The Synthesis
The antiquity of St Spyridon chapel did not allow the painted canvas to be attached to the wall. This was, also, a condition set by the Ephorate of Antiquities of Messenia to prevent moisture damage to the artwork. In addition, the west wall has a window in the middle, which constrained the composition to be deployed lengthwise, as in the church of St. Panteleimon. However, these restrictions should not be construed as barriers to iconography. On the contrary, as Karousos always did, the architectural structure was used as a key element in the creation of the synthesis. The overall artwork in St. Panteleimon, as seen from the narthex, of the church, includes the architectural elements, which, not only yield a creative interaction with the frescoes but, moreover they are embedded in the painting. Likewise, the restrictions of St. Spyridon's peculiarities turned to be an opportunity to emphasize to the kind of deconstruction and dislocation of the actual fresco to its digitised environment. Eventually, they, themselves, highlighted the level of hybridity, required for the development of interoperability.
Therefore, the bi-zonal synthesis that exists in all the prototypes, was detached, and developed as an inextricably linked triptych. This modification reveals the perception of multiple focal points, which is one of the key elements in Byzantine frescoes. In addition, it creates a circular reading as the gaze revolves, instead of following a linear, horizontal course.
The synthesis deploys in non-Cartesian topology, as it uses Boolean operations, which are considered closer to Byzantine polar coordinates and can also transfer the painting, accurately, in digital space. In contrast to the linear x,y,z axes of the Cartesian system, the bi-zonal synthesis uses intersection, union and subtraction to translate the unified painting plane, without the need of perspective which was not a case in Byzantine frescoes. This reconfiguration allows the window, located under the central canvas, to act as a painted surface itself.
The hybrid fresco has restored some elements of the two icons - prototypes that enhance both the 'aesthetic' and the liturgical character of the theme. Although these elements have not been emphasised in Karoussos fresco, and some have not even been included, it is considered that they can act as a catalyst in transferring the Restoration of the Icons in its hybrid form:
-The complete frontality of the figures
Byzantine painting was based on the dynamics of lines and areas of color, in contrast to the three-dimensionality of forms that meet in Western painting. The figures were flattened, elongated, and floating. Based on Classical Antiquity, the frontality of the figures in Byzantine painting aims to draw attention to the monumental and the transcendental character of Byzantine art.
This frontality, evident in both Byzantine icons, plays an important role in the dynamics of the composition; It develops a vertical rhythm that lengthens the synthesis, as it integrates with the horizontal section of the biozonal structure.
-The scrolls
The hybrid fresco restored the depiction of the scrolls, as painted in the icon of Restoration, yet not included in any other references, nor in Karoussos's fresco. This was considered necessary, because scrolls play an important role in the synthetic and semantic rendering of the theme. They clarify and redefine the theological message of the scene, while contributing to the overall composition, as with their various directions and arrangements, they create the pulse of a real litany.
The texts of the six scrolls, depicted in the hybrid fresco, come from the Synodicon of Orthodoxy, according to the book of the Triodion (Pre-Lenten Season). The scrolls state the following:
In the central composition, the texts in the dialects held by Michael and Theodora respectively:
- Σύ διέρρηξας Χριστέ, τήν ξυνωρίδα τῶν θεομάχων, καί τόν στολισμόν, ἀποδέδωκας νῦν, τῇ σῇ Ἐκκλησίᾳ, ὑπέρ ἧς ὡς ἀγαθός, τό Αἷμα σου ἐξέχεας.
- Εἴ τις ταύτας οὐ προσκυνεῖ καὶ ἀσπάζεται σχετικῶς, οὐ λατρευτικῶς, οὐχ ὡς θεούς, ἀλλ᾿ ὡς εἰκόνας ἀρχετύπων διὰ τὸν πόθον, εἴη ἀνάθεμα.
In the lower left zone, from left to right, those who identify as St. Ioannikios and St. Theophanes the Confessor, hold the scrolls which read:.
- Ἐδίωξε Κύριος, τήν ξυνωρίδα τῶν ἀλλοτρίων, καί ἀπέδωκε τά ἴδια, τοῖς ἰδίοις. Δόξα τῇ αὐτοῦ ἀγαθότητι.
- Εὐφραίνεσθε ἅπαντες, χοροί Πατέρων και Ἀποστόλων, καθορῶντες τήν προσκύνησιν, τῶν Εἰκόνων, ἥν περ ἐμφανῶς παρεδώκατε.
In the lower right zone, from left to right, those who are identified as St. Theodore the Studites and one of the Graptoi brothers, hold the following scrolls:
- Ἐν εἰκόνι βλέποντες τήν Σταύρωσιν, σέβοντες στέργομεν, ἀσπαζόμενοι Χριστόν, καί τά αὐτοῦ σημεῖα, καί προσκυνοῦμεν αὐτά, οὐχ ὡς θεούς τιμῶντες.
- Μίαν ἀρχήν δοξάζω Θεότητος, ἐν ὑποστάσεσι τρισίν˙ εἷς Θεός γάρ ἐστι, Πατήρ, Υἱός καί Πνεῦμα, κἄν διήρηται, χαρακτῆρσι καί προσώποις.
The texts of the scrolls are exactly as in the icon. Yet, one of the Graptoi siblings (lower zone | right side | central figure) holds another scroll with a hymn to the Holy Trinity. This addition yields a symmetry in the composition, while it strengthens it, with the axial intensity of the scrolls. At the same time, it emphasises the theological interpretation of the iconographic theme, highlighting a different aspect on the event's narrative, essential for the overall semantics of St. Spyridon chapel's artwork.
It is apparent that the selection of the depicted figures of the icon of Triumph was not random. The artist used sources commenting on iconoclasm issues. The text that is widely accepted as the source of reference for the artist of the icon, is the Synodicon of Orthodoxy.
However, as Professor Markopoulos claims, it is difficult, if not impossible, for this source to have been taken as a reference, as the protagonists of the events of that time are mentioned scattered, with a rather indistinguishable guide, while omitting many others. The professor then argues that the work entitled De Theophili imperatoris absolutione (BHG, 1732-1734k), written probably in the tenth century, in posthumous praise of Emperor Theophilus, a strong advocate of Iconoclasm, was used as a historical basis for the composition of the icon of Restoration.
This fact can alter the semantic meaning of the icon, since the aforementioned text refers to an act of forgiveness and not of an anathema. According to the narrative, Empress Theodora pleaded fervently the Holly Fathers that were gathered in Istanbul in March of the year 843 to decide the restoration of the icons, to not pour an anathema on Theophilus, but to offer him, through prayers, forgiveness by God.
Patriarch Methodius, after hearing the request of the Empress, prayed together with prominent representatives of the Church, as well as many people, for the salvation of Theophilus, that did not take long to come.
The unknown author mentions the ecclesiastical representatives who prayed together with the patriarch, with the exact names and order, as depicted in the icon of Restoration.
The interpretation of the icon as the event of the final restoration of the icons, but also of the prayer of the ecclesiastical representatives for the remission of the emperor's sins, creates a radical change in the icon's religious content. Even if the above mentioned event had domestic and political aspects, it restores not only the spirit of the icons but also reveals the pure theological message.
-The zone of monks, secularists, and chanters
The hybrid fresco has restored the illustration of a group of people, as depicted in the icon of Restoration, but is not included in any other prototype, nor in the fresco of Karoussos. The icon of Restoration presents a zone, above the group of monks, secularists, and chanters, where one of the latter moves his right hand, as a characteristic gesture of the chanters.
This addition, to the hybrid fresco, contributes to the arrangement of the composition, as the horizontal rectangle of this zone supports the perpendicularity of the figures of the side groups. It also composes the space of the triptych, facilitating the reading and, finally, creates the feeling of a live litany.
This zone was created with the Camaïeu technique, i.e., with a monochrome tonal scale. Camaïeu is a technique that uses two or three shades of one colour to create a monochrome image without considering the local or realistic color. The technique was chosen, apart from its aesthetic advantages, as a semantic element, reflecting its long historical course (cave paintings). One can meet the Camaïeu technique in Karoussos frescoes, with examples such as The Assumption of Virgin Mary in St. Panteleimon & the synthesis of Platytera in St. Andrew of Patras.
THE ICON OF VIRGIN MARY
Unto you, O Theotokos, Ιnvincible Champion, your City, in thanksgiving ascribes the victory for the deliverance from sufferings. And having your might unassailable, free us from all dangers, so that we may cry unto you:Rejoice, O Bride Ever-Virgin.
Devotional Hymns to the Theotokos (Our Lady) are as ancient as the first Christian Church. The Byzantine Empire from its very inception at Constantinople during the fourth century, closely allied itself to the Virgin Mary and always sort Her protection or intercessions. This we see from the Prayer Services to the Theotokos between the fifth and eighth centuries, and the reference to Constantinople as the ‘Queen City’. The Akathist Hymn, which in its present form was added to by many Ecclesiastical Hymnographers, existed for most part even before it was formally accepted by the Church in 626 AD. The Kontakion “To the Invincible Champion… we ascribe the victory” was added then, and came to be recognized as the Akathist Hymn, because of the following described miracle attributed to the intercession of the Theotokos.
While the Emperor of Byzantium Heraclius was on an expedition to fight the aggression of the Persians on their own grounds, there appeared outside the walls of Constantinople barbaric hordes, mostly Avars. The siege lasted a few months, and it was apparent that the outnumbered troops of the Queen City were reaching desperation. However, as history records, the faith of the people worked the impossible. The Venerable Patriarch Sergius with a Clergy and Official of Byzantium, endlessly marched along the great walls of Constantinople with an Icon of the Theotokos in hand and bolstered the faith of the defenders of freedom. The miracle came soon after; Unexpectedly, as the chronicler narrates, a great storm with huge tidal waves destroyed most of the fleet of the enemy, and full retreat ensued. he faithful of Constantinople spontaneously filled the Church of the Theotokos at Vlachernae on the Golden Horn, and with the Patriarch Sergius officiating, they prayed all night singing praises to the Virgin Mary without sitting. Hence the title of the Hymn “Akathistos“, in Greek meaning ‘not seated‘.
Several miracles took place earlier and later in other similar circumstances and present Theotokos as the ultimate agent.
For the place, where St. Spyridon chapel is located, the battle of Verga during the Greek revolution of 1821. is one of the many. Most of them occurred while a secular and ecclesiastical group marches with the icon of the Virgin Mary, as Virgin the Hodegetria (She who shows the Way).
This type of iconographic depiction, portrays Theotokos holding the Child Jesus at her side while pointing to him, as the source of salvation for humankind. The Virgin's head usually inclines towards the child, who raises his hand in a blessing gesture.
The most venerated icon of the Hodegetria type, regarded as the original, was located at the Hodegon Monastery (also Monastery of the Virgin Hodegetria or Monastery of the Hodegoi) in Constantinople. It was said to have been brought back from the Holy Land by Eudocia, the wife of emperor Theodosius II (408–450), and to have been painted by Saint Luke, the apostle himself, with the blessing of Virgin Mary herself.
This specific icon is the central theme of the Restoration of the Icons. Placed in the center of the upper zone, at a prominent position, the Virgin Hodegetra, as the leader of the procession, is surrounded by representatives of the secular and ecclesiastical authorities, which further emphasises its importance. As in the narration of the miracle of the persecution of the barbarians from Constantinople, so in the Restoration of the Icons, the painter of the image is St. Luke, the Apostle. Hence, it concerns the ultimate icon, which was a strong argument of the iconophiles against the iconoclasts and it has, indeed, influenced the course of the outcome of the controversy, while through its restoration, it legitimise every other theological depiction.
The worship of the icon of the Virgin Hodegetria dates back to the Palaiologan period (1204-1453), while the event of the Restoration of the Icons dates back to the middle of the 9th century. Therefore, there is an anachronism in the image of Triumph, dated on the 15th century, as the artist, in order to describe an event of the past, borrowed an image that was popular in his time.
Appropriating this timeless course, the Restoration of the Icons at St. Spyridon chapel, depicts an icon of Panagia Hodegetria, painted by Karoussos in the 20th century. In particular, the icon of the Virgin Mary, depicted in the composition of the Restoration of the icons, at St. Panteleimon church, has been replaced with another fresco, painted also by the artist himself. This shift was made, not only to mark the diachrony in Byzantine art, but also to point out its mastery in the post-narrative process, long before its western references. The Evangelist Luke, as the exclusive portraitist of Virgin Mary, is a milestone in the course of the visual arts, as it yields the embodiment of art itself, within a painting. In this icon, the Evangelist Luke, faces the depicted person, further from his artwork itself, acting as an intermediary, while indicating the notion of acheiropoieton of the icon.
Hence, the replacement of the icon highlights the diachronic - instead of anachronic- nature of Byzantine art, which prescribes the Restoration of the Icons in every period of time. In modern times, the progress of the arts and sciences has amplified the perceptibility of theological concepts. Their artistic semiology, then, can be redefined, setting even deeper meanings, which can be absorbed by the modern congregation.
Concepts such as acheiropoiesis and transcendental intermediacy are contained in the hybrid fresco, as long as the viewer is able to perceive their semiology, without the need for descriptiveness. This fact is especially important for the modern course of post-Byzantine art, as it gives a radically progressive character to the iconographic work and therefore, reveals new vistas for its renewal, which is, as always, pioneer.
