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An Icon by Nicolaos Tzafouris in the Antivouniotissa Museum, Corfu

Articles

• Παπαδοπούλου, Βαρβάρα Ν.
• ΠΑΠΑΔΟΠΟΥΛΟΥ, Βαρβάρα Ν.

Among the exhibits in the Antivouniotissa Museum in Corfu is a portable icon of the Deesis, a signed work by Nikolaos Tzafouris, from the church of the Presentation of Christ at Gouvia. In this very important work the great fifteenth-century Cretan master, contrary to his usual tendency, follows strictly Byzantine tradition, without the inclusion of Western elements. The icon (1.25 x 1.22 m), previously unknown, was identified as a work by Nicolaos Tzafouris in the conservation laboratories of the Museum. The Deesis representation reproduces the usual iconographie format. Christ is seated at the centre on a woodcarved throne, blessing with his raised right hand and holding a closed gospelbook in his left. He is flanked by the Virgin (left) and St John the Baptist (right), both depicted in poses of intercession. An inscription in capital letters, below the Baptist's feet, gives the name of the painter: ΧΕΙΡ ΝΙΚΟΛΑΟΥ TOY ΤΖΑΦ[ΟΥΡΗ] (Hand of Nikolaos Tzafouris), and one below the feet of the Virgin mentions the name of the icon's donor: [AOJYAOY TOY Θ(ΕΟ)Υ ΙΩ(ΑΝΝ)ΟΥ ΝΤΕΟΙΕΛΩ (Servant of God Ioannis Despelo), who was actually depicted there too, but only his hands holding an open book have survived. The Tzafouris Deesis is associated in iconography and style with a group of three icons of the same subject, painted by Angelos and dated in the fifteenth-sixteenth century: the first in the Viannou monastery in Crete, the second in the Canellopoulos Collection, Athens and the third in St Catherine of the Sinaites in Herakleion, Crete. It is also closely similar to the icon of the Deesis with Scenes from the Dodecaorton, by Nikolaos Ritzos, in Sarajevo, to an icon in the Kunsthistorisches Museum in Vienna and, finally, to an icon in a private collection in London. The superb rendering of the faces and flesh, and the geometric arrangement of the drapery are reminiscent of works by Angelos. There are stylistic affinities with works by the great master of the second half of the fifteenth century, Andreas Ritzos. In addition to the iconographie and stylistic treatment of the subject, the Greek inscription with the name of the painter is of considerable interest. The use of Greek for both inscriptions is of course linked with the icon's donor, who might have been a Hellenized citizen of Candia (mod. Herakleion), as the transliteration of the name Despelo into Greek suggests. Tzafouris is recognized as one of the most important Cretan painters of the second half of the fifteenth century, well known for his ability to paint both a la maniera latina and a la maniera greca. Until now, however, we have had no evidence of the latter, since his works are largely influenced by Late Gothic and Venetian painting. Tzafouris had a considerable influence on subsequent Postbyzantine painters and established new iconographie types. Indeed, some of these, such as the Madre della Consolazione, became landmarks in Postbyzantine art. The church of the Presentation of Christ, from which the Deesis icon comes, stands at the edge of the Gulf of Gouvia, near the old Venetian arsenal in Corfu. The monument acquired its present aspect in the eighteenth century and no features survive that can be dated earlier. Research in the Historical Archives of Corfu did not yield any significant information either. However, according to unconfirmed testimony, the church belonged originally to the Kombitsis family, which hailed from Crete, and later to the Capodistrias and Dessylas families. The Deesis icon by Tzafouris is an important work on account of the perfection of its painting and balanced composition. It is dated in the second half of the fifteenth century, that is the period when the artist was active, and is the only known work by him that adheres strictly to Byzantine tradition.

• History and Archaeology
• Arts

• Arts and religion

• http://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4176
• http://dx.doi.org/10.12681/dchae.309