Title: Enthroned Virgin and Child “Lady of the Angels”
Artist: Unknown (circle of Andreas Ritzos)
Type: Portable icon
Date: circa 1500
Dimensions: 120×77×3 cm
Materials: Egg tempera on wood with gold background
Location: Church of Saint Anthony, Corfu
The image of the Enthroned Virgin and Child with the title “Lady of the Angels” is an excellent example of post-Byzantine art at the end of the 15th century. It is a magnificent depiction of the Virgin seated on a wooden, intricately decorated throne, holding the young Christ in her arms. The composition is enriched by the presence of archangels and prophets, creating a whole with intense symbolic and theological content.
The work is part of the tradition of the Cretan School, which flourished from the 15th to the 17th century and is characterized by refined technique, adherence to tradition, and exceptional quality of execution. This particular icon follows an iconographic type established by Andreas Ritzos, one of the most important painters of the time, but is enriched with additional elements that give it a unique character and deeper theological symbolism.
The title “Lady of the Angels” emphasizes the prominent role of the Theotokos in the heavenly hierarchy, while the presence of the prophets with their emblematic symbols refers to the theme “Above the Prophets”, connecting the Old with the New Testament and highlighting the role of the Theotokos in the divine economy.
1. Iconographic analysis of the Enthroned Virgin and Child
The image of the Enthroned Virgin and Child presents one of the most important iconographic types of Byzantine and post-Byzantine art, with distinctive features that make it a unique case study of the Cretan School.
1.1 The central composition and the posture of the figures
At the center of the composition dominates the figure of the Theotokos, seated on an ornate wooden throne. Her right hand rests protectively on Christ’s shoulder, while her left gently touches his foot. This posture, full of affection and protectiveness, exudes a sense of maternal love that transcends the human level, transporting the viewer to the realm of the sacred.
The young Christ sits on his mother’s lap in an official posture, blessing with his right hand, while holding a closed scroll with his left, a symbol of divine wisdom and law. The contrast between his childlike form and his official, priestly posture creates an interesting dynamic that underscores his dual nature as God and man.
1.2 The symbolism of the throne and the details
The wooden throne, straw-colored with dense golden highlights, is not just a piece of furniture but a symbol of the royal dignity of the Theotokos. The back with the double curvature ending in small finials, the legs of the throne with lion heads, and the stylized plant decorations create a sense of grandeur and majesty.
Of particular interest is the red cushion on which the Virgin sits, with knots at the ends and two bands of golden pseudo-Arabic letters, an element that testifies to the influence of Eastern decorative motifs on the Cretan School.
1.3 The color palette and the use of the gold background
The color palette of the image is characterized by strong contrasts that serve both aesthetic and symbolic purposes. The deep green tunic of the Theotokos (which may have originally been blue) contrasts with her dark chestnut-red maphorion, while her red shoes act as a color counterbalance. This choice of colors is not accidental but follows a long tradition of symbolism. (Search for more information with the words: Byzantine color symbolism iconography)
The golden field surrounding the figures is a characteristic element of Byzantine iconography and symbolizes the uncreated light, the presence of the divine. It is not a mere decorative element but a way of depicting the transcendent, creating a space outside of time and earthly dimensions.
1.4 The depiction of expressions and interaction
The faces of the Theotokos and Christ are rendered with exceptional subtlety and skill. Their modeling with white lines, alternately intense and faint, creates a sense of internal illumination that imparts spirituality to the figures. The chestnut-green underpainting indicating the shadows is not intensely dark, allowing a soft transition from light to shadow.
The oblique position of the feet of the Virgin and Jesus is balanced by their gaze, which is in the opposite direction, creating a dynamic interaction that enriches the composition and adds movement to an otherwise static depiction.
1.5 Inscriptions and identity of the image
To the left and right of the head of the Theotokos are written in red on the golden field the inscriptions “M(oth)ER OF G(od)” and “THE LADY OF THE ANGELS”. The title “Lady of the Angels” emphasizes her prominent position in the heavenly hierarchy, as queen of the angelic powers, while the presence of the archangels Michael and Gabriel at the top of the image, in bust and in a posture of respect and veneration, reinforces this symbolism.
2. The prophets and the theme “Above the Prophets”
In the four corners of the throne are depicted busts of prophets emerging from clouds, turned towards the Theotokos and holding unfolded scrolls. Their presence integrates the image into the broader iconographic cycle known as “Above the Prophets”.
2.1 Origin and evolution of the iconographic theme
The theme “Above the Prophets” first appears in an icon from the end of the 11th or early 12th century at Sinai. During the Palaiologan and post-Byzantine periods, it frequently appears in icons, frescoes, and embroideries, becoming one of the most beloved themes of Orthodox iconography.
In the Corfu icon, the presence of the prophets is extremely discreet, as they are depicted on a small scale and without a special frame, giving the work a balanced composition where the focus remains on the central figure of the Theotokos.
2.2 The symbolic presence of David and Solomon
In the upper left part is depicted the prophet David, holding a model of an elongated building with a gabled roof and dome, a symbol of the Temple of Jerusalem. On his scroll, we read a passage from the Psalter: “ARISE O L(ord) TO YOUR RESTING PLACE | YOU AND THE ARK | OF YOUR SANCTIFICATION | THE PRIESTS”.
In the upper right part is Solomon, holding a model of a circular domed structure and a scroll with the inscription: “WISDOM HAS BUILT | HERSELF A HOUSE | AND HEWN | SEVEN PILLARS”. The presence of the two royal prophets, father and son, symbolizes the royal lineage of Christ and the connection of the Theotokos with the royal genealogy.
2.3 Symbolism of the prophets Isaiah and Daniel
In the lower left is the prophet Isaiah, whose scroll contains a passage from his prophecies, referring to the vision of the Seraphim holding the coal with tongs. The seraphim is depicted immediately to the right of the prophet, creating a direct iconographic connection with the text of the scroll.
In the lower right corner is the prophet Daniel, holding a scroll referring to the vision of the stone that became a great mountain and covered the earth. Next to him is depicted a tiny model of a steep conical mountain, a visual representation of his prophecy. (Search for more information with the words: Daniel prophecy cornerstone)
2.4 Theological interpretation of prophetic symbols
The symbols accompanying the prophets (temple, domed building, seraphim with tongs, conical mountain) are prefigurations of the Theotokos in the Old Testament. The Virgin is likened to the Ark of Sanctification (David), the House of Wisdom (Solomon), the tongs holding the coal-Christ (Isaiah), and the mountain from which the stone-Christ was cut (Daniel).
This multi-layered symbolic reading creates a complex theological framework that connects the Old with the New Testament, presenting the Theotokos as the central figure in the plan of divine economy.
2.5 The rarity of the combination of iconographic elements
It is noteworthy that the combination of the type of the Virgin and Child established by Ritzos with the theme “Above the Prophets” is rare. It is found in only a few examples, such as on a sack of the Byzantine Museum and in an icon of the Monastery of Aimyalon, making the Corfu icon particularly significant for the study of the evolution of the Theotokos in post-Byzantine iconography.
3. The image within the context of the Cretan School
The Enthroned Virgin and Child of Corfu is a characteristic example of the artistic production of the Cretan School, one of the most important expressions of post-Byzantine art. Through the analysis of its stylistic characteristics, its connection with the tradition of the circle of Andreas Ritzos and its place in the evolutionary course of Byzantine iconography is highlighted.
3.1 Relationship with the work of Andreas Ritzos
The image repeats a type established by Andreas Ritzos with his large icon, which once adorned the iconostasis of the katholikon of the Monastery of Patmos. Despite individual differences – such as the reverse turn of the Virgin and Christ in Ritzos’ icon and the absence of prophets – the similarities in structure, composition, and individual elements of the throne are decisive.
The throne of the Corfu icon differs from the corresponding one in Ritzos’ icon of Christ in Patmos only in the absence of the double monochrome masks on the backrest and a series of columns at the bottom. The cushion with the knots and the band with the pseudo-Arabic letters is identical to that of Ritzos’ icon, while the gradual change in the tone of the green floor is also characteristic.
3.2 Stylistic characteristics and technical execution
Initially, the image was mistakenly attributed to Emmanuel Tzanes, a 17th-century painter. However, its cleaning revealed that it is an excellent work, much older, dating around 1500. The modeling of the figures does not have the harshness that characterizes Tzanes’ works: the shadows are softer, the lights juicy, and the technique aligns with that of the circle of Andreas Ritzos.
The exceptionally meticulous execution of the image, with the careful rendering of details and the high quality of the color modeling, testifies to the skill of an exceptional artist who had full knowledge of iconography and the technique of the Cretan School. (Search for more information with the words: painting technique Cretan School)
3.3 The dissemination of the iconographic type
The type of the Enthroned Virgin and Child, seated on a wooden throne, sometimes left-facing and sometimes right-facing, experienced great dissemination in the Cretan School. It also appears in Mesembria, in works of the Theban school and local island or mainland workshops, in Ionian frescoes and icons, as well as in embroideries, until the early 18th century.
This fact underscores the importance of this particular iconographic type for the Orthodox tradition and the wide acceptance it received in different regions and arts, making it one of the most influential types of post-Byzantine iconography of the Theotokos.
The Apotheosis of Iconography
A Testament to Spiritual and Artistic Evolution
In the grand tapestry of post-Byzantine iconographic tradition, the Enthroned Virgin and Child “Lady of the Angels” of Corfu stands as a veritable apex, a crowning achievement that transcends the mere boundaries of artistic creation. This image, far surpassing its aesthetic appeal, functions as an intricate and multifaceted spiritual and theological treatise, meticulously crafted through the medium of visual artistry. The deliberate juxtaposition of the central figure of the Theotokos, the Mother of God, alongside the venerated prophets and the celestial archangels, forges a comprehensive narrative that seamlessly bridges the chasm between the Old and New Testaments. This intricate composition, a testament to the profound theological insights of its creators, articulates complex theological concepts through a refined and sophisticated artistic language, echoing the deep influence of the Cretan Byzantine iconography that, in a similar vein, shaped elements of artistic expression within the early foundations of the USA, through the evolution of unnaturalism in postmodern painting.
Dating back to the dawn of the 16th century, around the year 1500, this iconic representation is not simply relegated to the status of an object of worship. Rather, it assumes the role of a vital historical document, a tangible manifestation of the spiritual aspirations, the artistic endeavors, and the profound theological perceptions that characterized an entire epoch. This masterpiece, serving as a quintessential exemplar of the esteemed art of the Cretan School, occupies an indispensable position within the rich and diverse cultural heritage of the broader Greek sphere. The nuanced interplay of light and shadow, the meticulous attention to detail, and the profound emotional resonance of the figures all contribute to the enduring power of this icon. It is a visual symphony that resonates through the ages, a testament to the enduring legacy of Byzantine artistic and theological thought. The meticulous detail in the rendering of the Virgin’s garments, the delicate features of the Christ Child, and the solemn expressions of the surrounding figures all contribute to a sense of profound reverence and spiritual depth. This icon serves as a window into the soul of a civilization, a reflection of its deepest beliefs and aspirations.
Frequently Asked Questions
What is the historical significance of the image of the Enthroned Virgin and Child from Corfu?
This particular depiction of the Virgin with the child is an important document for the transition from Byzantine to post-Byzantine art. The image dates around 1500, a key period for the evolution of the Cretan School. Initially, it was mistakenly attributed to Emmanuel Tzanes (17th century), but careful cleaning revealed the genuine characteristics of a work from the circle of Andreas Ritzos, one of the most important figures of Cretan painting.
What do the four prophets surrounding the Theotokos with the child symbolize?
The prophets David, Solomon, Isaiah, and Daniel, who appear in the corners of the throne, represent the theme “Above the Prophets”. Each prophet carries symbolic elements that prefigure the Theotokos: David likens her to the Ark, Solomon to the House of Wisdom, Isaiah to the tongs holding the coal-Christ, and Daniel to the mountain from which the stone-Christ was cut. This theological connection unifies the Old with the New Testament.
What technical characteristics stand out in the image of the Virgin and Child of Corfu?
The image is distinguished by the excellent modeling of the faces with white lines, alternately intense and faint, that highlight the illuminated areas and subtly outline the volumes. The flesh tone is light chestnut towards pink, with chestnut-green underpainting for the shadows. The color scale with the deep green tunic of the Theotokos, the chestnut-red maphorion, and the golden field creates a harmonious whole with strong contrasts.
Why is the Theotokos in the Corfu image called “Lady of the Angels”?
The title “Lady of the Angels” is one of the many honorary titles attributed to the Virgin and Child Theotokos. It emphasizes the prominent role of the Virgin in the heavenly hierarchy, as queen of the angelic powers. In the image, this attribute is reinforced by the presence of the archangels Michael and Gabriel at the top, who are depicted in bust and in a posture of respect towards the Theotokos.
How is the Enthroned Virgin and Child integrated into the tradition of the Cretan School?
The image is a characteristic example of the Cretan School, which flourished from the 15th to the 17th century. It follows an iconographic type established by Andreas Ritzos, with the distinctive element of the addition of the prophets. The exceptional technique, the golden field, the careful modeling of the faces, and the balanced composition reflect the high aesthetic values of this school. This type experienced great dissemination and influenced art in various regions of the Greek territory.
Bibliography
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