Saint Anicetus in a breastplate, detail from the southern cross-vault of the crypt at the Monastery of Hosios Loukas (11th century). We see the frontal stance and the cross.
Title: Saint Anicetus (part of a tetrad of saints in the southern cross-vault)
Artist: Unknown
Type: Fresco (in a circular breastplate)
Date: Third quarter of the 11th century
Materials: Fresco
Location: Monastery of Hosios Loukas, Boeotia (Crypt, southern cross-vault of the ceiling)
A Journey into the Crypt of Hosios Loukas
The Monastery of Hosios Loukas in Boeotia is one of the most magnificent monuments of Middle Byzantine architecture and art, a true gem that captivates the visitor. Beyond the impressive Katholikon with its famous mosaics, the crypt of the monastery hides an equally precious treasure: a collection of frescoes of exceptional art and spirituality, dating back to the mid-11th century. Descending the stairs, you feel as if you are entering another world, a space of reverence, where art converses with faith. In the ten cross-vaults that adorn the ceiling of the crypt, a whole heavenly hierarchy unfolds. Tetrads of saints, apostles, martyrs, military saints, and holy ones are depicted within circular breastplates, arranged in order, as if floating in a paradisiacal, embellished meadow. This numerous choir of figures, directly connected to the Deesis in the apse, seems to silently participate in the funeral service for which the space was intended. Among them, in the southern cross-vault, we find the depiction of Saint Anicetus, flanked by Saints Vincent and Arethas. His figure, although bearing the marks of time, retains a noble serenity, characteristic of Middle Byzantine art (Germanidou). The study of these frescoes in the Monastery of Hosios Loukas provides valuable insights not only into the iconography and technique of the time but also into the history of the monastery itself.
The Depiction of Saint Anicetus in the Monastery of Hosios Loukas
The fresco of Saint Anicetus, created in the southern cross-vault of the crypt of the Monastery of Hosios Loukas, greets us with the characteristic frontality and seriousness of Middle Byzantine art. He is depicted in the form of a breastplate, within a circular medallion defined by concentric circles and surrounded by rich floral decoration, creating the sensation of a heavenly window within the “paradisiacal meadow” of the ceiling. The figure of the Saint is youthful, with short, curly hair, large, expressive eyes, and calm features. He wears luxurious garments: a chiton decorated on the chest with gold jewelry (possibly incorporating the paragaudium) and a dark mantle held at the right shoulder with an impressive, valuable brooch (fibula). With his right hand, he holds the cross of martyrdom in front of his chest, a symbol of his faith and sacrifice. The inscription “Ο ΑΓ(ΙΟC) ΑΝΗΚΗΤΟC” is inscribed vertically to the right and left of his halo.
Looking at the image, even through a photograph, one feels the weight of history and art. I imagine the artisan working in the dim light of the crypt, applying colors to the wet plaster, adding depth with shadows around the eyes and neck. The use of green in the background of the medallion and the earthy tones in the garments create a harmonious composition. This figure, along with the other Byzantine saints (García) in the crypt, is part of a broader theological and artistic program.
The Iconographic Program of the Crypt
The crypt of the Monastery of Hosios Loukas is not merely an underground space but a fully formed chapel with a specific function, likely funerary, connected to the funeral service. The iconographic program of the cross-vaults of the ceiling serves this purpose, presenting a heavenly army of saints interceding for the deceased. In the ten cross-vaults, figures of Apostles, Martyrs, Military Saints (such as Anicetus, George, Vincent, Arethas) and Holy Ones are organized in tetrads within breastplates. This axial alignment and order in the depiction create a sense of harmony and sanctity, reflecting the heavenly order.
The martyrs and military saints, such as Saint Anicetus, occupy the three central cross-vaults along the North-South axis. In the northern vault, only Saint George is depicted, while in the southern vault, Saints Anicetus, Vincent, and Arethas are shown. All are presented frontally, stern, holding the cross of martyrdom, with their luxurious garments and brooches indicating their status. This assembly of saints is conceptually aligned with the representation of the Deesis (Trinity) in the apse of the Holy Altar of the crypt, enhancing the intercessory and mediatory character of the depictions. The choice of these specific saints may also relate to the particular preferences of the founders or the monastic brotherhood of the Monastery of Hosios Loukas.
The face of Saint Anicetus exudes the seriousness and spirituality of Middle Byzantine art in the Monastery of Hosios Loukas. The large eyes dominate.
The Significance of the Holy Fathers and the Dating
A key to understanding the history and dating of the frescoes in the crypt lies in the southeastern cross-vault. There, four holy ones are depicted: Luke, Philotheus, Athanasius, and Theodosius. The accompanying inscription “῾Ο ὅσιος πατήρ ἡμῶν” next to each name is revealing, as it indicates that these are not merely the namesakes saints but the deceased abbots of the Monastery of Hosios Loukas, whose patron saints are depicted in the opposite, northeastern cross-vault.
Particularly significant is the figure of Saint Theodosius, who occupies the honored position to the east, corresponding to that of Saint Luke. He is the world-renowned Theodore Leovachos, an imperial official from a powerful family in Thebes. Theodore-Theodosius Leovachos served as the abbot of the monastery, and his name is associated with the founding of the religious brotherhood of the Virgin Mary of Nafpaktos in 1048, as attested by the typikon. Some scholars, such as Stikas in his study of the founder, also connects Leovachos with the magnificent mosaics of the katholikon (Stikas). The depiction of Theodosius Leovachos along with the other Holy Fathers in the crypt allows us to date the frescoes after his death, that is, in times close to the mid-11th century, perhaps shortly after 1048. This period likely coincides with the abbacy of Gregory, who is known to have completed the marble revetment of the katholikon, finishing a large part of the decorative program of the monastery. (For further research: dating of the frescoes of Hosios Loukas).
Different Interpretations & Critical Assessment
The study of the Monastery of Hosios Loukas, with its rich architectural and artistic decoration, has engaged generations of researchers, sometimes leading to different interpretative approaches. Issues such as the precise dating of the various phases of decoration (mosaics, crypt frescoes, marble revetment), the identity of the founders and artistic teams, as well as the interpretation of specific iconographic choices, remain open for discussion. Scholars like Stikas have proposed specific identifications and datings based on epigraphic and historical evidence, while other researchers, examining stylistic similarities or differences with other monuments, may arrive at slightly different conclusions or emphasize other aspects, such as the functional significance of the spaces. This polyphony enriches our understanding of this complex Byzantine monument.
Epilogue
The fresco of Saint Anicetus in the Monastery of Hosios Loukas is not merely a standalone depiction but an integral part of a broader, cohesive theological and artistic puzzle. Integrated into the choir of saints that adorn the crypt, the figure of the martyr transports us to the heart of Byzantine spirituality and aesthetics of the 11th century. The strict frontality, the brilliance of the garments, the serene expression, and the craftsmanship of the execution compose a work of high artistic value. Its study, combined with the representations of the other saints and the Holy Fathers, allows us to shed light on the history, function, and spiritual life of this significant monastery. Even today, the figure of Saint Anicetus at Hosios Loukas continues to inspire awe and contemplation.
Frequently Asked Questions
Where exactly is the fresco of Saint Anicetus located in the Monastery of Hosios Loukas?
The fresco of Saint Anicetus is located in the crypt of the Katholikon of the Monastery of Hosios Loukas, in Boeotia. Specifically, it adorns one of the ten cross-vaults of the ceiling, that which is situated in the southern arm of the central axis (North-South), along with the figures of Saints Vincent and Arethas.
What is the style of the depiction of Saint Anicetus in the crypt?
The depiction of Saint Anicetus in the Monastery of Hosios Loukas follows the standards of Middle Byzantine art of the 11th century. It is characterized by frontality, severity in expression, the use of dark outlines and intense colors, although somewhat worn today. The saint is rendered in a breastplate within a medallion, emphasizing the luxury of the attire.
What era is the fresco of Saint Anicetus in Hosios Loukas dated to?
The fresco of Saint Anicetus, like the entirety of the frescoes in the crypt of the Monastery of Hosios Loukas, is dated to the third quarter of the 11th century. This dating is primarily based on the depiction of the Holy Fathers (abbots of the monastery) in another cross-vault, and specifically of Theodosius Leovachos, who was abbot in 1048.
Which other saints are depicted near Saint Anicetus in the Monastery of Hosios Loukas?
In the same southern cross-vault of the crypt of the Monastery of Hosios Loukas, Saint Anicetus is depicted alongside Saints Vincent and Arethas, forming a trio of martyrs. Directly opposite, in the northern cross-vault of the same axis, the great martyr Saint George is depicted, also a military saint.
What is the significance of the depiction of Saint Anicetus in the context of the Monastery of Hosios Loukas?
The depiction of Saint Anicetus in the Monastery of Hosios Loukas is significant as it is part of the broader iconographic program of the crypt, which is connected to the funeral service and the intercession of the saints. As a military martyr, he symbolizes sacrifice and faith, and his depiction is a valuable example of the high art of the 11th century in the monastery.
Bibliography
- García, Antonio Bravo. Byzantium. Akal, 1997.
- Germanidou, Sophia. Byzantine Melodious Culture: Sources, Art, Finds. Historical Quest, 2016.
- Müntz, Eugène. The Portable Byzantine Mosaics. E. Leroux, 1886.
- Stikas, Efst. G. The Founder of the Katholikon of the Monastery of Hosios Loukas. In Athens Archaeological Society, 1974.
- Strzygowski, Josef. Byzantine Monuments: The Etchmiadzin Gospel. Vol. 1, Mechitharisten-Congregation, 1891. (URL provided points to a page mentioning Hosios Loukas)
