Through the recognition of the colour's attributes, colour analysis provides the possibility of retrieving basic elements in relation to the Byzantine painting and its color range. These metadata are creatively combined with other properties (morphological, synthetic, structural, and conceptual) for the most accurate transfer of the aesthetic and semantic content of the sources. It is important to mention the difference in painting surface, i.e., the two icons have been painted on wood with gold background, whereas the fresco of St. Panteleimon has been painted on the wall with secco technique. Additionally, the icons' size is small (0.39x0,31cm and 0,51x0,41cm) so the values in hue, saturation, brightness, and contrast are condensed in this space.
On the other hand, the fresco's size is 5.50x3.50 meters, while one should take in consideration that this composition is a part of one and a half acre painting surface, whose result should be seen as a single painted canvas. Therefore, the colour behaviour of the specific composition is inextricably linked to the entire painting, reflecting and absorbing the colour elements of the nearby and remote painting surfaces, as well as these of the architectural environment.
Since the hybrid fresco's surface has both analog and digital behaviour, the attempt was to yield a fusion of all the paintings, that have been taken as templates. Hence, it reveals their common colour space, while emphasising in some of the hidden elements, that can boost the semantic content of the synthesis and accordingly the recognition of fundamental elements of Byzantine art.
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Historgam
The histogram below shows the distribution of the contrast and brightness, translated by tonal values. In the two icons, there is an extensive range in tonal values, as from the left side (dark colors) to the right (light colors) a zone is created with various medium tones. Furthermore, the range extends from point 0 of the darkest area (left) to point 0 of the brightest area (right). On the other hand, St. Panteleimon fresco shows a convergence in that area from the dark zone, to the brightness that does not reach the maximum values. This is due to the golden background of the icons, as it has been already mentioned, because as it is apparent on the vertical axes, the values of colour intensity are lower in the icons and greater in the fresco. The Hybrid fresco of St. Spyridon keeps this intensity in the same values, as it reflects the significance of the content that is depicted in this area. However, it gradually approaches the lighter zones, to slightly match the gradation presented in the icon of Restoration.
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St. Panteleimon fresco (20th c.)
Icon of restoration (1400 (circa)
St. Spyridon hybrid fresco (21st c.)
Icon of triumph (1500 (circa)
Colour Palette
The largest area is covered by the range of reds, while the greens and blues are gathered in the lower part of the paintings. However, the colour palette is warm. The difference in intensity and saturation is based on the fact that in the first two 3d Colour Inspectors, the painting surface is wooden, while the third one concerns the fresco, i.e., the wall's surface.
Both the Icon of Triumph and St. Panteleimon's fresco, use white and light shades of warm colors to boost the contrast with the dark tonal values. On the other side, the icon of Restoration does not use this kind of contrast (something that is apparent on the histogram as well). There, the bright colors are connected to the golden background and the contrast is concentrated in the surrounding area of Virgin Mary's icon (so as to emphasize the central theme), as well as in the scrolls, to reinforce the meaning of the feast.
The hybrid fresco of St. Spyridon keeps the colour climax of the Icon of Restoration, while it incorporates the colour syntax of St. Panteleimon's fresco. Having in mind its hybrid nature, it embeds the colour of the icons, in the fresco of St. Panteleimon's church.
Icon of restoration (1400 (circa)
Icon of triumph (1500 (circa)
St. Spyridon hybrid fresco (21st c.)
St. Panteleimon fresco (20th c.)
Hue & Saturation
The wavelength of reds and yellows is wider than that of the greens and blues. Warm colours dominate the largest colour area in all the templates, as well as in the hybrid fresco. According to histogram's selection, reds and warm yellows have the largest tonal values, so to convey the feeling of a warm atmosphere, that reflects both the festive and the dynamic character of the theme. The green colour has a smaller tonal value and, thus, it occupies a smaller area. The usage of blue colour in the two icons is limited whereas in the fresco is more extensive. Nevertheless, in the hybrid fresco the blue range remain limited, because, in relation to the overall composition in the chapel, they set the synthesis of the miracles, on the northern wall.
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