Παράσταση Ευαγγελισμού κάτω από νεότερη επιζωγράφηση στο βημόθυρο Τ. 737 του Βυζαντινού Μουσείου
Part of : Αρχαιολογικά ανάλεκτα εξ Αθηνών ; Vol.XVII, No.1-2, 1984, pages 43-73
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43-73
Parallel Title:
The annunciation under a later painting on the royal door t. 737 in the byzantine museum
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Σύμμεικτα
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Abstract:
The two painted panels of the Royal Door are divided into two zones; the upper is occupied by the Annunciation and the lower by two standing Prophets, Moses and Aaron, on a larger scale.On the evidence of their stylistic trends, the panels are related to the post-Byzantine painting of the 18th-19th century in Northern Greece.In 1980, the panels were transferred to the Museum laboratory to consolidate their painted surface. After the first investigation, however, an earlier layer of painting was revealed under the visible surface. It was, therefore, out of the question to consolidate the later layer of painting onto the earlier one and it was decided to transfer the new layer. The process and the method of theremoval are not the subject of this article. The sole purpose of the present study is to record some observations on the revealed painting, which we believe is dated to the 15th century and related to the first phase of Cretan painting.The subject of the revealed surface is again the Annunciation, but on a much larger scale than the previous painting. It is the main and dominant subject of the two wings of the Royal Door. Two busts of Prophets, in this case Isaiah and David, are painted in the upper left and right parts. On the top segment, under the trefoil termination, the bust of St. Nicholas is depicted on a rather miniature scale, matched on the other wing by that of another Saint.The Virgin of the Annunciation on the right wing is depicted standing in front of her throne and turning to the left. She holds in her left hand the skein of purple wool and the distaff and her right hand points to the Angel with the palm turned outwards. In front of her stands a marble column, on the impost block of which is a vase containing thick foliage.The iconography of this Annunciation is ascribed to an old Byzantine type, which was popular both in the Palaeologan painting and in the Cretan painting after the fall of Constantinople. It can be hardly considered accidental that a series of magnificent examples of that type occur on icons, Royal Doors and manuscripts, the features of which correspond to the Cretan painting. Apart from the iconographical similarities that this scene has with the Annunciations of that series, it displays a feature which is extremely rare. The representation of the column as depicted here is almost unique in Byzantine and post-Byzantine painting. In searching for a model, one might think of similar scenes in paintings of the West, where the columns separating the two figures are almost never absent, even as late as the end of the 15th century.In addition, our Annunciation is accompanied by two Prophets, who point to the scene and hold enormous scrolls. On that of Isaiah is written his prophecy predicting the event shown nearby, while the words of David are references to the Virgin. The link between the prophecy and the event of Incarnation is confirmed by the texts andappears in certain Byzantine and Latin Annunciations. It is more frequently encountered later in Italian painting, especially of the 14th and 15th century. The same element is also noted in Cretan icons of the 15th century.What needs to be explained is the representation of the two small figures under the trefoil termination of the panels. The Saint on the left may well be identified with St. Nicholas, as it is reasonable to assume from his principal features. The explanation for this representation is that the Saint is depicted here as patron of the church, to which the Royal Door has been dedicated. Regarding the representation of the other Saint, we believe that it portrays St. Andrew, as namesake of the donor who had commissioned the Royal Door.As far as stylistic trends are concerned, it is obvious that this icon is firmly within the Paleologan tradition, since it displays features from the mature Cretan painting and at the same time presents some other elements, distinct enough to suggest some influences from Western painting.In the light of these observations, we would assume that this painting reflects an eclectic multiformity, characteristic of the Cretan painting of the 15th century, the period when the Cretan school was beginning to take shape.From this point of view the Royal Door, which is related to that style and period, is extremely important.
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