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By the Hand of Angelos? Analytical Investigation of a Remarkable 15Th Century Cretan Icon

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By the Hand of Angelos? Analytical Investigation of a Remarkable 15Th Century Cretan Icon heritage Article By the Hand of Angelos? Analytical Investigation of a Remarkable 15th Century Cretan Icon Georgios P. Mastrotheodoros 1,2,* , Marios Theodosis 3, Eleni Filippaki 2 and Konstantinos G. Beltsios 4 1 Conservation of Antiquities and Works of Art Department, West Attika University, Agiou Spyridonos, 12243 Aegaleo, Greece 2 Institute of Nanoscience and Nanotechnology, NCSR ‘Demokritos’, Patr. Gregoriou E & 27 Neapoleos Str, 15341 Agia Paraskevi, Greece; e.fi[email protected] 3 Greek State Archives, D. Solomos Square, 29100 Zakynthos, Greece; [email protected] 4 School of Chemical Engineering, National Technical University, Iroon Polytechneiou 9, 15780 Zografou, Greece; [email protected] * Correspondence: [email protected] Received: 23 October 2020; Accepted: 13 November 2020; Published: 16 November 2020 Abstract: A 15th century St Theodoros icon of outstanding quality is on display at the Zakynthos Ecclesiastical Art Museum. On the basis of certain stylistic characteristics, this icon has been attributed to the legendary Cretan painter Angelos Akotantos. In order to explore the latter attribution, the icon was subjected to examination via multispectral imaging, while microsamples were investigated through an optical microscope (OM), a scanning electron microscope coupled with an energy dispersive analyzer (SEM-EDX), µ-Raman and X-ray diffraction (XRD). The data were evaluated in the light of the findings of recent analytical studies conducted on several genuine Angelos icons. Identified materials include gypsum, gold leaf, bole, natural ultramarine, lead white, charcoal, green earth, red lake, minium, cinnabar, and red and yellow ochres. The identified materials resemble those employed by Angelos, while the identification of ultramarine is of particular significance, as this extremely expensive and rather rare pigment was very often used by the particular painter. Moreover, multispectral imaging reveals notable painting technique similarities between the icon in consideration and known Angelos icons, while cross sections of corresponding samples exhibit almost identical structures. Overall, the present work considerably strengthens the suggestion that the St Theodoros icon in consideration was painted by Angelos and also widens our knowledge regarding the late Byzantine painting. Keywords: pigment identification; preliminary drawing; gilding; Byzantine 1. Introduction Religious panel paintings (“icons”) are an essential part of the Eastern Orthodox Christian Church ritual practices; hence, such artifacts have been continuously manufactured for more than 17 centuries [1]. In case of the artistry developed in the region of modern-day Greece, this long period is divided into three sub-periods, namely the Byzantine (330–1453), post-Byzantine (1453–1830) and modern periods (post-1830). The marking year 1453 corresponds to the capture of Constantinople (Byzantine Empire capital) by the Ottoman Turks, while 1830 corresponds to the declaration of the autonomy of the Greek state. During the late 14th and early 15th centuries, icons of notably high quality were produced in the island of Crete (south Aegean Archipelago). As this artistic trend bears several idiomorphic characteristics, it has been designated as the “Cretan School of iconography”, and it is well known that Heritage 2020, 3, 1360–1372; doi:10.3390/heritage3040075 www.mdpi.com/journal/heritage Heritage 2020, 3 FOR PEER REVIEW Heritage 2020, 3 1361 that it considerably affected the development of the Orthodox religious painting throughout Greece and the Balkans [2]. Among the highlights of the Cretan painting stand several early 15th century iticons considerably of exquisite affected painting the developmentquality that bear of the the Orthodox inscription religious “Χείρ painting Αγγέλου throughout” ((by) “the Greece hand and of theAngelos”). Balkans Interestingly, [2]. Among the in highlightsthe early 1960s of the M. Cretan Manoussakas painting standspotted several a Cretan early painter’s 15th century will in icons the ofVenice exquisite State painting archives quality that is thatdated bear to thethe inscription early 15th “Xcentury"ιρ´ Aγγ (probably"´λoυ” ((by) 1436) “the [3]; hand the oftestator Angelos”). was Interestingly,named Angelos in theAkotantos, early 1960s and M.he Manoussakasmade his will spottedon the occasion a Cretan of painter’s a trip to will Constantinople. in the Venice StateSoon archivesafter the thatManoussakas is dated to publication, the early 15th it was century proven (probably that the 1436)Angelos [3]; of the the testator will was was the named painter Angelos of the Akotantos,aforementioned and he famous made his icons will on[4,5]. the In occasion order offor a tripthe toreader Constantinople. to get an Soonidea afterof the the importance Manoussakas of publication,Angelos’ work, it was it is proven essential that to the note Angelos that ofthe the Cretan will was painting the painter scholars of the acknowledge aforementioned that famoushe was iconsindeed [4 ,an5]. outstanding In order for thepainter reader of tothe get 15th an ideacentury of the and importance also that he of “established Angelos’ work, and it crystallized is essential toa notelarge thatnumber the Cretan of iconographic painting scholars subjects acknowledge in Cretan painting that he wasthrough indeed his anown outstanding work” [6]. painter Also, as of thefor 15thAngelos’ century productivity, and also that it is he indicative “established to mentio and crystallizedn that more a large than number 30 icons of bearing iconographic his signature subjects insurvive Cretan today, painting while through some hisothers own are work” ascribed [6]. Also,to him as foron Angelos’the basis productivity,of pronouncedly it is indicativeidiomorphic to mentionstylistic characteristics that more than [2,6]. 30 icons bearing his signature survive today, while some others are ascribed to him onThe the St basisTheodoros of pronouncedly icon in consideration idiomorphic (Figure stylistic 1) characteristics dates from the [2, 6second]. quarter of the 15th centuryThe (1425–1450) St Theodoros and icon has in considerationbeen recently (Figure ascrib1ed—on) dates fromthe basis the second of stylistic quarter criteria—to of the 15th Angelos century (1425–1450)[7,8]. The icon and originates has been recentlyfrom Crete ascribed—on and was once the basis placed of stylisticin the church criteria—to of the Angelos Strofades [7, 8monastery,]. The icon originatesfrom which from it was Crete later and transferred was once placed to Zakynthos in the church Island. of It the is Strofadesworth noting monastery, that in from 1953, which the area it was of laterZakynthos transferred was tostruck Zakynthos by a Island.series Itof is worthstrong noting earthquakes that in 1953, that thedestroyed area of Zakynthos many dwellings was struck and by ainfrastructures, series of strong including earthquakes churches that destroyed and monasteries. many dwellings Unfortunately, and infrastructures, during this includingevent many churches of the andZakynthos monasteries. icons were Unfortunately, either destroyed during thisby the event fire many that followed of the Zakynthos the earthquakes icons were or either“disappeared”; destroyed byhowever, the fire several that followed hundred the icons earthquakes were rescued or “disappeared”; as a result of the however, tireless efforts several of hundred M. Chatzidakis icons were and rescuedhis co-workers as a result [9]. ofSt theTheodoros tireless eiconfforts survived of M. Chatzidakis this terrificand disaster his co-workers and is currently [9]. St displayed Theodoros at icon the survivedZakynthos this Ecclesiastical terrific disaster Art Museum. and is currently displayed at the Zakynthos Ecclesiastical Art Museum. Figure 1. St TheodorosTheodoros icon,icon, ZakynthosZakynthos Ecclesiastical Ecclesiastical Art Art Museum; Museum; the the sampling sampling spots spots are are marked marked on theon the figure. figure. Note Note that that the the painting painting has has been been transferred transferred onto onto a new a new wooden wooden panel. panel. The present workwork demonstratesdemonstrates how how the the analytical analytical investigation investigation of of this this very very icon icon strengthens strengthens its assignmentits assignment to Angelos to Angelos Akotantos Akotantos using using a combination a combination of technical of technical evidence evidence reported reported herein withherein related with findingsrelated findings of other workersof other whoworkers previously who previously studied several studied genuine several Angelos genuine icons Angelos [10–15]. icons The materials [10–15]. employedThe materials in the Stemployed Theodoros in icon the were St identifiedTheodoros through icon thewere meticulous identified investigation through ofthe microsamples’ meticulous Heritage 2020, 3 1362 cross sections, while the assessment of various technical aspects (pigment mixing, preliminary drawing, etc.) was assisted by the complementary use of multispectral imaging. Thus, authors managed to considerably strengthen the hypothesis that the St Theodoros icon is a work of Angelos, and also to widen the understanding of important details of late- Byzantine painting. 2. Materials and Methods The icon (dimensions: 148.2 58.7 cm) was initially pictured using a MuSIS-MS multispectral × camera (FORTH-Photonics, Heraklion, Greece) in the 1000 nm and the false-color infrared (IRFC) modes. Micro-samples (~1 mm 1 mm)
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