Table Of ContentGUIDe TO
GUIDE TC)
BYZANTINE ICONOGRAPHY
EYZaNTINe
VOLUME TWO
By Constantine Cavarnos
ICONOGRaPHY
Detailed, illustrated explanation often major icons
VOLUME TWO
ofthe Festalcycle and ofthe iconography of God (the
HolyTrinity, the Father, the Son, and the Holy Spir-
it), of the Panagia or Theotokos, of Saint John the
Baptist and of the Angels, followed by illuminating
remarks of Saint Nectarios of Aegina and Photios
Kontoglou on iconographic "Types"and"Archetypes."
HOLY TRANSFIGURATION MONASTERY 8187
.C37
2 78 Warren Street, Brookline, Massachusetts 0244 5" 19930-
ISB 0-94340S-11-4 \/.2 TI E C VARNOS
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GUIDE TO
BYZANTINE ICONOGRAPHY
VOLUME TWO
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Detailed, illustrated explanation ten major icons the
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Festal Cycle and the icotioqraphv God (the Holy
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Trinity, the Father,the Son, and the Holy Spirit), the
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Patiaqia orTheotokos, Saint John the Baptist
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and the AnBels,Jollowed by illuminatinB
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remarks Saint Nectarios AeBina and
Photios Kontoqlou on iconopraphic
"7jpes" and "Archetypes"
By
CONSTANTINE CAVARNOS
PANAGIA HODEGETRIA PAMMAKARISTOS
HOLY TRANSFIGURATION MONASTERY
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Panel Mosaic icon on the iconostasis the Church Saint George,
the Patriarchate if Constantinople. Eleventh century. BOSTON, MASSACHUSETTS
2001
II
1\
CONTENTS
LIST OF ILLUSTRATIONS II
PREFACE .
COMMENTS ON VOLUME ONE 18
CHAPTER I. TEN MAJOR FESTAL ICONS. 20
The HolyWashing of the Disciples' Feet . 21
The Mystical Supper .
t
Christ Breaking the Bread at Emmaus . .
1 Christ Healing the Paralytic . . . . . . .
Christ Conversing with the Samaritan Woman
r
Christ Healing the Blind Man . . .
! The Nativity of the Theotokos. . . . . . .
The Elevation of the Precious Cross . . . .
The Entry of the Theotokos into the Temple
The Restoration of Holy Icons .
Copyright © 200 I by Constantine Cavarnos CHAPTER II. GOD IN ICONOGRAPHY 60
INSTITUTE FOR BYZANTINE AND MODERN GREEK STUDIES (-
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ISBN 0-943405- 11-4 Christ ..... 67
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7
CONTENTS CONTENTS
The HolyTile . . . . . . . . . . . . . . . . . . . . .
73 APPENDIX: SAINT NECTARIOS OF AEGINA
Christ Pantocrator Panel Icon . . . . . . . . . . . . .
74 ON TYPES IN ICONOGRAPHY I45
Panels of Christ the Merciful, Christ the Lifegiver, and
Christ the Lightgiver . . . BIBLIOGRAPHY . I49
Christ as the Ancient of Days . INDEX OF ICONOGRAPHIC THEMES
Christ as the Great High Priest
GENERAL INDEX
Christ as an Infant .
Christ as a Reclining Child . .
Christ at the Age of Twelve in the Temple
Christ as Emmanuel .
Christ as the Messenger of Great Counsel
Christ inAnother Form . . . . . . . . .
CHAPTER III. THE THEOTOKOS·
IO I
Panagia the Hodepetria . .
I03
Panagia the Eleousa . . . .
I04
Panagia the Glykophilousa
I06
Panagia of the Passion. .
I09
Panagia of the Angels . .
I II
Panagia the Fount of Life
I II
CHAPTER IV. SAINT JOHN THE BAPTIST
I I5
The Older Type .
I I9
The Later Type . . . . . . . .
I I9
CHAPTER V. THE ANGELS .
I23
The Nine Orders of Holy Angels
I26
The Fallen Angels
I28
The Seraphim
I3I
The Cherubim .
I33
Archangels and Angels
I35
8 9
II II
LIST OF ILLUSTRATIONS
Christ Explaining to His Disciples the Significance of the
Washing of their Feet. Fresco in the katholik6n of the
Monastery ofVatopedi, Mount Athos. 1312. Front Cover
Panagia Hodeyetria Pammakaristos. Panel mosaic on the
iconostasis of the Church of Saint George at the Patriar-
chate of Constantinople. Eleventh century. Frontispiece
The Holy Washing of the Disciples' Feet. Mosaic mural in
the Church of the Monastery of Hosios Lukas, Boeotia.
c. 1000. 20
Christ Explaining to His Disciples the Significance of the
Washing of their Feet. Fresco in the katholik6n of the
Monastery ofVatopedi, Mount Athos. 13I2. 23
The Mystical Supper. Panel icon in the Refectory of Holy
Transfiguration Monastery, Boston, Massachusetts.•By
Photios Kontoglou. 1960. 26
Christ Breaking the Bread at Emmaus. Fresco on the south
wall of the nave, Church of Staro Nagoricino, Serbia.
131]. 34
Christ Breaking the Bread at Emmaus. Fresco, detail, katbo-
lik6n of the Monastery of Lavra, Mount Athos, byTheo-
phanes the Cretan. 1535. 35
II
ILLUSTRATIONS ILLUSTRATIONS
Christ Healing the Paralytic. Fresco, Monastery of Saint Christ asthe Ancient of Days.Fresco, part of adeesis in the
Nikita, Serbia. Earlypart ofthe fourteenth century. 39 narthex of the Church of Hagioi Anargyroi ofTheodoros
Christ Conversing with the Samaritan Woman. Fresco, Lemniotis, Kastoria, Greece. Tenth or eleventh century. 8I
katholikon of the Monastery of Stavronikita, Mount Christ as the Ancient of Days. Fresco, Church of Hagios
Athos. Mid-sixteenth century. 42 Stephanos, Kastoria. Twelfth century. 82
Christ Healing the Blind Man. Fresco in the katholikon of Christ asthe Ancient of Days. Fresco, Church ofthe Mona-
the Monastery of Docheiariou, Mount Athos. 1568. 46 stery of Ubisi, Georgia. First half of the fourteenth cen-
Christ Healing the Blind Man. Fresco in the Church of tury. 83
Zoodochos Peghi at Liopesi (Paiania), near Athens. By Christ as the Great High Priest. Panel icon at the Mona-
Photios Kontoglou. 1946. 47 stery of Gonias, Crete. Second half of the fifteenth cen-
The Nativity of the Theotokos. Mural mosaic, Church of tury 87
Daphni. c. 1100. 49 Christ as the Reclining Child. Fresco in the Church of the
The Elevation of the Precious Cross. Fresco in the katho- Protaton, Mount Athos, ascopied by the Hagiorite monk
likon of the Monastery of Lavra, Mount Athos, byTheo- Theophilos in 1958. 90
phanes the Cretan. 1535. 52 Christ at the Age of Twelve in the Temple. Fresco in the
The Entry of the Theotokos into the Temple. Mural mosaic katholikon of the Monastery of Lavra, Mount Athos. Six-
in the narthex of the Church of Daphni. c. 1100. 54 teenth Century. 92
The Entry of the Theotokos into the Temple. Fresco in the Christ as Emmanuel. Fresco in the katholikon of Koutlou-
Church of the Theotokos at Studenitza, Serbia. Thir- mousiou Monastery, Mount Athos. Sixteenth century. 94
teenth century. 55 Christ as the Messenger of Great Counsel. Fresco in the
The Restoration of the Holy Icons. Fresco in the katholikon Kyriakon of the Skete of Kafsokalyvia, Mount Athas. Six-
of the Monastery of Lavra, Mount Athos, byTheophanes teenth or seventeenth century. 96
the Cretan. c. 1535· 58 Panagia the Hodegetria. Panel icon at Holy Transfiguration
The Hospitality of Abraham. Panel icon. Crete. Fifteenth Monastery, Boston, by Photios Kontoglou. 196 I. 100
century. 60 Panagia the Eleousa. Panel icon known as the Virgin of
The Holy Napkin. Fresco in the Church of the Protaton, Vladimir, atTretyakov Gallery, Moscow. c. I 125. 105
Mount Athos. 1686. 69 Panagia the Glvkophilousa. Panel icon in the katholikon of
Christ the Merciful. Panel icon at Holy Transfiguration the Monastery of Philotheou, Mount Athos. Reputed to
Monastery, Boston, by Photios Kontoglou. 1964. 76 date from the eighth century. 107
Christ the Lifegiver. Panel icon. By Photios Kontoglou. Panagia the Clvkophilousa. Panel icon at the Byzantine
Museum ofAthens. Sixteenth century. 108
1959· 77
Christ the Lightgiver. Panel icon at Holy Transfiguration Panagia of the Passion. Panel icon by Andreas Ritsos. fif-
Monastery, Boston, by Photios Kontoglou. J959. 78 teenth century. I10
12
ILLUSTRATIONS
Panagiathe Fount ofLife.Mosaicin the Church ofthe Mon-
astery of Chora at Constantinople. Fourteenth century. 113 II
Saint John the Baptist. Mosaic in the conch of the prothesis [I
ofthe Church of Daphni. c. I
100. 116
Saint John the Baptist. Mosaic, detail from a Deesis in the
south gallery of the Church of Hagia Sophia, Constan-
tinople. End ofthe twelfth century. I17
SaintJohn the Baptist. Panel icon on the iconostasis of the
PREFACE
katholikon, Monastery of Dionysiou, Mount Athos. Six-
teenth century.
I2I
Holy Angels. Mosaic, detail from the Baptism of Christ in I
TNHE FIRST VOLUME ofthis work, after along Introduc-
the katholikon ofNea Moni, Chios. c.
1050. 125 tion in which I explain many significant features of Byzan-
Seraphim, Cherubim, and Angels. Mosaic in the Cathedral tine Iconography, I discuss in Part One Proskynetaria and
of Cefalu, Sicily.Twelfth century. 127 the Iconostasis used in churches that follow the Byzantine
Archangel Michael. Panel icon, Byzantine Museum of Tradition of iconographic decoration. Next, in Part Two, I
Athens. Fourteenth century. 137 explain in detail theThree Cycles used in churches so decorated:
Archangel Gabriel. Mosaic, detail from the Annunciation, the Doctrinal, the Liturgical, and the Festal. I conclude with an
Church of Daphni. c.1100. 138 extended explanation of Saint John Damascene's defense of
Archangel Gabriel. Panel icon, Monastery of Iviron, Mount iconography and the veneration ofholy icons.
Athos, seventeenth century. 139 The present volume begins asa continuation of Chapter IIIof
Part Two of the first volume. There, I explained the festal icons
Synaxis of the Incorporeal Powers, Monastery of Dochei-
of the Dodekaorton, namely, those of the Annunciation, the
ariou, Mount Athos. ByHieromonk Philotheos. 1667. 142
Nativity of Christ, the Presentation of Christ in the Temple, the
SaintNectarios ofAegina. Panel icon by the hand of Photios
Baptism, the Transfiguration, the Raising of Lazarus, the Entry
Kontoglou.I963. 146
into Jerusalem, the Crucifixion, the Resurrection, the Ascen-
sion, Pentecost, and the Dormition of theTheotokos. In this vol-
ume, we begin with a description and explanation of ten other
icons of the Festal Cycle that are of special importance, being in
various ways highly didactic and spiritually uplifting.The first of
these are two icons which are related to the church services of
the Holy and Great Week, in particular, the icon of The Holy
Washing of the Disciples' Feet and the Mystical Supper.
Then we proceed to the icon that depicts an event which is
commemorated in the week that immediately follows the Holy
PREFACE PREFACE
and Great Week and is called in Greek Diakainesimos Heb- lowing are depicted: The Holy Trinity, the Father, the Holy Spir-
domas, and in English is variously spoken of as"New Week" (the it, and Jesus Christ at various stages of His life on earth and in
closest approximation to the meaning of the Greek term), "East- various "types."
erWeek," and "Bright Week."The event specially commemorated There follows, in Chapter III, an extensive treatment of the
then is Christ Breaking the Bread at Emmaus, as a confirmation subject of how the Theotokos or Panagia is traditionally por-
of His Resurrection. trayed in various "types" holding the Child Christ.
After that we deal with three icons that depict events which The next chapter is devoted to the iconography of Saint John
are celebrated on three successive Sundays after the Sunday of the Baptist and Forerunner, who is very prominent in Byzantine
Thomas, during the period that precedes the Ascension and Pen- iconography, both in panel icons and in murals.
tecost. These icons depict two miracles of Christ that are special- Chapter V,the last one, is devoted to an explanation of the
ly emphasized by the Church: The Healing of the Paralytic and various orders of holy Angels and how and where the Seraphim,
The Healing of the Blind Man, and also the significant event of the Cherubim, the Archangels and the Angels under them are
Christ Conversing with the Samaritan Woman. The last men- portrayed. Reference is also made to the Fallen Angels and the
tioned icon serves to remind us of Christ's interest in persons ways in which they are represented.
who were not Jews and that faith in Him results in receiving the After that chapter, I have added an Appendix in which I pre-
grace of the Holy Spirit, called "the water that springeth up into sent some illuminating remarks which Saint Nectarios, Metro-
eternal life." politan of Pentapolis (better known as Saint Nectarios of
Continuing our discussion of Festal Icons in the chronological Aegina), makes on the subject of "Types"in iconography. These I
order in which they are related to the services of the Orthodox relate to pertinent observations on "Archetypes" made by Pho-
Church, we turn next to the following three icons:The Elevation tios Kontoglou.
of the Precious Cross, The Entry of the Theotokos into the Tem- The book closes with a Bibliography, an Index of Iconographic
ple, and The Restoration of Holy Icons. The first of these icons Themes, and a General Index. In the Bibliography are listed
portrays a very Significant historical event: the discovery of the works actually referred to in the present volume.
True Cross by Saint Helen at Jerusalem and the elevation of it Volume Two does not complete the work Guide to Byzantine
from the ambon by the Patriarch of Jerusalem Macarios around Iconography. A third volume will be needed; and a considerable
the year 325. The second pertains to an important event in the amount of very valuable material has already been gathered for
life of the All-Holy Virgin Mary.The last mentioned icon depicts it.
an event that is of great Significancein the history of the Church.
It commemorates the triumphal victory of the traditionalist
Orthodox, who supported the making and veneration of holy CONSTANTINE CAVARNOS
icons, over the innovating, heretical iconoclasts, who were
against holy icons. This event is celebrated on the First Sunday of
the Holy and Great Lent known as"The Sunday of Orthodoxy." Institute Jor Byzantine and Modern Greek Studies
In Chapter II, the iconography of God is explained in detail. It Belmont, Massachusetts
answers the questions of how in Byzantine iconography the fol- January, 2000
16 17
COMMENTS ON VOLUME ONE
writes in a classical way about the distinctive characteristics of
II Byzantine iconography.This volume isalso aguide to the pattern
II
of decorating Orthodox Christian churches with panel icons,
wall paintings, and mosaics.
He discusses Byzantine Iconography as a sacred art and
describes its history, themes, the way ofportraying persons, gar-
ments, and objects, and the aesthetics of holy icons.The volume
includes numerous illustrations, and relates where various panel
SOME COMMENTS ON VOLUME ONE OF icons and murals appropriately belong in the church structure,
according to the long and rich tradition of the Orthodox
GUIDE TO BYZANTINE ICONOGRAPHY
Church.
The work is important for every Orthodox Christian to read
Guide to Byzantine Iconography by Dr..Constantine Cavarnos is in order better to understand the functions and meaning of
among the very best and most authoritative works on the subject icons. It includes a concise systematic exposition of Saint John
of Byzantine iconography. It is an excellent didactic book for the Damascene's treatise in defense of holy icons, numerous refer-
general reading public and for specialists, as well as a handy ences to other holy Church Fathers and modern writers on
guide for the icon painter. In addition to its other merits, this iconography, a Bibliography,and Indexes.
work provides the right terminology for the subjects treated and I highly recommend this impressive book to the Orthodox
for the inscriptions oficons. Many of these correct terms appear and non-Orthodox, to scholars and the general public.
here in the Englishlanguage for the first time.
George C. Papademetriou, Professor ofTheology
This is a monumental scholarly and authentic work. The
in The Greek Orthodox Theological Review.
Orthodox Church, scholars and artists will feel deeply grateful
to Professor Cavarnos for it. Allwill eagerly wait for the appear-
ance of the Second andThird volumes. Together, these three vol- Ihaveread Guide to Byzantine Iconography with great interest. It
umes will constitute a truly comprehensive treatment of the isindeed an important guide to Byzantine iconography.
important subject of Orthodox iconography. Demetrios Dukas, Iconographer.
Archimandrite Herouvim, Iconographer,
Skete of SaintAnna, Holy Mountain ofAthos,
in The Hellenic Chronicle.
The present volume on Byzantine iconography by Professor
Cavarnos is a great contribution to the witness of Orthodoxy in
th: Western hemisphere. Dr. Cavarnos, aprofessor ofphilosophy
WIthdeep faith steeped in the rich Orthodox Christian tradition,
18 19
[I
II
CHAPTER I
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~ TEN MAJOR FESTAL ICONS
~
•••
~
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a The Holy Washing the Disciples' Feet
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UH <..i
<HZ! cO AT THE ORTHROS of Holy and Great Thursday is com-
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I.tl '.".".:.'".:.•l memorated the HolyWashing of the Disciples' Feet by
::r:
E-< "0" Christ. This event is celebrated in a grand manner by
••• ':":~"r"0:: the Orthodox Patriarchate of Jerusalem, in the court-
0
yard of the magnificent Church of the Resurrection (usually
~
0
Z -c: referred to as the Church of the Holy Sepulchre). Here, the
u•...
H::r: ::l Patriarch, symbolizing Christ, washes the feet of twelve Archi-
<Z! (]
mandrites of the Holy Land, symbolizing the Apostles. The first
~ <..i
"8 Troparion that is chanted at the Orthros after the reading of the
:~>< ""
~ Hexapsalmos ("Six Psalms") mentions the Holy Washing, called
0
::r: in Greek the 0 leroc NII1THP.ltsays:
~
::r: When the glorious Disciples, during the Washing at the
E-<
Supper were illuminated, Judas the impious and avaricious,
become ill, was filled with darkness; and he delivered Thee
the RighteousJudge to the lawlessjudges. Youwho are lovers
of money, behold him who for money used the gallows; flee
from an insatiable soul, which dared to do such things to the
Teacher.Glory toThee, 0 Lord,Who art good to all.
This event is also mentioned in the Oikos (a kind of hymn)
which is read a little later in the Orthros, as well as in the text
20 2I
