Title: The Supplication (Trimorph)
Artist: Theofanis Strelitzas (Bathas)
Type: Fresco
Date: 1546
Materials: Fresco
Location: Mount Athos, Stavronikita Monastery, katholikon (narthex, east wall)
The Supplication of Theofanis Strelitzas, also known as Bathas, is one of the finest examples of post-Byzantine iconographic art of the 16th century. A work of deep spirituality and exceptional technical perfection, this fresco dominates the east wall of the narthex in the Stavronikita Monastery of Mount Athos, right above the royal gate. The uniqueness of this Supplication lies in its composition, where Saint Nicholas replaces John the Baptist, who traditionally appears in such depictions, as the church is dedicated to Saint Nicholas. The three figures – Christ in the center, the Virgin Mary on the left, and Saint Nicholas on the right – create a serene and imposing scene of supplication to the Pantocrator. Theofanis, one of the most important representatives of the Cretan School of iconography, created a work that combines traditional Byzantine iconography with new elements, capturing the changing aesthetic perceptions of his time (Loverance).
Theofanis Strelitzas and the Cretan School
The life and work of the Cretan painter
Theofanis Strelitzas, also known as Bathas, was a leading figure in post-Byzantine art and a founder of the Cretan School of iconography. Born in Crete at the end of the 15th century, Theofanis brought with him the rich tradition of Cretan artistic education, combining it with Byzantine models. The Cretan style he developed is characterized by detailed design, restrained expression, and deep spirituality (García Mahíques).
His contribution to post-Byzantine art
Theofanis’ contribution to post-Byzantine art was decisive, as he managed to bridge traditional Byzantine iconography with new expressive means. Representing the mature phase of the Cretan School, Theofanis cultivated a unique visual language that combined the strictness of the Byzantine tradition with selective elements of Western influence. A careful study of his works reveals his exceptional ability to render forms with a balance between the ideal and the natural. (Search for more information with the keyword: Cretan School of iconography 16th century)
The decoration of the Stavronikita Monastery
In 1546, Theofanis, along with his son Symeon, undertook the decoration of the katholikon of the Stavronikita Monastery on Mount Athos (Papadakis). This work is one of the most important artistic ensembles of the post-Byzantine period. The monastery had been renovated by Patriarch Jeremiah I (1522-1546) on the basis of the older Byzantine monastery that had been ruined and burned. The iconographic program of Theofanis in the katholikon of the Monastery reflects the revitalization of Orthodox spirituality during a period of Ottoman rule.
The technical skill of Theofanis
The technique of Theofanis Strelitzas is distinguished by precision, delicacy, and stability of design. The painter applies a method of gradual development of forms, starting from the dark underpainting and progressing to the highlights with carefully graded light strokes. His exceptional craftsmanship is highlighted in the way he renders faces, combining spiritual expression with human intimacy, a characteristic that appears strongly in the Supplication of the Stavronikita Monastery.
The monk artist and his spiritual journey
As a monk artist, Theofanis approached iconography as a spiritual exercise and function. His work on the frescoes of the Stavronikita Monastery is an expression of deep theological understanding and personal faith. The relationship between his monastic status and his artistic creation shaped a unique style characterized by inwardness and spiritual clarity, elements that are clearly reflected in the way he approaches the composition of the Supplication.
Analysis of the Composition of the Supplication
The iconographic tradition of the Trimorph
The Supplication (Trimorph) of Theofanis Strelitzas is part of a long-standing iconographic tradition with deep roots in Byzantine art. This theme presents Jesus Christ in the center, flanked by the Virgin Mary and usually John the Baptist in a posture of supplication. The uniqueness of the Supplication in the Stavronikita Monastery lies in the replacement of the Baptist with Saint Nicholas, to whom the monastery is dedicated. This adaptation is a characteristic example of the evolutionary process of Byzantine renaissance in the period after the Fall of Constantinople (Lymberopoulou & Duits).
Symbolism and theological dimension
The Supplication of Theofanis incorporates rich theological symbolism, reflecting fundamental Orthodox beliefs. The central position of Christ symbolizes his omnipotence as Pantocrator and Judge, while the Virgin Mary and Saint Nicholas are depicted as mediators between God and humans. The hands of the two side figures, crossed in prayer, enhance the character of supplication. Theofanis masterfully conveys this theological concept of mediation, making the Supplication not just a visual composition but a visual dialogue between the human and the divine element.
Technical characteristics and color palette
The high technical proficiency of Theofanis Strelitzas is revealed in the skillful use of the color palette and light. The choice of colors is not accidental: the golden background of the halos symbolizes the uncreated light, while the red and blue garments of Christ reflect his dual nature, divine and human. Theofanis applies a technique of gradual development of the light areas, creating forms that seem to emit internal light – a characteristic that Manolis Chatzidakis recognizes as the “final phase” of the art of the Cretan painter (Chatzidakis).
The details that reveal technical perfection
Examining the Supplication in greater detail, the precision in rendering the features of the face and hands is impressive. The hands of the Virgin Mary, thin and elegant, cross in a gesture of humble supplication. The expression of Saint Nicholas combines the severity of a hierarch with the compassion of a protector. The open codex held by Christ contains writing in Cyrillic characters, demonstrating the artist’s attention to calligraphic detail. These small details highlight Theofanis’ artistic prowess and his ability to bring life to every element of the composition. (Search for more information with the keyword: Cretan School style color palette)
The process of creating the fresco
The Supplication of Theofanis was created using the fresco technique, a demanding method that requires speed of execution and confidence in movement. The painter worked on wet plaster, applying colors that, as they dried, became integrated into the surface, creating a durable and vibrant image. This technique allowed Theofanis to achieve the exceptional clarity and brilliance that characterizes his work. The preparation included careful planning of the composition, while the execution required great skill and knowledge of the materials.
The Cultural Significance of Theofanis’ Supplication
The relationship with the Palaeologan tradition
The Supplication of Theofanis Strelitzas in the Stavronikita Monastery reflects a deep connection with the Palaeologan artistic tradition, the last brilliant period of Byzantine art. Theofanis adopts for Christ a type of Pantocrator that refers to a Palaeologan image of Venice, thus creating a visual bridge between the two periods. His approach is characterized by an effort to revive and reinterpret older models, adapted to the aesthetic and spiritual needs of the post-Byzantine era. This conscious connection with tradition gives the work of Theofanis the Cretan a timeless value that transcends the narrow limits of his time (Mango).
Italo-Cretan influences in Theofanis’ work
Despite his adherence to the Byzantine tradition, Theofanis was not unaffected by the Italo-Cretan artistic trends of his time. The crossed posture of the hands in the supplication of the Virgin Mary and Saint Nicholas is attributed to influences from the work of Nikolaos Tzafouris, a significant representative of the Italo-Cretan school. This dialogue between different artistic currents is characteristic of Theofanis’ broad spirit and his ability to creatively assimilate diverse influences. (Search for more information with the keyword: Italo-Cretan painting 16th century)
The legacy of the Supplication in later art
The influence of Theofanis’ Supplication and his work in general on the later development of Orthodox iconography was decisive. Artists such as his namesake Thomas (Tomios) Bathas and Michael Damaskinos drew inspiration from his models, perpetuating his artistic legacy. The aesthetic cultivated by Theofanis in the Stavronikita Monastery became a reference point for many generations of iconographers, establishing a canon that combined respect for tradition with artistic excellence. The timeless significance of his Supplication lies in the fact that it served as a bridge between the Byzantine past and the subsequent developments of Orthodox art, keeping alive the spiritual and aesthetic tradition in a period of historical upheavals.
Conclusion
The Supplication of Theofanis Strelitzas in the Stavronikita Monastery remains a masterpiece of post-Byzantine art and its spirituality. Through the wise composition of tradition and innovation, the artist created a work that transcends the boundaries of his time and continues to move and inspire. The silent conversation between the three figures of the Supplication captures the essence of Orthodox faith: the eternal supplication of the saints for the salvation of humanity. Behind the strict forms and symbols, Theofanis’ work emerges as a living expression of the human quest for the divine – a quest that remains relevant even today, almost five centuries after the creation of the work.
Frequently Asked Questions
Where is the famous Supplication painted by Theofanis Strelitzas located?
The Supplication of Theofanis Strelitzas is located in the katholikon (main church) of the Stavronikita Monastery on Mount Athos. Specifically, it is placed on the east wall of the narthex, right above the royal gate leading to the main church. This position has particular symbolic significance, as it underscores the role of the Supplication as mediation between the faithful and the Divine.
What is the uniqueness of Theofanis’ Supplication compared to other depictions of the Trimorph?
The main uniqueness of the Trimorph painted by Theofanis Strelitzas lies in the replacement of John the Baptist with Saint Nicholas. In the traditional iconography of the Supplication, the Baptist is placed to the right of Christ, but in the case of the Stavronikita Monastery, his place is taken by Saint Nicholas, as the monastery is dedicated to him. This is a technical adaptation that respects tradition but also honors the patron saint of the monastery.
What style characterizes the Supplication and other works of Theofanis Bathas?
The style of Theofanis Strelitzas (Bathas) combines elements of the Palaeologan Byzantine tradition with influences from the Cretan School of iconography. It is characterized by strict design, detailed rendering of faces, measured expression of emotions, and wise use of light. In the Supplication of Stavronikita, we also observe selective Italo-Cretan influences, such as in the posture of the hands of the side figures, testifying to the painter’s artistic breadth.
When was the famous fresco of the Supplication created and what is its historical significance?
The fresco of the Supplication of Theofanis Strelitzas was painted in 1546, as part of the overall decoration of the katholikon of the Stavronikita Monastery. Its historical significance is manifold: on the one hand, it is connected with the renovation of the monastery by Patriarch Jeremiah I, on the other hand, it represents a critical moment of cultural continuity and renaissance of Orthodox art after the Fall of Constantinople, in a period of historical upheavals.
What symbols and colors did Theofanis use in the Supplication and what do they symbolize?
In the Supplication of Stavronikita, Theofanis Strelitzas used a rich symbolic vocabulary of colors and motifs. The golden halos symbolize the uncreated light and divine grace. The red and blue garments of Christ represent his dual nature. The open gospel in Christ’s hand symbolizes the word of God and judgment. The crossed palms of the Virgin Mary and Saint Nicholas express humble supplication and their unceasing intercession for the salvation of humans.
Bibliography
- Chatzēdakēs, M. (1986). The Cretan painter Theophanes: the final phase of his art and his last dated works. Athens.
- García Mahíques, R. (2008). Iconography and Iconology: Art History as Cultural History. Valencia.
- Loverance, R. (2004). Byzantium. London.
- Lymberopoulou, A., & Duits, R. (2013). Byzantine Art and Renaissance Europe. Farnham.
- Mango, C. (2002). The Oxford History of Byzantium. Oxford.
- Papadakis, C. (2022). Philagia Studies. Athens.
