The iconographical type of Theodore Teron and Theodore Stratelates facing each other and its diffusion during the Byzantine and post-Byzantine period*

Alexandra Trifonova** Centre for Slavo-Byzantine Studies “Prof. Ivan Duj~ev” at University “St. Kliment Ohridski”,

UDC 75.04(=14’04):271.2–3 DOI 10.2298/ZOG1034053T Originalan nau~ni rad

The paper deals with the iconographical type of Theo- Usually, the holy Theodores are depicted frontally, full dore Stratelates and saint Theodor Teron facing each other. figure, standing, either as military saints in warrior uniforms The author focuses on its appearance, its flourishing, as well or as in luxury garments, in which case they are , as its diffusion which is seen mainly in the area of Mace- sometimes depicted in bust, inside a medallion.3 However, of . donia and in the Balkans special interest is the rather rare representation of saints Keywords: Mural paintings, , lead seals, minor arts, Theodores Teron and Stratelates facing each other, in three- saint Theodore Stratelates, saint Theodore Teron, icono- -quarter view, receiving crowns of martyrdom from Christ or graphy, Byzantine art, post-Byzantine art blessed by him. This iconographical type of saints Theodores was investigated in the past mainly by N. Izmajlova4 and L. Mavrodinova.5 However, in this article we should try to rep- Among the most popular military saints of the Chris- resent a complete study of it including many new examples tian Church are saints Theodore Stratelates and Theodore of their representations found on lead seals, frescoes, icons . Teron Saint Theodore Stratelates was born in of and in the minor arts. Galatia and from young age he became a soldier.1 He was martyred in the epoch of emperor Licinus (250–325) and his The iconographical type of saints Theodores facing memory is venerated by the Orthodox Church on February 7. each other in three-quarter view with both arms raised in Saint Theodore Teron was born in Amaseia of Pontos in prayer to Christ above, who blesses them or gives them Cappadocia and became a soldier, to be martyred for the crowns, is known already from the middle Byzantine period Christian faith in 306 in Amaseia of Asia Minor during the of the eleventh and twelfth centuries, mainly on lead seals,6 rule of emperor Maximianus (250–310).2 His memory is but also on other objects7 and on steatite icons.8 This icono- venerated by the Orthodox Church on February 17. graphical type is diffused during the thirteenth and four-

* This article is an extended part of the text concerning the saints 4 N. Izmajlov, Une steatite byzantine du MuseedeChersonese, in: Theodores facing each other included in the author’s unpublished doctoral L'art byzantin chez les Slaves. L'ancienne Russie, les Slaves catholiques. dissertation: A. Trifonova, Oi toicografiej tou Agiou Gewrgiou tou Deuxieme recueil dedie a la memoiredeTheodore Uspenskij, II, Paris 1932, Bounou sthn Kastoria. Sumbolh sth meleth thj zwgrafikhj tou 35–48. deuterou misou tou 14ou aiwna sthn euruterh perioch thj Make- 5 Mavrodinova, Sv. Teodor, 45–50. doniaj, Thessaloniki 2010, 174–183. I would like to express my gratitude 6 Such lead seals are kept in the Hermitage Museum in Saint Peters- to my professors E. N. Tsigaridas and A. Semoglou for their precious com- burg ‰cf. A.V. Bank, Gemmi–steatiti–molivdovuli. O roli sfragistiki dlia ments concerning the text. izucheniia vizantiiskogo prikladnogo iskusstva, Palestinskii sbornik 68 ** Alexandra Trifonova ([email protected]). (1971) 46–52, fig. 2–3; K. Totev, Icones et croix de steatite de Tarnovo 1 Synaxarium Ecclesiae Constantinopolitanae, ed. H. Delehaye, (Tarnovgrad), CA 40 (1992) 127Š, and in the Numismatic Museum in Ath- Bruxelles 1902, 451–453. ens ‰cf. K. Konstantopoulos, Buzantiaka molubdoboulla tou en Aqh- 2 Synaxarium EC, 469. naij Eqnikou nomismatikou mouseiou, Athens 1917, no.33;V. Laurent, 3 For the iconography and the cult of saints Theodores v. L. Reau, Le corpus des sceaux de l’empire byzantin, V/1: L’eglise, Paris 1963, nr. Iconographie de l’art chretien, I, Paris 1957, 1253–1255; L. Mavrodinova, 778; V. Penna, H ekklhsi a twn Serrwn (11oj–12oj ai.). H marturia Sv. Teodor — razvitie i osobenosti na ikonografskija mu tip v sredno- twn molubdoboullwn, in: Dieqnej sunedrio Oi Serrej kai h perioch vekovnata `ivopis, Izvestija na Instituta za iskustvoznanie 13 (1969) 33–52; touj apo thn arcaia sth metabuzantinh koinwnia,2,Thessaloniki Lexikon der christlichen Ikonographie,8,Rom–Freiburg–Basel–Wien 1998, 496, 499, fig. 3–5Š. I would like to thank Mr. Y. Pyatnitsky for the 1976, 444–446 (G. Weigert), 447–451 (G. Weigert, E. Lucchesi-Palli); N. photo of the lead seal from the Byzantine Collection of the Hermitage Mu- Oikonomides, Le dedoublement de saint Theodore et les villes d’Euchaita seum. et d’Euchaneia, Analecta Bollandiana 104 (1986) 327–355; A. Kazhdan, 7 For example, the encolpion of Gennadios, the metropolitan of N. P. [ev~enko, Theodore Stratelates, in: The Oxford dictionary of Byzan- Serres, in the monastery of on (the 10th–12th c.), tium,3,New York–Oxford 1991, 2047; iidem, Theodore Teron, in: ibidem, which unfortunately I could not check and see. Cf. N. P. Kondakov, 2048–2049; M. Markovi}, O ikonografiji svetih ratnika u isto~nohri{tian- Pamiatniki khristianskogo iskusstva na Afone, Sankt Petersburg 1902, 220; skoj umetnosti i o predstavama ovih svetitelja u De~anima, in: Zidno Izmajlov, Une steatite byzantine, 39, n.3. slikarstvo manastira De~ana. Gradja i studije, ed. V. J. Djuri}, Beograd 8 There are representations of the saints Theodores facing each 1995, 574–577, 594–597; Ch. Walter, Theodore, archetype of the warrior other, where nowadays is preserved only the one figure because of the loss saint, REB 57 (1999) 163–210; idem, The Warrior Saints in Byzantine Art of one part of the . Such examples are the steatite icon with saint Theo- and Tradition, Burlington 20032, 44–66. dore Stratelates in the Museum Sacro della Biblioteca Apostolica in Vatican 53 ZOGRAF 34 (2010) ‰53–64Š

Fig.1.Lead seal in the Hermitage Museum, the 11th–12th century (photo: Hermitage Museum)

teenth century9 and continues with particular frequency dur- ing the post-Byzantine period from the fifteenth to the seven- , teenth century in mural painting on icons and objects of the Fig.2.Church of St. George tou Vounou in Kastoria (1368–1385) minor arts. We have to note that in general the iconographi- (photo: the author) cal type of saints facing each other in three quarter pose, the synthesis of the blessing or the crowning of military saints The earliest representations of saints Theodores Teron from Christ, is a theme which has already been known since and Stratelates facing each other are known on lead seals the tenth century10 on illuminated manuscripts and it is more (molubdoboula), as it is evident from the lead seals in the frequent during the eleventh and twelfth century11 on fres- Hermitage Museum in Saint Petersburg (the eleventh or coes, objects of minor arts and portable icons.12 twelfth century), in the Collection of the Dumbarton Oaks in

(the 11th c.) ‰I. Kalavrezou-Maxeiner, Byzantine Icons in Steatite, Wien 12 In general, the iconographical type of saints which are depicted in 1985, pl.7,fig.6;The Glory of Byzantium. Art and Culture of the Middle three-quarter view, facing each other is known in the following pairs saints: Byzantine Era A.D. 843–1261, New York 1997, 157–158, fig. 104 (A. 1. Saints Kosmas and Damianos, on a miniature of the manuscript of the Weyl Carr); I. Kalavrezou, Interpreting carving techniques and styles in Menologion of Basil II (Il Menologio, 152), on a miniature of the Codex 2 of steatite icons, in: Buzantinej eikonej. Tecnh, tecnikh kai tecnologia, the Panteleemon monastery on Mt. Athos, from the first half of 12th c.‰S. ed. M. Vasilake, Herakleio 2002, 328, 333, fig. 3Š, the icon in steatite in the Kadas, To eikonografhmeno ceirografo thj monhjAgiou Pante- Historical Museum of Veliko Tarnovo in (the second half of the lehmonoj (Agion Oroj). Sumbolh sthn meleth twn buzantinwn 11th–12th c.), where is preserved only the right part of the icon ‰P. Slav~ev, euaggeliwn, Thessaloniki 2001, pl. 9), on an 12th c. icon from Georgia (T. Ikona na svetec voin ot Carevec (XII–XIII v.), Arheologija 3 (1977) 60–65; Sakvarelidze, G. Alibegashvili, Gruzinskie chekannye i zhivopisnye ikony, . . , i i , A V Bank Nekotorye skhodnye pamiatniki srednevekovo melko plastiki Tbilisi 1980, fig. 10), on a from the church of Saints Anargyres in i , , na dennye v Konstantinopole Khersonese i v Bolgarii Byzantinobulgarica Kastoria, painted around 1180 (private remark), etc. 2. Saints Eugenios and 7 (1981) 113, .4; - , . ., . 15, .24 ; , fig Kalavrezou Maxeiner op cit pl fig a Totev Makarios, on the Menologion of Basil II (Il Menologio, 259). 3. Saints o , 126, .6; , . . , Ic nes fig Treasures of Christian Art in Bulgaria ed V Pace So- George and Theodore, on a lead seal from the Dumbarton Oaks Collection, 2001, 184, .61( . )Š fia fig K Totev and the icon in steatite in the Museum of dated in the last quarter of the 12th c.(Laurent, Le Corpus, V, 1, 597–598, ( 11 –12 .), Chersonesus in the th th c where only the left part of the no.779; Penna, H ekklhsia twn Serrwn, 496, fig. 6), on an 11th c. steatite icon is preserved ‰cf. A. Xyngopoulos, H palaiocristianikh toico- ( - , i i h a i , a 9 (1977) 413, icon from the collection of the Dumbarton Oaks Kalavrezou Maxeiner graf a thj Rwma k j agor j Qessalon khj Buzantin , .6, . 5), , .4; , . .,114, .5; , e , 41, . 21; Byzantine Icons pl fig on an steatite icon in the Berlin Museum n Bank op cit fig Izmajlov Une st atite byzantine fig 12 13 –14 .( - , , - , . ., . , .7, .6, .7; i i dated in the th or th th c Kalavrezou Maxeiner Byzantine Icons Kalavrezou Maxeiner op cit pl II fig pl fig Vizanti ski Kher- . 49, . 100), , , . , 1991, 89, . 88Š. pl fig on a fresco in the church Tigrane Honents in Ani Armenia son Katalog vystavki Moskva fig 1215 ( , e , 42, . 24) . 4. 9 . dated in Izmajlov Une st atite byzantine fig etc Saints According to M Vassilaki the iconographical scheme of saints , - 13 .( . George and Demetrius on a gold plated encolpion lipsanotheque in the Theodores facing each other is known after the middle of the th c M . ( , , 212, . Vasilake, Eikonej tou 17ou aiwna, in: M. Vasilake, I. Tavlakes, E. monastery of Xeropotamou on Mt Athos Kondakov Pamjatniki fig 84; , e , 39, . 3), Tsigaridas, Iera Monh Agiou Paulou. Eikonej, Monastery of Aghiou Izmajlov Une st atite byzantine n on an icon in the Kanel- , , 14 – Pavlou 1998, 118). Contrarily, E. Tsigaridas considers that this icono- lopoulos Museum Athens dated in the end of the th the beginning of the 15 .‰ i u a u . graphical type of saints Theodores is bringing in the iconography from the th c Mouse oPa lou kai Alex ndraj Kanellopo lou Buzan- h h e , . . , . e e, middle of the 14th c.; cf. E. N. Tsigaridas, Toicografiej thj periodou twn tin kai metabuzantin t cnh ed K Skampavias N Chatz dak Ath- 2007, 134–137, . 109 ( . e e)Š, Palaiologwn se naouj thj Makedoniaj, Thessaloniki 1999, 217. K. ens fig N Chatz dak on a fresco from the church , , 16 – Kirchhainer defines the temporal interval from the third quarter of the 14th of Dormition of Virgin in Smederevo Serbia dated in the end th the be- c.; cf. K. Kirchhainer, Die Fresken der Marienkirche in Cerske bei Leskovik ginning of the 17th c.‰B. Cvetkovi}, A Contribution to the Understanding (Sudalbanien). Ein Beitrag zur spatbyzantinischen Monumentalmalerei im of the Iconographical Programme in the Church of Dormition of the Virgin Nordlischen Epirus, Deltion CAE 25 (2004) 105. However, the mentioned at Smederevo, ZLUMS 34–35 (2003) 256Š. 5. Saints Peter and Paul, on a il- scholars do not take into consideration the previous cited examples of this luminated manuscript , created around 1220, in the Historical Museum of type on lead seals and on steatite icons. Moscow (V. Putsko, O granitsakh vizantiisko-russkogo iskusstva, in: 10 For example, in the miniatures of the Menologion of Basil II (the Eufrosunon. Afierwma ston Manwlh Catzhdakh,2,Aqhna 1992, pl. end of the 10th c.); cf. Il Menologio di Basilio II (Cod. vaticano greco 298a), on an steatite icon (Kalavrezou-Maxeiner, Byzantine Icons, pl. 22, 1613), Torino 1907, 152, 259 etc. fig. 37), on an 16th c. icon in the Historical Museum of Moscow (I. L. 54 11 Kalavrezou-Maxeiner, Byzantine Icons, 38–40; Totev, Icones, 125. Kyzlasova, Russkaia ikona XIV–XVI vv., Leningrad 1988, fig. 82–84), etc. Trifonova A.: The iconographical type of saints Theodore Teron and Theodore Stratelates

Washington (the second half of the twelfth century) and in the Numismatic Museum in Athens (the second half or third quarter of the twelfth century). The lead seal in the Hermitage Museum (the eleventh or twelfth century) bears the representation of saints Theo- dores facing each other, with shields between them (fig. 1).13 They have hands raised in prayer to Christ, who is depicted in bust above them, blessing. Saints Theodores are not marked with inscriptions. The lead seal in the Collection of Dumbarton Oaks (the second half of the twelfth century) presents the saints Theo- dores in three quarter view facing each other with hands raised in prayer to Christ, who is blessing them.14 On the right is represented saint Theodore Stratelates with the in- scription: O / QE/O/DW/ROC / O CTR/ATH/LAT/HC, whe- reas the inscription of saint Theodore Teron, which was in- scribed on the left, is now effaced. Fig.3.Church of Christ Zoodotes in Borje near Korüe (1389/1390) (photo: the author) On the lead seal from the Numismatic Museum of Ath- ens (the second half or third quarter of the twelfth century) In the church of St. George tou Vounou in Kastoria saints Theodores are depicted facing each other, in three- (1368–1385) saints Theodores are depicted on the south wall - , .15 quarter view raising hands to Christ who is blessing them of the main church (fig. 2).17 They are standing, full figure, : ( ) ( ) They bear the inscriptions O AGIOC QEODWRO C and O facing each other in three-quarter view with raised hands in ( ) ( ). AGIOC QEODWRO C prayer to Christ Emmanuel I(HCOU)C / C(RICTO)C. He is In mural painting the depiction of saints Theodore represented in bust, above them, and blessing from a semicir- Teron and Theodore Stratelates facing each other in cular divine glory (doxa). Saints Theodores are dressed in three-quarter view has been known since the second half of military vestments, a hiton, a short-sleeved thorax and a the fourteenth century, on monuments from the broader area mantle. They have swords in thecas, which slip from their , , , of Macedonia mainly from Kastoria Mount Athos but also belts. Drop-shaped shields with ornamental motifs and verti- .16 from Leskovik in South Albania and from medieval Serbia cally set lances among them. The saints are indicated with Particularly in Kastoria the representation of saints Theo- the inscription: ‰O AGIOC QEODWROC OŠ TH/‰RŠON and dores in this type occurs in the church of St. George tou OAG(IOC) QEO‰DWROCŠ/O CTRATH/LATHC. Vounou (1368–1385) and St. Athanasius tou Mouzakis (1383/1384), but also in the vicinity of this city, in the church In the church of St. Athanasius tou Mouzakis in Ka- of Christ Zoodotes in Borje, near Korüe (1389/1390), a work storia (1383/1384) the saints Theodores Teron and Stra- of painters from Kastoria. Sporadic depictions of the theme telates facing each other in three-quarter view are depicted are preserved in Mount Athos, in the parekklesion of St on the south wall of the main church.18 They have hands Demetrius of the (the second or raised to Christ Emmanuel I(HCOU)C / C(RICTO)C, de- third quarter of the fourteenth century), in South Albania, picted in a semicircle ray-shaped divine glory, and giving like in the church of Virgin in Cerske near Leskovik (the end them crowns. Saints Theodores are wearing military gar- of the fourteenth century). However, in medieval Serbia, this ments and are signed by the inscriptions: OAG(IOC) QEO- iconographical theme occurs in St’s Peter and Paul church in DWR(OC)/O THRWN and OAG(IOC) QEODWR(OC)/O @i~a (the end of the fourteenth century). CTRATHLATHC.

13 Inv. nr. 4720. For this seal cf. Bank, Gemmi–steatiti, 46–52, fig. grecs, REB 7 (1949) 61; Penna, op. cit., 2, 496Š. According to V. Penna, the 2–3; Totev, Icones et croix, 127. On the verso of the lead seal is engraved depiction of the two Theodores is probably based on a private choice of the the following text in Greek: ‰CŠKEPOIC ME /‰DŠUAC MARTURW‰NŠ/ holder of the seal, namely of the metropolitan of Serres, Theodore, who ‰PŠERIBLEPTH TON ‰PŠRWTOKOURO /‰PŠALATHN,(Bank, op. consciously depicted along with the saint of the Metropolis of Serres also cit., 51). his personal homonymic (Penna, op. cit., 2, 496). 14 Laurent, Le Corpus, V, 1, 101–102, no. 1749; Penna, H ekklh- 16 According to A. Grabar, in two parekklesions (nr.8and 18) of sia twn Serrwn, 2, 497, n. 24. On the verso of the lead seal the inscription Trapezica in Veliko Tarnovo are depicted (in the end of the 13th or in the reads: GRAFWN / KORINQOU POI/MENOC QE‰ODWROUŠ/UPER- 14th c.) two military saints, facing each other, probably saints Theodores; TI‰MOU ECŠO‰IŠC/QE MARTUREC / KUROC. According to V. Laurent, cf. A. Grabar, Recherches sur les influences orientales dans l’art bal- the pastor Theodores of Corinth can be identified with the metropolitan of kanique, Paris 1928, 19, n 1; idem, La peinture religieuse en Bulgarie, Paris Corinth, Theodore, who took part in the Synod in 1166 (Laurent, Le Cor- 1928, 112; A. Orlandos, Ta buzantina mnhmeia thj Kastoriaj, Arceion pus, V, 1, 102). Buzantinwn Mnhmeiwn thj Elladoj 4/2 (1938) 153. Unfortunately, I couldn’t check this information, as these frescoes nowadays are not in situ. 15 Konstantopoulos, Buzantiaka molubdoboulla, nr. 33; Lau- 17 rent, Le Corpus, V, 1, 597, no.778; Penna, H ekklhsia twn Serrwn,2, For the depiction of saints Theodores in the church of St. George . . . , a. u , 496, 499, fig. 3–5. According to V. Laurent, the lead seal dates in the second tou Vounou cf N K Moutsopoulos Kastori Le kwma Thessaloniki 1972, 53, . 13; . . , E u a , half of 12th c.(Laurent, Le Corpus, V, 1, 597), whereas V. Penna dates it in fig E N Tsigaridas reunej stouj nao j thj Kastori j a 25 (1985–1986) 388, .8; , i , 238–239, the third quarter of 12th c.(Penna, op. cit., 2, 496, 499). On the back side of Makedonik fig idem Toicograf ej . 134–135; , i i i the lead seal there is also an inscription which reads: † QE/ODWROU/ fig Trifonova Oi toicograf ej tou Ag ou Gewrg ou tou Bou- u,2, . 29, . 50. CFRAGICMA / CERRWN POI/MENOC. Different reading of the inscrip- no sch fig tion gives V. Penna, o a(gioj) Qeodwr(oj)–O a(gioj) Qeodwr(oj), cf. Pen- 18 For the depiction of saints Theodores in the church of St. Atha- na, op. cit., 2, 496. Theodore of Serres, according to V. Laurent, is identified nasius tou Mouzakis cf. Orlandos, Ta buzantina mnhmeia, 152, fig. 108; S. probably as the metropolitan of Serres Theodore who took part in the syn- Pelekanides, Kastoria. Buzantinai toicografiai, Thessaloniki 1953, odal works of 1166, as well as with Theodore Mantzoukes, metropolitan of pl. 153a; Mavrodinova, Sv. Teodor, fig.9;V. J. Djuri}, Mali Grad, Sv. Serres, who is mentioned in the codex Paris. Coisl. grec 82 ‰Laurent, Le Atanasije u Kosturu, Borje, Zograf 6 (1975) fig. 38; S. Pelekanides, M. Corpus, V, 1, 597; J. Darrouzes, Les catalogues recents de manusrcits Chatzedakes, Kastoria, Athens 1992, 119, fig.14. 55 ZOGRAF 34 (2010) ‰53–64Š

Fig.5.Church of Sts Apostles Peter and Paul in @i~a, the end of the 14th century (photo: M. Markovi}, D. Vojvodi})

end of the fourteenth century) saints Theodores are depicted to their knees, facing each other, with hands raised in prayer to Christ Emmanuel I(HCOU)C C(RICTO)C, who is de- picted inside a semicircle divine glory, blessing (fig. 5).22 Saints Theodores are represented in luxury garments and not in military, as is usual for this iconographical type, and wear crowns. Saint Theodore Teron is signed by the inscription in old Slavonic: stâ / Ûeñdor / Tironâ, whereas the inscrip- tion of saint Theodore Stratelates is destroyed. During the fifteenth century the iconographical type of saints Theodores facing each other is spread mainly on mon- uments from Kastoria, like in the church of Holy Three Mar- Fig.4.Church of Virgin in Cerske near Leskovik, tyrs (St. Abibos, St. Samonas and St. Gurias) (1400/1401), in the end of the 14th century (photo: the author) the church of the Dormition of Virgin in Zevgostasi (1432), in the church of St. Andrew tou Rousouli (1441/1442) and In the church of Christ Zoodotes in Borje near Korüe in mainly in works of the workshop of Kastoria in the end of the Albania (1389/1390), the saints Theodores Teron and Stra- fifteenth century, like the church of St. Nicholas tis telates facing each other are depicted on the north wall of the archontissas Theologinas (1490–1500), but as well as on the 19 main church (fig. 3). At present, their figures are preserved Balkans, in the monastery of St. George in Kremikovci near only to the waist. They raise their hands in prayer to Christ Sofia (1493) and in in two monasteries in Serbia, Jo{anica Emmanuel, depicted in a ray-shaped divine glory with celes- near Jagodina (the first half of the fifteenth century) and the tial powers, and giving them crowns of martyrdom. In artistic monastery of St. John the Theologian in Poganovo near Pirot shaped tablets are preserved the inscriptions: OAG(I)OC / (1499/1500). QEODW/ROC /OTIR(O)N and OAG(I)OC / QEODWROC / O CTRATHL‰ATHCŠ. In the church of St. Three Martyrs (Abibos, Samonas and Gurias) in Kastoria (1400/1401) saints Theodores are de- . In the parekklesion of St Demetrius in the Xeno- picted on the south wall, on the right of the entrance door phontos monastery on Mount Athos (the second or third ) quarter of the fourteenth century saints Theodores are de- 19 For the depiction of saints Theodores in the church of Christ 20 picted on the south wall in a conch of the main church. To- Zoodotes, cf. Djuri}, Mali Grad, fig. 39. day there is preserved only the left figure of the one saint 20 For the depiction of saints Theodores in the parekklesion of St. Theodore, probably Teron. He stands in three-quarter view Demetrius in the Xenophontos monastery on Mt. Athos, cf. E. N. with hands raised in prayer and dressed in military costume. Tsigaridas, H mnhmeiakh zwgrafikh stij monej tou Agiou Orouj kata , thn periodo 1250–1500, in: Praktika tou Tritou Dieqnouj Sumposiou There are not preserved inscriptions as well as the figure of ¼Politistikh klhronomia kai arcitektonikh paradosh sth Cal- Christ, so we do not know whether he blesses or presents kidikh kai to Agio Oroj½, Thessaloniki 1993, 335, fig. 48; idem, Artistic them crowns of martyrdom. Activity on Mt. Athos. Monumental painting in the Byzantine period (963–1453), : . , , e in Byzantine Macedonia Art Architecture Music and Hagi- In the church of Virgin in Cersk near Leskovik, ography, Melbourne 2001, 187, fig. 123; idem, Toicografiej, 82, sch. Albania (the end of the fourteenth century) saints Theodores 1.15, 101, fig.51a. Teron and Stratelates are depicted on the north wall of the 21 For the depiction of saints Theodores in the church of Virgin in main church, in three quarter view, facing each other with Cerske near Leskovik, cf. Kirchhainer, Die Fresken, fig. 6, 14–15 (only a ). I(H OU) C(RI TO) , photo of their heads raised hands to Christ C C C C who blesses 22 ( . 4).21 For the depiction of saints Theodores in the church of St. Apostles them from a double semicircle divine glory fig Saints , . . , . , . , . : ( ) / Peter and Paul in @i~a cf M Ka{anin Dj Bo{kovi} P Mijovi} @i~a Theodores bear the inscriptions OAGIO C QEWDOROC Istorija, arhitektura, slikarstvo, Beograd 1969, 37, sch. p. 172; B. @ivkovi}, O CTRATI/LATHC and OAG(IO)C QEWDOR(O)C / O @i~a. Crte`i fresaka, Beograd 1985, pl. CII, fig.1.The depiction is dated by THRON. the mentioned schollars in the 14th century. However, after obtaining a color photo from professor Miodrag Markovi}, whom I express my grati- In a lunette of the entrance door of the exterior wall of tude, we are of the opinion that the dating of the fresco in the second half of 56 the church of the Holy Apostles Peter and Paul in @i~a (the the 14th century is more evident. Trifonova A.: The iconographical type of saints Theodore Teron and Theodore Stratelates

Fig.6.Church of Holly Three Martyrs (Abibos, Samonas and Gourias) in Kastoria (1400/1401) (photo: the author)

(fig. 6).23 They are in full length facing each other in three quarters, raising hands to Christ, depicted in a semicircle di- vine glory and giving them crowns. There are not any in- scriptions because of the poor condition of preservation. In the church of the Dormition of Virgin in Zevgostasi near Kastoria (1432) saints Theodores are depicted on the Fig.7.Monastery of St. George in Kremikovci near Sofia (1493) south wall of the main church.24 The painted layer at this (photo: the author) place is not preserved in good condition because of the de- colouration. Saints Theodores are standing up in three-quar- semicircle divine glory above. The inscriptions are not pre- ters with hands raised in prayer to Christ, who is blessing served. - . them from a ray shaped divine glory In the monastery of St. John the Theologian in Poga- In the church of St. Andrew tou Rousouli in Kastoria novo (1499/1500) the facing each other saints Theodores are (1441/1442) the representation of saints Theodores is de- represented on the west wall of the main church, left to the picted on the north wall of the main church.25 Nowadays only entrance door. They have hands raised in deeisis to the semi- the right part of the theme is preserved, with the depiction of circle divine glory above them, from which the hands of God - saint Theodore Stratelates in three quarter view to the right are giving them crowns of martyrdom. The old Slavonic in- : / / signed by the inscription QEODW ROC O CTRATH- scriptions read: Stâ› /Ûeñ/dor /Turon and Stâ› /Ûeodñr . LATHC /Stratilatâ (fig.8).29 In the church of St. Nicholas tes archontissas Theo- loginas in Kastoria (1490–1500) on the north wall of the 23 Private remark. main church is preserved only the right part of the depiction 24 Private remark. of saints Theodores Teron and Stratelates.26 From the image 25 For the depiction of saints Theodores in the St. Andrew tou of saint Theodore Stratelates O AGIOC QEODWRO/C / O Rousouli church, cf. Tsigaridas, Toicografiej, 317, fig. 174. CT/R/A/TH/LAT/‰HCŠ only the head is preserved , turned 26 For the depiction of saints Theodores in the church of St. Nicholas above to Christ I(HCOU)C / C(RICTO)C, who is giving him tes archontissas Theologinas, cf. I. Sisiou, Kastoriana mnhmeia, Kastoria . 1995, 136, fig. 283; idem, Epta ekklhsiej thj Kastoriaj. Is- a crown of martyrdom toria–arcitektonikh–zwgrafikh, Kastoria 1995, sch. on p. 67; M. In the monastery of St. George in Kremikovci near So- Paisidou, Oi toicografiej tou 17ou aiwna stouj naouj thj Kastoriaj. (1493) Sumbolh sth meleth thj mnhmeiakhj zwgrafikhj thj dutikhj fia saints Theodores facing each other are depicted on Makedoniaj, Athens 2002, 215. ( .7).27 the north wall of the main church fig They are raising 27 , . , . For the depiction of saints Theodores in Kremikovci cf Grabar hands in prayer and are wearing crowns on their heads La peinture, 116; Mavrodinova, Sv. Teodor, fig.7;A. Boschkov, Mo- Above them is depicted a semicircle divine glory, without numentale Wandmalerei Bulgariens, Mainz 1969, 106–107 (with an in- the image of Christ or the hands of God. They bear inscrip- correc dating in 1500); K. Paskaleva-Kabadaieva, Carkvata “Sveti Georgi” : St› /Ûeodñr /Tirñn v Kremikovskija manastir, Sofija 1980, 21, sch. 14, 32, fig. 23, 36, fig. 26, tions in old Slavonic which read and 37, . 27. St› /Ûeodñr /Strati /latã fig 28 B. Cvetkovi}, I. Stevovi}, J. Erdeljan, The Monastery Jo{anica, In the Jo{anica monastery the depiction of saints Theo- Beograd 2008, 36, fig.14. dores facing each other, in three-quart length is in very bad 29 For the depiction of saints Theodores in Poganovo, cf. Mavro- condition of preservation due to the falling of the plaster on dinova, Sv. Teodor, fig.8;G. Suboti}, Manastir Poganovo. Izlo`ba kopija 975, .2; , .28 fresaka iz manastira Poganova, Beograd 1 fig Paskaleva- the left part of the theme but also due to the discolouration -Kabadaieva, op. cit., fig. 73; B. @ivkovi}, Poganovo. Crte`i fresaka, From the preserved traces it seems that saints Theodores are Beograd 1986, 25, sch. VII.16; Dj. Sp. Radoj~i}, G. Suboti}, Iz pro{losti in prayer pose to the hands of God, which are coming out of a manastira Svetog Jovana Bogoslova, Ni{ 2002, fig. 11. 57 ZOGRAF 34 (2010) ‰53–64Š

Koubelidiki in Kastoria and in the monastery of Virgin in Si}evo near Ni{, Serbia.36 In the church of Virgin Koubelidiki in Kastoria the saints Theodores are depicted on the north wall of the narthex, flanking a niche in which is depicted on horseback.37 Saints Theodores are represented in three-quart view, extending their hands in prayer. Above them, left and right, in semicircle divine glories the hands of God I(HCOU)C / C(RICTO)C are giving them crowns of martyrdom. Above saints Theodores the inscriptions reads: OAG(I)OC QEODORO(C)/O THRON and OAG(I)OC QEODOROC O CTRATI/LATH(C). In the Monastery of the Virgin in Si}evo the quar- ter-view and facing each other saints Theodores are depicted in the west niche of the south wall of the main church wear- ing crowns on their heads.38 Their hands are raised to the di- vine glory, in which nether Christ is depicted, nor the hands of God. They bear old Slavonic inscriptions: stiâ› teo/dorâ /tironâ and stiâ› teodor stra/tilati. The depictions of saints Theodore Teron and Stratelates , Fig.8.Monastery of St. John the Theologian in Poganovo near facing each other are also known on portable icons which origi- Pirot (1499/1500) (photo: the author) nate mainly from the broader area of Macedonia, like Kastoria, Veroia, Mount Athos, Serres, Melnik, but also out of this area, During the seventeenth century the iconographical ty- like Berat of Albania and Sinai. The icons of saints Theodores pe of saints Theodores facing each other, virtue the influence facing each other date back to the twelfth (or the second half of of the workshop of Kastoria from the end of the fifteenth cen- the thirteenth) century till the seventeenth century and they are tury, continues its diffusion mainly in monuments of Roma- accounted on icons in the Museum of the Theological Academy nia, like the monasteries of St. Nicholas in Balineôti (ca. in Kiev (the twelfth century), in the Byzantine Museum of 1500), Curtea de Argeô (1526), Dobrovañ (1527–1530) Pro- Veroia (the second half of the thirteenth century and the last bota (1530) and Coôula (1537/1538), whereas in this quarter of the fifteenth century), in the Byzantine Museum of iconographical type is found in the church of St. Nicholas Kastoria (the second half of the fourteenth century), in the col- Lamara (tou monhou Anthimou) in Veroia (1565–1570). lection of monastery on Mount Athos (the second In the monastery of St. Nicholas in Balineôti (ca. 1500) quarter or the end of the fourteenth century), in the Onufri Na- the saints Theodores facing each other are raising hands in tional Museum in Berat (the sixteenth century), in the monas- prayer and reach rays of light from a polygonal divine glory tery of Saint Paul on Mount Athos (the seventeenth century), in above them.30 Inscriptions in old Slavonic read: Stâ› Ûeñ- the Trapeza of the Timios Prodromos monastery near Serres dorâ /T›ron and Stâ› / Ûeodñr Stratilatâ. (the seventeenth century) and in the Museum of Blagoevgrad IntheCurteadeArgeômonastery(1526) saints Theodo- (the seventeenth century). res are depicted facing each other, but unfortunately we could The icon of saints Theodores facing each other from not confirm whether Christ is blessing or giving crowns.31 the Sinai monastery (the twelfth century), now in the Mu- In the Dobrovañ monastery (1527–1530) the facing seum of the Theological Academy in Kiev, presents the each other saints Theodores have hands raised to Christ Em- saints who are being given crowns by the Virgin.39 manuel, depicted in a ray-shaped divine glory, blessing. The inscriptions are in old Slavonic.32 30 V. Dragut, Die Wandmalerei in der Moldau im 15. und 16. In the Probota monastery (1530) the saints Theodores Jahrhundert, Bukarest 1983, fig. 31. 31 Curtea Domneasca din Argeô, Buletinul Comisiunii Monumen- facing each other have hands raised in prayer to Christ Em- telor Istorice 10–16 (1917–1923) pl. VII; Grabar, La peinture, 115. manuel, who is blessing them from a ray-shaped divine 32 A. Vasiliu, Monasteres de Moldavie, XIVe–XVIe siecles. Les ar- glory.33 The old Slavonic inscription which is preserved chitectures de l'image, Paris 1998, fig. 71. nowadays reads: Stâ› Ûeo/dñrâ Tiro‰nŠ. 33 Dragut, Die Wandmalerei, fig. 59; T. Sinigalia, V. M. Puôcaôu, (1537/1538) Manastirea Probota, Bucureôti 2000, 52, fig. 34. In Coôula monastery saints Theodores fac- 34 Istoria artelor plastice in , red. G. Oprescu,1,Bucureôti ing each other are dressed not in military, but in luxury gar- 1968, fig. 333. ments (fig.9).34 They are depicted in prayer to Christ Emman- 35 I would like to thank professor E. Tsigaridas for giving me a uel who is blessing them. There are no preserved inscriptions. photograph of this unpublished depiction. 36 ( In the church of Riljevo near Prilep (1627), saints Theodores are In the church of St. Nicholas Lamara tou monachou depicted facing each other, in Aspasmos, cf. A. Tourta, Oi naoi tou Agiou Anthimou) in Veroia (1565–1570) the facing each other Nikolaou sth Bitsa kai tou Agiou Mhna sto Monodendri, Athens saints Theodores with hands raised in prayer above to Christ 1991, 195–196, fig. 119a; Paisidou, Oi toicografiej, 216. Emmanuel I(HCOU)C / C(RICTO)C, depicted in a semicir- 37 Pelekanides, Kastoria, pl.114a, 115a–b; Mavrodinova, Sv. , 47, .12; , a i , .4; , cle ray-shaped divine glory, are reaching crowns of - Teodor fig Sisiou Kastorian mnhme a fig Paisidou Oi toicografiej, pl.97b. 35 : / / dom. They are signed by the inscriptions O AGI OC 38 M. Rakocija, Manastir Svete Bogorodice u Si}eva~koj klisuri, Ni{ QEODOROC O TURON and O AGI/OC / QEODOR/OC / O 2007, 37, fig. 30, sch. 49. CTRATHLAT(HC). 39 N. P. Kondakov (Ikony Sinaiskoi i Afonskoi kollektsii preosv. Porfiriia, izdavaemye v lichno im izgotovlennykh 23 tablitsakh, Sankt-Pe- During the seventeenth century the iconographical ty- terburg 1902, 10–12, pl.4)dates the icon in the 12th century. However, N. pe of saints Theodores facing each other is found only spo- Izmajlov (Une steatite byzantine, 36, 38) dated the same icon in the end of 58 radically in wall paintings, like in the church of Virgin the 14th or the beginning of the 15th century. Cf., also, O. Wulf, M. Trifonova A.: The iconographical type of saints Theodore Teron and Theodore Stratelates

Fig.9.Coôula monastery (1537/1538) (photo: the author)

The icon of saints Theodore Teron and Stratelates fac- ing each other from the church of Virgin Gorgoepikoos in Fig. 10. Church of Virgin Koubelidiki in Kastoria, Veroia, now in the Byzantine Museum of Veroia (the second the 17th century (photo: the author) half of thirteenth or mid-fourteenth century) is not preserved in full size.40 The right part with the figure of saint Theodore Alpatoff, Denkmaler der Ikonenmalerei. In Kunstgeschichtlicher Folge, , Dresden 1925, 124–126, fig. 50; Mavrodinova, Sv. Teodor, 45–46; Kala- Stratelates is fragmentary missing and only the hands and a vrezou-Maxeiner, Byzantine Icons, 65. Unfortunately we did not have a part of the mantle are preserved. On the left is represented good photo reproduction in order to be able to make our own datation. saint Theodore Teron, in three-quart view to right with hands 40 The icon has inv. nr. 538. Cf. Th. Papazotos, Buzantinej eikonej raised in prayer. Above, in a semicircle divine glory, is Christ thj Beroiaj, Athens 19972, fig. 13; Saints de Byzance. Icones grecques de I(HCOU)C / C(RICTO)C, depicted in bust, blessing the two Veroia XIIIe–XVIIe siecle, Athenes 2004, 144–145, fig.20(Ch. Mauro- . . poulou-Tsioume); Buzantino MouseioBeroiaj, Veroia 2007, 51. Ac- saints The background of the icon is golden cording to Th. Papazotos, the icon of saints Theodores refers to the art of The icon of saints Theodores Teron and Stratelates Sopo}ani (1263–1268) and must be a work of the decade 1260–1270, out- facing each other in the collection of the Byzantine Museum side of Veroia, probably from Constantinople (Papazotos, op. cit., 46). in Kastoria (the second half of the fourteenth century) is However, Ch. Mavropoulou-Tsioumi considers that the art of the icon is . identified with artistic trends of athonite icons from the third or the last poorly preserved The painting is damaged and we can not quarter of the 13th c. and suggests that a dating of the icon in the second half confirm whether Christ Emmanuel I(HCOU)C / C(RI- of the 13th c. is possible (cf. Saints de Byzance, 144). In the catalogue of the CTO)C, is blessing or giving crowns.41 Byzantine Museum of Veroia the icon is dated with a question mark in the The icon of saints Theodore Teron and Stratelates fac- second half of the 13th c.(Buzantino MouseioBeroiaj, 51). E. Tsigaridas ‰Forhtej eikonej sth Makedonia kai to Agion Oroj kata ton 13o ing each other in the treasure of the Hilandar monastery on aiwna, Deltion CAE 21 (2000) 146, n. 78Š remarks that the dating of the Mount Athos (the second quarter or the end of the fourteenth icon in the decade 1260–1270 has to be re-examined, as well as to our opin- century) is cut in the middle and thus preserves only its left ion this dating have to be taken with some reservation, as it is not excluded part with the figure of saint Theodore, probably Teron and the icon to be posterior and to date in the middle of the 14th century. the hand of God.42 Saint Theodore is depicted in three-quar- 41 The icon is dated by E. Tsigaridas in 14th–15th c.; cf. E. N. , e e o i , I(H OU) Tsigaridas Buzantin j kai metabuzantin j eik nej tou Mouse ou thj ter to right with hands raised in prayer to Christ C C Kastoriaj, Praktika thj en Aqhnaij Arcaiologikhj Etairiaj 147 ‰C(RICTO)CŠ who is blessing them from a semicircle divine (1992) pl. 110. However, based on the style and the physiognomic types of glory. In the golden background of the icon are depicted the the figures we are of the opinion that the icon dates to the second half of 14th walls of a city. century. 42 The icon of saints Theodores Teron and Stratelates Cf. V. J. Djuri}, Fresques medievales a Chilandar, in: Actes du , XIIe Congres international d'etudes byzantines, III, Beograd 1964, 90–91, facing each other kept today in the Byzantine Museum of fig. 55–54, where the icon was attributed to the painter who worked in the Veroia (the last quarter of the fifteenth century), originates parekklesion of Holy Archangels in Hilandar monastery (the end of the 14th from the church of Sts Theodores in Veroia (fig. 11).43 Saints c.), and who, according to Djuri}, originates from Serbia or from the region Theodores are depicted in prayer to Christ I(HCOU)C / of Macedonia. For the dating of the frescoes of this parekklesion in the sev- ( ) , , . enth decade of the 14th century v. I. M. Djordjevi}, Zidno slikarstvo XIV C RICTO C inside a semicircle divine glory blessing They , : . veka hilandarskog paraklisa Svetih Arhandjela in Osam vekova Hilan- are wearing military garments and mantles The figures bear dara. Istorija, duhovni `ivot, knji`evnost, umetnost i arhitektura, ed. V. the following inscriptions: OAG(IOC)/QEO/DWROC / O Kora}, Beograd 2000, 559–573. The icon is also published in: D. Bogda- CTRATHLATHC and OAG(IOC)‰QEODOROCŠ/OTU- novi}, V. J. Djuri}, D. Medakovi}, Hilandar, Beograd 1978, fig. 17, where 14 . . ( R(ON). The background of the icon is golden. it is dated in the second half of the th century S Petkovi} Ikone manastira Hilandara, Manastir Hilandar 1997, 78) dates the icon in the sec- The icon of saints Theodore Teron and Stratelates fac- ond quarter of the 14th century. ing each other from the church of St. Theodore in Berat of 43 The icon has inv. nr. 131, cf. Papazotos, Buzantinej eikonej, fig. Albania, now in the Onufri National Museum in Berat (the 104. Saints de Byzance, 160–161, fig.25(Ch. Mauropoulou-Tsioume). sixteenth century), is a work attributed to the famous painter Buzantino MouseioBeroiaj, 127. Onuphrios (fig. 12).44 Saints Theodores are raising hands to 44 The icon has inv. nr. 20, cf. Tresors d’art albanais. Icones byzantines , . et post-byzantines du XIIe au XIXe siecle, Nice 1993, 71, fig. 22; Ikonen aus Christ who is blessing them from a semicircle divine glory Albanien. Sakrale Kunst des 14. bis 19. Jahrhunderts, ed. B. Ohrig, Munchen The upper register of the background of the icon is golden 2001, fig.14;Percorsi del Sacro. Icone dai musei albanesi, Milano 2002, fig. while the lower is green. The inscriptions are not preserved. 63; Y. Drishti, L. Üika, Ikona te Beratit. Koleksioni i Muzeut Kombetar Onufri 59 ZOGRAF 34 (2010) ‰53–64Š

Fig. 11. Icon in the Byzantine Museum in Veroia, the last quarter of the 15th century (after: Saints de Byzance, fig. 25)

The icon of saints Theodore Teron and Stratelates fac- Fig. 12. Icon in the Onuphri Museum in Berat, the 16th century ing each other in the St. Paul monastery on Mount Athos (the (after: Icons of Berat, fig.5) seventeenth century) depicts the saints with military armour, raising their hands in prayer to an image of Christ blessing, Theodores facing each other with hands raised in prayer (fig. depicted inside a double semicircle divine glory.45 All the 14).49 Above their heads are engraved inscriptions in old Sla- figures have golden, dotted halos. On the dark blue back- vonic, which read: ±e(odñr) t›ranã / ±e(odñr) stra- ground of the icon the inscriptions in golden letters read: O t›l(atã). The background of the plaque is metallic. ( ) / ( ) / AG I OC QEODWROC O THRON and OAGI OC QEO- Based on the above considerations, we concluded that / ( ). DOROC O CTRATILAT HC the iconographical type of saints Theodores facing each The icon of saints Theodore Teron and Stratelates fac- other is known from the twelfth century at the latest. It is ing each other in the Trapeza of the Timios Prodromos mon- more widely dispersed from the second half of the fourteenth astery near Serres (the seventeenth century) depicts the saints century in wall paintings and on portable icons from the dressed in military uniform, raising their hands to Christ, broader area of Macedonia, mainly from Kastoria, Veroia shown inside a polygonal divine glory, giving them crowns and Mount Athos. According to Ivan Drpi},50 this is due to (fig. 13).46 The inscriptions in white letters read: O AGIOC QEODOROC / O THRON and O AGIOC QEODOROC O — Berat, shek. XIV–XX = Icons of Berat. Collection of the Onufri National Mu- CTRATH/LAT(HC), whereas another inscription in small seum — Berat, XIV–XX century, Tirane 2003, fig.5. 45 black letters reads: douloj sou stal/ko. The saints have For the icon cf. Vasilake, Eikonej tou 17ou aiwna, 118, 120, . 125, fig. 54–55. spotted halos 46 Unpublished. The icon of saints Theodore Teron and Stratelates fac- 47 The icon has inv. nr. II–32. For the icon v. Mavrodinova, Sv. ing each other from the church of St. Nicholas in Melnik of Teodor, 44, fig. 10, where it is dated in the 15th c.; L. Koinova-Arnaudova, ( ), Ikoni ot Melni{kija krai, Sofia 1980, 104, fig. 82, where it is dated in the Bulgaria the seventeenth century now in the Blagoevgrad 15th c.; Tresors d’art medieval bulgare, VIIe–XVIe siecle, Geneve 1988, Museum, belongs to the Metropolis of Nevrokop. Saints fig. 159, where it is dated in the 16th c.; Monasteres de la Via Egnatia,2, Theodores, dressed in military uniforms, are raising their Athenes 1999, 129 (without dating). However, based on the technique and hands in prayer to the divine glory, from which the hands of the style of the icon we are of the opinion that it dates probably from the 17 . God are blessing.47 th century 48 Cf. Kondakov, Pamiatniki, 220; Izmajlov, Une steatite byzantine, Saints Theodores facing each other appear in works of 39, n.3.Unfortunately, I couldn’t find a photo of this encolpion. the minor arts from the tenth (or twelfth) to the fifteenth cen- 49 The cross has inv. nr. DK–1099/1–2. For the cross cf. I. A. tury. Examples include the encolpion of the metropolitan of Sterligova, Neizvestnye pozdnevizantiiskie relefi slonovoi kosti v muzeiah , , Moskovskogo Kremlia, in: Obraz Vizantii. Sbornik statei v chest O. S. Serres Gennadios now in the monastery of Great Lavra on Popovoi, Moskva 2008, 482, fig.8.According to I. Sterligova, this ivory is 48 Mount Athos (the tenth or twelfth century), and the ivory a work of a Greek craftsman who worked in Moscow during the first half of relief plaque of a cross from the Kremlin Museum in Mos- the 15th c.(Sterligova, op. cit., 482). cow (the first half of the fifteenth century). 50 I. Drpi}, The Serres Icon of Saints Theodores. Notes on a Lost Im- age, in: Eikostoenato Sumposio Buzantinhj kai Metabuzantinhj The ivory relief of a cross from the Kremlin Museum Arcaiologiaj kai Tecnhj. Programma kai perilhyeij eishghsewn 60 (the first half of the fifteenth century) depicts the saints kai anakoinwsewn, Athens 2009, 38–39. Trifonova A.: The iconographical type of saints Theodore Teron and Theodore Stratelates

Fig.14.Ivory relief in Kremlin Museum, the first half of the 15th century (after: Sterligova, Neizvestnye pozdnevizantiiskie relefi, fig.8)

The first type, with Christ giving crowns to saints Fig. 13. Icon in the Trapeza of Timios Prodromos monastery near Theodores, can be observed from the third quarter of the Serres, the 17th century (photo: the author) fourteenth century until the seventeenth century and we en- the cult of saints Theodores in Serres, where in the Metropo- counter it in St. Athanassios tou Mouzakis church in Ka- lis church of Sts Theodores already in the thirteenth century storia, in Christ Zoodotes in Borje (fig. 3), in the Holly Three existed a miracle-working relief icon carved in stone of the Martyrs (St. Abibos, St. Samonas and St. Gourias)(fig.6) saints Theodores facing each other,51 displayed for venera- and in the St. Nicholas tis arhontissas Theologinas in Kasto- tion on a canopy-like structure, referred to as “oikisko”, as it ria, in St. Nicholas Lamara (tou monahou Anthimou) in is noted in the work Ekfrasij peri tou ierou twn Serrwn Veroia and on an icon in the Trapeza of Timios Prodromos ( . 13). of Theodore Pediasimos.52 However, this hypothesis does Monastery near Serres fig The variation of this type not seem very persuasive, if we take into consideration the represents the hands of God giving crowns to the saints , - , fact that the depiction of saints Theodores in this icono- Theodores which is known from the post Byzantine epoch , graphical type is not frequently found in monuments and from the end of the fifteenth to the seventeenth century as works of art of the Serres region, as it is encountered only on demonstrated by examples from the monastery of St. John - , ( the Theologian in Poganovo of eastern Serbia (fig.8)and in two post Byzantine icons from which the one the seven- ( . 10). teenth century) originates from the church of St. Nicholas in the church of Virgin Koubelidiki in Kastoria fig Melnik, not far from Serres, while the other (the seventeenth The second type with Christ who is blessing saints century; fig. 13) belongs to the Trapeza of the Timios Theodores facing each other is present from the second half Prodromos monastery near Serres. More likely, in our opin- of the twelfth to the seventeenth century on lead seals, wall ion, the diffusion of this iconographical type of saints paintings and portable icons. As indicative we note the repre- Theodores was based on an already existing prototype from the middle Byzantine period, which originated from a fa- 51 This stone icon is described on an epigram from the beginning of 13 . - , mous art centre, possibly Thessaloniki or Constantinople.53 the th c composed by Nicholas Nectarios of Otranto in Italy who de- scribes that it was to the patronage of a metropolitan John. This metropoli- Research of the above discussed iconographical type tan, according to I. Drpi}, is identified with John, who signed two synodal , , acts in 1191 and in 1192 and whose lead seal is preserved in the Dumbarton of saints Theodores found on lead seals mural paintings Oaks Collection, cf. Drpi}, The Serres Icon, 38. icons and the minor arts shows that there are three main 52 M. Treu, Theodori Pediasimi eiusque amicorum quae exstant, iconographical types of saints Theodores facing each other Potsdam 1899; P. N. Papageorgiou, Zu Theodoros Pediasimos, BZ 10/2 . (1901) 425–432. From another work of Theodore Pediasimos, entitled and two variations The first type represents Christ who is E a i w ( , . ., , kqesij tinwn qaum twn twn ag wn Qeod rwn Papageorgiou op cit giving crowns to saints Theodores its variant being the 425; Drpi}, op. cit., 39), we know that this stone relief icon bore silver hands of God giving the crowns. The second type shows gilded decoration which was made with the expense of Theodore II Laskaris Christ blessing saints Theodores and its respective variant is for the assistance in the battle against the Bulgarians (Drpi}, op. cit., 39). 53 . , when the blessing comes from the hands of God. The third According to A Grabar the type of the saints turned one to other , , originates probably from Constantinople and it is concerned with the art of type represents only the saints Theodores facing each other the East (Grabar, La peinture, 116). The same opinion had A. Orlandos (Ta without depiction of Christ or of the hands of God. buzantina mnhmeia, 153), without citing Grabar. 61 ZOGRAF 34 (2010) ‰53–64Š

sentations on lead seals in the Dumbarton Oaks Collection middle Byzantine epoch of the eleventh-twelfth century, and in the Numismatic Museum in Athens, in St. George tou mainly on lead seals and icons in steatite. During the Palaio- Vounou Church in Kastoria (fig. 2), in Virgin in Cerske near logan period since the end of the thirteenth and fourteenth Leskovik in south Albania (fig. 4), in Sts Peter and Paul century this iconographical type is vastly spread in wall ( . 5), church in @i~a of Serbia fig in the Dormition of Virgin painting and portable icons and continues with great fre- , church in Zevgostasi near Kastoria in the Romanian monas- quency during the post-Byzantine period from the fifteenth teries of Dobrovañ, Probota and Coôula (fig. 9), but also in till the seventeenth century. portable icons, like these in the Byzantine Museum of Veroia, in the Hilandar monastery on Mount Athos, in the It was confirmed that the depiction of saints Theodores Byzantine Museum of Kastoria, in the Byzantine Museum of facing each other is most widespread in Kastoria and its re- Veroia (fig. 11), in the Onufri National Museum in Berat, Al- gion, including the nearby Korüe. Therefore, based on inves- bania (fig. 12) and in the Monastery of Saint Paul on Mount tigation of these images, representations of saints Theodores Athos. The variant of this type with the hands of God bless- facing each other are known in Kastoria and its region from , ing the saints Theodores is seen only in Jo{anica monastery the second half of the fourteenth to the seventeenth century ( ) Serbia the first half of the fifteenth century and on an icon and they appear in eight monuments and on one portable from the St. Nicholas church in Melnik, now in the Museum icon,54 whereas in Veroia55 and in Mount Athos,56 they are of Blagoevgrad in Bulgaria (the seventeenth century). less widespread and appear in just one church and on two , The third iconographical type with saints Theodores portable icons. facing each other, without Christ or the hands of God, is - , known only from the post Byzantine epoch from the fif- 54 In the churches: St. George tou Vounou (1368–1385; fig. 2), St. teenth to the seventeenth century. Such are the depictions of Athanasius tou Mouzakis (1383/1384), Christ Zoodotes in Borje saints Theodores in the monasteries of St. George in (1389/1390; fig.3),Holy Three Martyrs (Abibos, Samonas and Gurias) Kremikovci near Sofia (fig. 7), of St. Nicholas in Balineôti, (1400/1401; fig. 7), Dormition of Virgin in Zevgostasi (1432), St. Andrew , , , tou Rousouli (1441/1442), St. Nicholas tes archontissas Theologinas Romania of the Virgin in Si}evo Serbia and on an ivory re- (1490–1500) and Virgin Koubelidiki in Kastoria (the 17th c.; fig. 12), as lief from a cross in the Kremlin Museum (fig. 14). well as on an icon in the Byzantine Museum of Kastoria (the second half of Unique, however, is the iconographical type where not the 14th c.). Christ but Virgin is giving the crowns to saints Theodores, 55 In the church of St. Nicholas Lamara (tou monhou Anthimou) in facing each other, like on the icon of saints Theodores from Veroia (1565–1570) and on two icons in the Byzantine Museum of Veroia ( 13 . 15 .; . 11). Sinai monastery, now in the Museum of the Theological the second half of the th c and the last quarter of the th c fig Academy in Kiev. 56 In the parekklesion of St. Demetrius in the Xenophontos monas- tery (the second or third quarter of the 14th c.) and on the icons in the collec- In conclusion we have to note that the iconography of tion of Hilandar monastery (the second quarter or end of the 14th c.) and the the saints Theodores facing each other appears during the monastery of Saint Paul (the 17th c.).

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Ikonografski tip svetog Teodora Tirona i svetog Teodora Stratilata okrenutih jedan ka drugom i wegovo {irewe tokom vizantijskog i postivizantijskog perioda

Aleksandra Trifonova

Ikonografski tip sv. Teodora Tirona i sv. Teo- Predstave svetih Teodora okrenutih jedan ka dru- dora Stratilata okrenutih jedan ka drugom, poznat jo{ gom najvi{e su bile ra{irene u Kosturu i wegovoj obla- od CI–CII veka, uglavnom sa pe~ata i steatitskih ikona, sti, ukqu~uju}i Kor~u, gde se javqaju od druge polovine ra{irio se u doba Paelologa, po~ev od druge polovine XIV do XVII veka, na osam spomenika fresko-slikarstva CIII i tokom CIV veka, a naro~ito tokom postvizan- i jednoj ikoni. Iza Kostura slede Verija i Sveta gora, tijske epohe od XV do XVII veka, kako u zidnom sli- gde se zajedni~ke predstave dva sveta Teodora javqaju u karstvutakoiuikonopisu,ane{tomaweuprimewenoj jednoj crkvi i na dve ikone. umetnosti. Studija je pokazala da se predstave svetih Teodora Predstave svetih Teodora okrenutih jedan ka dru- okrenutih jedan ka drugom mogu klasifikovati u tri gom poznate su u zidnom slikarstvu od druge polovine osnovna ikonografska tipa i dve podvarijante. Prvi tip XIV do XVII veka. Javqaju se uglavnom u oblasti Ma- predstavqa Hrista koji daje vence svetim Teodorima, kedonije, naro~ito u Kosturu, na Svetoj gori i Veriji, dok na wegovoj varijanti vence mu~enicima uru~uju ruke ali i van te oblasti, u Rumuniji, Srbiji, Bugarskoj i Bo`ije. Kod drugog tipa Hristos blagosiqa svete Teo- ju`noj Albaniji. Na ikonama se razmatrani ikonograf- dore, a na wegovoj varijanti svetiteqe blagosiqaju ruke ski tip javqa od druge polovine XIII do XVII veka. Re~ Bo`ije. Tre}i tip predstavqa samo svete Teodore, bez je uglavnom o ikonama poreklom iz Makedonije, naro- predstave Hrista ili ruku Bo`ijih. Izuzetak je jedna ~ito iz Kostura, Verije, sa Svete gore, iz Sera i Me- vrlo retka predstava na kojoj Bogorodica stavqa krune lnika. na glave svetih Teodora.

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