Παραστάσεις εκκλησιών της Κωνσταντινούπολης, της Βενετίας και της Κρήτης σε φορητές μεταβυζαντινές εικόνες (πίν. 35-42)
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.28, 1981, pages 181-198
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181-198
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Representations of Constantinopolitan, Venetian and Cretan churches in Some Post-Byzantine Icons (pl. 35-42)
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Articles
Abstract:
The five-domed structure almost identically depicted in the frontispieces of two 12th century illuminated manuscripts containing the Homilies of Kokkinobaphos (PI. 35a, b) is believed to represent the Justinianic church of the Holy Apostles at Constantinople. To this explanation Xyngopoulos' opposition eventually contributed to our knowledge of other similar representations among which the one found in a 12th century liturgical roll (PI. 36a) is akin to that portrayed in the original one of the Kokkinobaphos manuscripts (PI. 35a). In both cases, apart from the diagonal setting of the lead-covered domes there is also a colonnaded front with the axial interval surmounted by a trefoil arch (PI. 35a, 36a). A mid 16th century icon depicting the Dormition of St Demetrius by unknown artist is dominated by the representation of a large and fivedomed church of which the southern side thematically is only a poorer version of the front (PI. 37a). The composition derives from earlier established examples illustrating either a scene of relic transfer or a Dormition (Menologium of Basil II - PI. 36ß, Pec). Yet, from the lead-covered domes of which the minor ones are again diagonally set, the trefoil arch adapted to form externally the vaults and the three-bayed front it is revealed that the painter based the perspective view of the depicted on a source identified with a typ of manuscript illumination akin to the above noted (PI. 35a, 36a). To make the extraordinary exterior of the church convincing to a Greek Orthodox eye the artist adapted a Venetian Gothic style to render other architectural features like the campanile etc. His attitude betrays the place of his origin, a presumably Venetian-occupied Greek territory. Surprisingly enough, this unconcious representation of the Apostle Church became influential later on. This is deduced from Tzanfournaris "Dormition of St Spyridon" dated in 1595 (PI. 37β, 38α), Emporios' "Entry into Jerusalem" dated in early 17th century (PI. 38β) or even from an icon of vernacular style by unknown artist portraying St Athanasius dated in around 1700 (PI. 38γ). On the other hand, St Mark's is consciously depicted in an abridged version roofing an enthroned Virgin in Klontsas' "In Thee rejoiceth" (PI. 39a). Klontzas' source is found in a Cretan copy of Gentile Bellini's "Procession of the true Cross" (1496) in which St Mark's is accurately shown in detail including the framework of the glazed panel forming the background of St Mark's bronze horses (PI. 40β). Lastly, a print based on a drawing by Reuwich illustrating Venice as in late 15th century (PI. 41α, β) inspired Klontzas in the representation of the "Heavenly Jerusalem" appearing in the lower part of the same icon (PI. 41γ, 42α), whereas there is also a model of the Katholikon at Arkadi, a best example of Cretan Renaissance architecture dated in 1587 (PI. 42β).
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