c n c s 1953.
C H A T Z ID A K IS 1956 = Χ α τ ζ η δ ά κ η ς M .,
Μ ε τ α β υ ζ α ν τ ιν έ ς τ ο ιχ ο γ ρ α φ ίε ς στη Ζ ά κ υ ν θ ο .
Α ' μ έρ ο ς. Ζ υ γ ό ς , Μ ά ρ τ ιο ς 1956.
C H A T Z ID A K IS 1960(1) = Χ α τ ζ η δ ά κ η ς Μ .,
Β υ ζ α ν τ ιν έ ς τ ο ιχ ο γ ρ α φ ίε ς σ το ν Ω ρ ω π ό ,
Δ Χ Α Ε , π ερ . Δ ' - τ. Α ' (1960), pp. 87-107.
C H A T Z ID A K IS 196 0 (2 ) = Χ α τ ζ η δ ά κ η ς Μ ..
Β υ ζ α ν τ ιν ό Μ ο υ σ ε ίο . Α Δ 16(1960): Χ ρ ο ν ικ ά ,
pp. 1 1-13.
C H A T Z ID A K IS 1961 = Χ α τ ζ η δ ά κ η ς Μ ..
Δ ώ δ ε κ α β υ ζ α ν τ ιν έ ς ε ικ ό ν ε ς (έκ δ. Ε μ π ο ρ ικ ή ς
Τ ρ α π έ ζ η ς Ε λ λ ά δ ο ς ). Α θ ή ν α ι 1961.
C H A T Z ID A K IS 1962 = C h a tz id a k is Μ .,
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 = Χ α τ ζη δ ά κ η ς
Μ ., Ε ικ ό ν ε ς ε π ισ τ υ λ ίο υ α π ό το Ά γ ι ο ν Ό ­
ρ ο ς . Δ Χ Α Ε , π ε ρ . Δ ' - τ . Δ ' (1964-1965), pp.
377-403.
C H A T Z ID A K IS 1 965(1) = Χ α τ ζ η δ ά κ η ς Μ . .
Β υ ζ α ν τ ιν ό ν κ α ι Χ ρ ισ τ ια ν ικ ό ν Μ ο υ ο είο ν , Α Δ
20 (1965): Χ ρ ο ν ικ ά , p p. 11-15.
C H A T Z ID A K IS 1965 (2) = C h a tz id a k is Μ ..
Iko n en a u s G ric c h c n la n d . W eitzm ann Κ .,
C h a t/id a k is M ., M iatcv Κ ., R ad o jcic S.,
I riihc Ik o n e n , Sinai - G ric c h c n la n d - Bulga-
lie 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) = Χ α τ ζ η δ ά κ η ς M ..
Β υ ζ α ν τ ιν ό ν κ α ι Χ ρ ισ τ ια ν ικ ό ν Μ ο υ σ είο ν. Α Δ
21 (1966): Χ ρ ο ν ικ ά , p p. 16-35.
C H A T Z ID A K IS 1966 (2) = Χ α τ ζ η δ ά κ η ς Μ ..
Τ α χ υ δ ρ ό μ ο ς 2 4 .1 2 -1966, p. 56.
C H A T Z ID A K IS 1967 = Χ α τ ζ η δ ά κ η ς Μ ..
Β υ ζ α ν τ ιν ό ν κ α ι Χ ρ ισ τ ια ν ικ ό ν Μ ο υ σ είο ν. Α Δ
22 (1967): Χ ρ ο ν ικ ά , pp. 16-33.
C H A T Z ID A K IS 1968 = C h a tz id a k is Μ ..
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.
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 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 rc-
tois. D O P 23-24 (1969-1970), pp. 309-352.
C H A T Z ID A K IS 1972(1) = Χ α τ ζ η δ ά κ η ς M ..
Π ερ ί Σ χ ο λ ή ς Κ ω ν σ τα ν τιν ο υ π ό λ ε ω ς ο λ ίγ α ,
Α Δ 27 (1972): Μ ελ έτα ι, pp. 121-137.
C H A T Z ID A K IS 1972 (2) = C h atzid ak is Μ ..
A sp ects d e la p c in tu rc m u ralc du X I lie sicclc
c n G re c c . S tu d ies in B yzantine A rt and
A rc h a e o lo g y . V ario ru m R e p rin ts, L o n d o n
1972, c h a p te r X III. pp. 59-73.
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 1974 (1) = C h a tz id a k is M ..
L cs d e b u ts d e I’cco lc crcto isc et la q u estio n d e
I’cco lc d itc ‘ita lo g rc c q u c ', Μ νη μ ό σ υνο ν Σ ο ­
φ ία ς Α ν τ ω ν ιά δ η . Β εν ε τία 1974. pp. 169-211.
C H A T Z ID A K IS 1974 (2) = C h atzid ak is M ..
E ssai s u r I’eco lc d itc ‘italo g rc cq u c' prcccd c
d ’unc n o te su r les ra p p o rts d e 1‘a rt vcniticn
avec l'a rt c rcto is ju s q u ’a 15(K), V en ezia e il
L ev an tc fino al secolo X V , F iren ze 1974, pp.
69-124.
C H A T Z ID A K IS 1974(3) = Χ α τ ζ η δ ά κ η ς M ..
Β υ ζ α ν τ ιν ό Μ ο υ σ είο , Τ α Ε λ λ η ν ικ ά Μ ο υ σ εία .
Ε κ δ ο τ ικ ή Α θ η ν ώ ν , Α θ ή ν α 1974.
C H A T Z ID A K IS 1974 (4) = C h a tz id a k is Μ ..
C lassicism c c t tcn d a n c c s p o p u laircs au X IX e
siccle. L cs rcch c rc h e s s u r re v o lu tio n d u style,
A c te s du X IV c C o n g res In te rn a tio n a l des
E tu d e s B y z an tin e s (B u c a rc st. 6-12 S ep tem b re
1971). B ucarest 1974. pp. 153-188.
C H A T Z ID A K IS 1976 = C h atzid ak is M .
L 'c v o lu tio n d e l iconc au 1 lc-13e sicclcs et la
tra n sfo rm a tio n du tc m p lo n . X V e C on g n is
I n te rn a tio n a l d 'E tu d c s B yzan tin es. R a p p o rls,
III. A rt c t A rc h e o lo g ic , A th c n c s 1976. pp.
159-191.
C H A T Z ID A K IS 1977(1) = Χ α τ ζ η δ ά κ η ς M .
Ε ικ ό ν ε ς τη ς Π ά τ μ ο υ . Ε θ ν ικ ή Τ ρ ά π ε ζ α της
Ε λ λ ά δ ο ς, Α θ ή ν α 1977.
C H A T Z ID A K IS 1977 (2) = C h atzid ak is Μ
La p c in tu rc d cs *m a d o n n c ri’ o u ‘v cnctocrc
toisc* c t sa d e s tin a tio n , V en ezia C e n tro dl
M cd iazio n c tra O rie n tc c O ccid en te (sccoii
X V -X V I). A sp e tti c p ro b lcm i. A tti del II
C o n v c g n o In te rn a z io n a le di S to ria della
C ivilta V c n c z ia n a (1973). II. F iren ze 1977
pp. 675-690.
C H A T Z ID A K IS 1977-79 = Χ α τ ζ η δ ά κ η ς M
Ν ε ώ τε ρ α γ ι α τη ν ισ το ρ ία κ α ι τη ν τέχνη· 11 |
Μ η τρ ό π ο λ η ς το υ Μ υ σ τρ ά . Δ Χ Α Ε , π ερ , Λ
τ. 0 ' (1977-1979). pp. 143-175.
C H A T Z ID A K IS 1979 (1) = C hatzid ak is Μ
L 'c v o lu tio n d e I'iconc au llc -1 3 e si£clcs el Iit
tra n sfo rm a tio n du tcm p lo n . A ctes du XVi1
C o n g res In te rn a tio n a l d 'E tu d c s Byzanlltl· »
A th c n c s (S e p te m b re 1976). I. Athene?» 19/9
p p. 333-366.
C H A T Z ID A K IS 1979 (2) = C hatzid ak is M
W eitzm an n Κ .. 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.
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 (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 a-
lia 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 Bal-
can ica c d cllc isolc G re c h c (1 ). W eitzm an n
Κ .. 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 . 129-199-
C IIA T Z IN IK O L A O U 1966 = Χ α τ ζ η ν ικ ο -
λ ά ο υ A . , Β υ ζ α ν τ ιν ά κ α ι μ ε σ α ιω ν ικ ά μνη μ εία
Η π ε ίρ ο υ . Α Δ 21 (1966): Χ ρ ο ν ικ ά , pp.
295-298.
C H O R E M IS 1981 = Χ ω ρ έμ η ς Α .. Ν έο ει-
κ ο ν ο γ ρ α φ ικ ό το υ Τ ζ ά ν ε σ τη ν Κ έρ κ υ ρ α ,
Κ ερ κ υ ρ . Χ ρ ο ν. 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 r-
m 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 Κ ., 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,
Β υ ζ ά ν τ ιο ς . 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 A L T O N 1909 = D alto n M .O .. A B yzantine
Panel in th e B ritish M u seu m , B urlington
M agazine. 14 (Ja n u a ry 1909). p p . 230-236.
I ) A L T O N 1911 = D alto n M .O ., B yzantine
A il and A rch aeo lo g y , O x fo rd 1911.
DALTON 1925 = D alto n M .O .. E ast
i h risiian A rt, O x fo rd 1925.
I >1 1 A G A R D E 1882 = D c L ag ard e P ., lo an -
III*» E u c h a ito ru m
m c tro p o lita c q u a e su p e r­
mini . C o ttig ac 1882.
Ml L E I IA Y E 1909 = D clc h a y c H . L es Ic-
g en d cs g rccq u cs d cs S ain ts m ilitaircs. Paris
1909.
D E L IV O R R IA S 1980 = Δ ε λ η β ο ρ ρ ιά ς A .,
Ο δ η γ ό ς το υ Μ ο υ σ είο υ Μ π ε ν ά κ η , Α θ ή ν α
1980.
D E M U S = D em u s Ο .. 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 on-
g 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 = Δ ρ α ν δ ά κ η ς B .N ., O
Ε μ μ α ν ο υ ή λ Τ ζ ά ν ε Μ π ό υ ν ια λ ή ς, θ ε ω ρ ο ύ μ ε ­
ν ο ς ε ξ ε ικ ό ν ω ν το υ σ ω ζ ο μ έν ω ν κ υ ρ ίω ς εν
Β ε ν ε τ ία . Ε ν Α θ ή ν α ις 1962.
D R A N D A K IS 1969 = Δ ρ α ν δ ά κ η ς Β .Ν ..
Ε ικ ο ν ο γ ρ α φ ία τω ν Τ ρ ιώ ν Ιερ α ρ χ ώ ν . Ιω ά ν ­
ν ιν α 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 rcus-
sisch 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 byzan-
tin 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 ,
Ε κ θ εσ η γ ια τ α 100 χ ρ ό ν ια τη ς Χ ρ ισ τια ν ικ ή ς
Α ρ χ α ιο λ ο γ ικ ή ς Ε τ α ιρ ε ία ς (1884-1894),
Β υ ζ α ν τ ιν ό κ α ι Χ ρ ισ τ ια ν ικ ό Μ ο υ σ είο Α θ η ­
νώ ν (6 Ο κ τ ω β ρ ίο υ 1984 - 30 Ιο υ ν ίο υ 1985),
Α θ ή ν α 1984.
F E L IC E T T I-L IE B E N F E L S 1956 = Fclicctti-
L icb en fcls W ., G csch ich tc d e r b yzantinischcn
Ik o n e n m a lc re i, O ltc n -L a u sa n n c 1956.
F IN E IC O N S 1980 = C a ta lo g u e o f F ine
Ico n s. S o th e b y ’s. 18th D c c c m b e r 1980,
London.
G A R IS S O N 1949 = G arisso n E .B ., Italian
R o m a n e sq u e P anel P ain tin g , F lo ren ce 1949.
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.
H A D E R M A N N -M IS G U IC II 1975 = H ad er-
m ann-M isguich L .. K u rb in o v o , Lcs fresqucs
203 —
d c S ain t-G co rg es et la p c in tu ie hy/itiiMm ilti
X II si6clc. B ruxelles 1975,
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
IIE T H E R I N G T O N 197H - I lelltci ............ I*
T he P a in te r's M an u al o f D ionysius ol I o u uiti
L o n d o n 1978.
H O R S E S O F SA N M A R C O 19/9 | Oil
b itio n C a ta lo g u e , T h e H o rses «>1 Sun M a n n
V cn ise, R oyal A cad em y o f A its. I om ltm
M ilan t979.
IC O N E S 1975 = Ico n es g rccq u cs el 111·. i
G a le ric N ik o lcn k o , P aris 1975.
IC O N E S 1977 = Ico n es g rccq u cs el iu , .
G a le ric N ik o lcn k o , R eck lin g h au sen 1 9 //
IK O N E N 1981 = Ik o n cn m u scu m Uei k
lin g h au sc n , 6 A u sg ab c 1981. R eckh n ^h aiisi n
1981.
IO A N N O U 1959 = Ιω ά νν ο υ Α Β υ ζ α ν ιιν ι .
τ ο ιχ ο γ ρ α φ ίε ς τη ς Ε ύ β ο ια ς , Α A / xh io k
τ ρ ίτ ο υ κ α ι δ έ κ α τ ο υ τέ τα ρ το υ α κ ίιν α , Α θήνα
1959.
K A F T A L 1978 = K aftal G .. Icono^wnpli ν ol
th e S ain ts in th e P ain tin g o f N orth I nsl lluly
S ain ts in Italian A rt. F lo ren ce 1978
K A L O K Y R IS 1973 = K alokyris ( I In
B y z an tin e W all-p ain tin g s o f C re te . N ew Yoik
1973.
K A R A M A N 1932 = K aram an I . N oli sin
P art byzan tin ct les Slaves C a th o h q m s dt li
D a lm a tic , L ’art B yzantin c h e / les Shiv·
R cccu il d c d ic a la m e m o ire de I lu 'o tlo n
U sp e n sk ij, II. P aris 1932. pp. 332 '8 0
K A R T S O N IS 1986 = K arlso n is D A All··
tasis. T h e M aking o f an Im age, l*i im ·*11 n«
N ew Je rse y 1986.
Κ Α Ζ Α Ν Α Κ Ι 1974 = Κ α ζα νά κ ι] Μ I hmM|
σ ια σ τικ ή ξ υ λ ο γ λ υ π τ ικ ή σ ι ο ΧιινδοΜ ..........
17ο α ιώ ν α , θ η σ α υ ρ ίσ μ α τ α II ( | 9 / | ] |·|·
251-283.
K A Z A N A K I-L A P P A 1981 K oi.ovoio)
Α ά π π α Μ .. Ο ι ζ ω γ ρ ά φ ο ι του ,\« ιν δ ο μ........ ο ι
το 17ο α κ ό ν α . Θ η σ α υ ρ ίσ μ α ια |Μ (|9 Μ |) |·|ΐ
177-267.
K O N O M O S 1966 Κ ο νό μ ο Ν· II ■■■
σ τ ια ν ικ ή τέχνη σ τη ν K n |o > o v io M hpo
1966.
K O N O M O S 1979 Κ ονόμ ο Νι ■
θ ο ς . Κ α ο τ ρ ό λ ο φ ο ς χοι Α ιγ ιο ιλ ο . \ Ι ■·■
1979.
K O U T E L A K IS 19ΚΙ Κ ο ο ιιλ ο - .| Μ .
Τ ή ν ο ς . Ισ το ρ ία Ι ϊχ ν η Α ρ χ α ιο λ ό γ ο M hp j
1981.
K R I I D I Ρ Α Ρ Α ΙΧ )|·( )U | I >S |9 /Η \ t nil
P a p a d o p o u lo s Κ D u ΙΚοιι«ίι 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 ■■
i I''Tii! pp Ci | \.\
K R I I DI Ι Ά Ι Ά Ι K H*( M i| i I*. |<ii«lini

IC O N O G R A P H IC A L IN D EX
A d o ra tio n o f the M agi. nos. 62a. 63. 64
A g o n y in th e G a rd e n , no. 22
A k ra T ap ein o sis. cf. C h rist
A n d re w , a p o stle , no. 53
A n g e ls, nos. 5, 21. 54
A n n e , S t.. w ith th e V irg in, nos. 31, 34, 36
A n n u n c ia tio n , nos. 6, 12, 39, 48. 53, 71
A n th o n y , S t., no. 70
A p o s tle s, n o . 21
A rc h ip p o s, m o n k . no. 51
A rsc n iu s th e G r e a t, S t.. no. 71
A scen sio n , no s. 5, 62
B acch us, n o . 65
B a p tism , nos. 12, 73
Basil. S t.. no s. 17, 48, 71
B e tray al, ntj. 22
B irth o f the V irgin, n o . 23
C a th e rin e , S t., n o . 70
C h rist, no s. 6, 7, 15, 16, 28, 33, 36, 45, 46, 56,
64, 68; A k ra T a p ein o sis, nos. 8, 20. 27,
44, 61; E m m a n u e l, n o. 2; E n th ro n e d , no.
33: High P riest, no. 71; P a n to c ra to r, nos.
14, 26; W isdom o f G o d , n o. 20; Z o o d o tis,
n o . 20
C h rist an d th e S am arita n W o m an , no. 49
C h u rc h F a th e r, no. 4
C ru cifix io n , nos. 21. 64, 70
D am ian , S i ., no. 2
D av id , p ro p h e t, nos, 39. 53. 71
D eesis. nos. 57, 71
D e m e triu s, S t.. nos. 14, 37. 3H. (ill
D escen t from th e C ro ss, no. 6
D o rm itio n o f llp h ra im th e S y rian , no. 47·
D o rm itio n o f Si. S ah h as, no. 47
D o rm itio n o f th e V irgin, nos. 10. 23, 29. 62,
63
E m b ra c in g o f P eter and Paul. no. 43
E n try in to Je ru sa le m , no s. 29. 50
E u p lo s, an o n y m o u s D eae o n . no. 3
E u th y m io s, S t.. no. 70
F a n o u rio s, nos. 32, 37, 38
F lag ellatio n , no. 22
F ran cis, S t., o f A ssisi, no. 46
G a b rie l, arch an g el, no. 41
G e o rg e , S t.. nos. 9. 19, 32, 38. 59
G re g o ry th e T h e o lo g ia n . S t.. nos. 17. 71
H o ly T rin ity , nos. 36. 54
H o sp ita lity o f A b r a h a m . no, 54
Isa ia h , n o . 53
Jo h n th e B a p tist, S t.. nos. 1 1. 66, 67
J o h n C h ry so sto m . S i., nos. 17, 71
Jo h n D a m a sk in o s. h y m n o g rap h er no. 23
Jo h n th e T h e o lo g ia n . S t., no. 39
Jo s e p h , h y m n o g ra p h e r. n o . 23
Jo s e p h . S t., no. 64
Ju s tin a , S t., n o . 65
K o sm as. S t., no. 2
K o sm as. M a io u m a . h y m n o g rap h er. no. 23
L ast S u p p e r, no. 22
M a rin a . S t .. n o . 31
M a rk , ev an g elist and S aint, n o . 65
M eetin g o f Jo a ch im and A n n e . no. 23
M clism o s, no. 6
M ichael, a rc h a n g e l, nos. 41. 51 D a m a sk in o s M ichael, pp. 50, 53, 55, nos. 64,
M iracle at C h o n a e . n o. 51 65, 66, 67. 68
M oses, p ro p h e t, no. 70 D a n d o lo F r., D o g e , no. 45
N ativity, nos. 12. 23. 30 D a n d o lo , p. 47
N icholas. S t., nos. 17, 18. 25. 55, 56, 57, 71; D e m o s th e n e s, p. 31
D io n y siu s o f F o u rn a . p p. 44, 54, nos. 72. 73
w ilh sc en es o f his life and m iracles, nos.
E u p h ro s y n o s, p. 50
56, 57
G e m is to s P le th o n , p. 32
Noli Me T a n g e re . n o. 58
G e rm a n u s , S t., p. 38
P aul, ap o stle an d S ain t, nos. 6. 71
G h isi, p. 47
P e te r, ap o stle an d S a in t, nos. 6, 16. 71
G re g o ry , o f N azian zu s, p p. 32, 34
P ie ta , no. 45
H e ro d o tu s , p. 32
P re se n ta tio n in th e T e m p le , nos. 29, 68; P re s­
H o m e r, p p . 31, 33
e n ta tio n o f th e V irgin in th e T e m p le , no.
J o h n , a rc h b ish o p , n o. 20
23
J o h n , C h ry so sto m , p. 32
P rocession lo C a lv a ry , no. 22
J o h n , o f D am ascu s, p p. 36, 37, 38, 39
R aising o f L azaru s, nos. 7. 28. 29
Ju stin ia n , p. 33
R e su rre c tio n , nos. 70, 72
K lo n tzas. no. 62
S a b b a s, St . n o. 70
S a ra h , no. 54 K lo n tzas G e o rg io s, pp. 50, 53. n o . 62
K o n to g lo u P h o tio s, p. 39
S o lo m o n , K ing. n o. 71
L a m b a rd o s E m m an u e l, no. 64
S erg iu s, n o. 65
L a m b o u d io s . no. 41
S even S leep ers o f E p h e so s, no. 52
L am b o u d is M a tth a io s, no. 41
S p in a rio, n o. 50
L a m b o u d is N ikolaos. no. 41
S p y rid o n . S t.. n o . 71
L e o I II . p. 35
S te p h e n , d e a c o n , no. 43
L im o g allo s A n d re a s, no. 53
S y m eo n , S t., no. 65
L o rc n z c tti A m b ro g io , no. 49
S ym eon T h c o d o c h o s, nos. 67. 68
L u cian , p. 32, n o. 63
T h e o d o re th e T iro , S t., no. 32
M a n teg n a A n d re a , no. 53
T h e o d o le , S t.. n o. 2
M a v ro p o u s lo a n n is, nos. 17. 32
T h e o p lu m e s. h y m n o g ra p h e r. no. 23
M en g en o s lo a n n is, no. 35
Three C hurch F a th e rs, no. 17
N ik e p h o ro s, p. 36
T ra n s fig u ra tio n , nos. 7. 12, 45, 70
O rsin i, p. 47
V irgin, nos, 6, 27. 36, 45. 56; an d C h ild , nos.
P allad as Ie re m ia s, no. 70
13, 42, 43; I Ico u sa, no. 41; G a te o f E ze­
P avias A n d re a s , pp. 49, 52. no. 45
kiel, n o. 53; G ly k o p h ilo u sa , no. 40; H o-
P ericles, p. 32
d c g e iria . nos. 8, 13, 15, 18. 24; K ardio-
P h o cas. p. 48
lissa. nos. 34. 35; M ad re d ella C onsola-
P isa n e llo . n o . 30
z io n c , nos. 42, 43, 46; P la ty le ra , n o. 6; o f
P la to , p p . 32, 34
the P assion, nos. 35, 40; V irgin blessed by
P lo tin u s, p. 34
llie P rie sts, n o. 23
P lu siad in o s, nos. 36, 53
V ision o f St. P e te r o f A le x a n d ria , no. 68
P o u lak is T h e o d o ro s . p. 5 5 , no. 72
W ashing o f the F e e t, n o. 22
P ro c lu s, p. 32
P se u d o b o n a v e n tu ra , no. 53
Q u e rin i. p. 47
R itzo s A n d re a s , pp. 49, 52, 56, nos. 23. 33.
IN D EX O F N A M E S
36, 38, 39, 41. 56, 57, 62
R itzo s N ik o lao s, p. 49. nos. 43. 53, 71
S a n u d i, p. 47
A esch y lu s, p. 32 S o p h o cles, p. 31
A k o ta n to s A n g elo s, p. 48. no. 57 S tra b o , n o. 63
A le x a n d e r th e G r e a t, p. 32 T h e o c h a ris S ilvcstros, nos. 70, 71
A n g elo s, nos. 32, 33, 35, 3 6 ,3 7 , 38, 43, 59, 66 T h e o d o re S t., th e S tu d ite. p. 36
A n g c v in s , p. 47 T h e o p h a n e s. nos. 44, 72
A risto tle , p p . 31. 32 T h e o to k o p o u lo s D o m en ik o s (E l G re c o ), pp.
A u g u stu s, p. 31 50. 53, 56, nos. 62, 62a, 63
B arro zi, p. 47 T o cch i, p. 47, n o . 5
B a rto lo di F rc d d i. n o. 64 T r a ja n , p. 31
Basil 1, p. 34 T z a fo u ris N ik o lao s, p. 49. nos. 42, 43, 44, 45.
Basil 11. nos. 51. 52 46, 49
Basil o f C a e s a re a , p p. 32. 37 T z a n e s E m m a n u e l, nos. 33, 34, 35. 36, 46, 72
Bellini G io v a n n i, n o. 45 T z a n k a ro la s S te p h a n o s, no. 32
C h a rle m a g n e , p. 37 U lp iu s th e R o m a n , p. 44
C’h o n ia te s N icetas, p. 46 V en ez ia n o L o re n z o , no. 43
C lem en t o f A le x a n d ria , p. 32 V en ez ia no P a o lo , nos. 45. 59
C o m n e n u s A lex iu s, p. 33 V e n ie r. p. 47
C o n s ta n tin e th e G r e a t, p p. 31, 36 V e ro n e se P a o lo , p. 50. no. 65
Cyril o f A le x a n d ria , p. 32 V ic to r, n o s. 46, 70
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