AABSTRACTBSTRACT

TheThe presentpresent article focusesfocuses on a Cretan icon dat-dat- inging from the third qquarteruarter of the fifteenth centurycentury and signedsigned bbyy AAndreasndreas Ritzos, which stands out fforor its unusualunusual combination ooff IItaliantalian and BByzantineyzantine visual elements.elements. IItt displaysdisplays an awkwardawkward “iconize“iconized”d” version of the standard Gothic abbreviation forfor the HolyHoly Name ofof JJesusesus – the IHSIHS monomonogramgram associateassociatedd witwithh tthehe preachingpreaching of St. Bernardine of Siena – the letters of whwhichich aarere ddecoratedecorated wwithith ththee scscenesenes of ChrChrist’sist’s CruciCrucifixion and Resurrection and accomaccompaniedpanied bbyy a Greek inscription taken after the ritual formulas ofof OOrthodoxrthodox SundaSundayy Matins. The object is analanalysedysed againstagainst the background ooff Veneto-Greek interactions inin fiffteenth-centuryteenth-century Crete and ooff contemcontemporaryporary disdis-- cucussionsssions aaboutbout ththee uusese of ththee IIHSHS aass aann aalternativelternative ttoo image worship.worship.

/Ke/Keywords/ywords/ HolHolyy Name of Jesus, Observance, VVe-e- netiannetian CreteCrete,, IImagemage theortheory,y, IIconcon ppainting,ainting, AAndreasndreas Ritzooss

1 / OrazioOrazio didi Giacomo, panelpanel withwith thethe Crucifix and the Holy Name ooff Jesus, 190190 ca. 1431, Bologna,Bologna, San Petronio The HolyHoly Name of Jesus iinn Venetian-RuledVenetian-Ruled CrCreteete MicheleMichele BBacciacci

AsAs severalseveral scscholarsholars hhaveave remarremarked,ked, a ddistinctiveistinctive publiclypublicly manimanifestingfesting their aversion to the ppromotersromoters aspectaspect of Medieval ppaintingainting in Venetian-ruled Crete ofof Saint Francis’ worshiworshipp in the island: the Minor is the integrationintegration ofof the imageimage ofof Saint Francis into the friarsfriars were namelnamelyy representedrepresented among the damned monumental decoration ofof a number ofof Byzantine-riteByzantine-rite iinn Last JudgmentJudgment scenes, as is witnessedwitnessed by thethe 1414th churches.churches. TheThe earliestearliest representationrepresentation is encounteredencountered centurycentury cyclescycles in thethe ProdromosProdromos churchchurch in thethe same in an earlyearly 14thth centurycentury frescofresco in the Panagia Kera villagevillage ofof Kritsa and in the church ofof Saint John in churchchurch in Kritsa Mirabellou /Fi/Fig.g. 2/. The Poverello Deliana near Chania /Fig. 3/. In the latter a painterpainter appearsappears again, in the first half of the 15th centurcentury,y, in workingworking aroundaround 1340 worworkedked out a ververyy unusuaunusuall thethe murals ooff the Zoodochos Pege in SamSampaspas and the scheme,scheme, whichwhich seems to havehave bbeeneen meant to riridiculedicule Panagia churchchurch at Sklaverochori;Sklaverochori; anotanotherher earearlyly image, the members ofof the Franciscan order: he representedrepresented now disappeared,disappeared, was seen byby Giuseppe GeroGerola,la, at namelynamely three friars, marked by their distinctively the beginningsbeginnings ofof the 2020thh century, in a small church at unshaven chins, that make ggesturesestures ooff astonishment Astrakoi.Astrakoi. StrikinglyStrikingly enough, in all ofof these buildings wwhilehile looking at the monstruous figure ooff the Levia-Levia- FFrancisrancis is included in the lower registerregister ooff the nave, tthanhan in the veryvery moment as it devours a man2. reserved fforor the most eminent saints ooff the BByzantineyzantine church;church; hehe is shownshown haloedhaloed andand bearingbearing thethe stigmata,stigmata, 1 On the topic see Kostas E. Lassithiotakis, “Ὁ Ἅγιος ΦραγΦραγκίσκοςκίσκος κακαὶὶ whereas in SampasSampas he is representedrepresented in frontfront ofof the ἡ ΚρΚρήτηήτη”, in ΠΠεπραγμέναεπραγμένα τοῦ Δ´ ΔιεΔιεθνοῦςθνοῦς ΚΚρητολογικοῦρητολογικοῦ ΣυνεΣυνεδρίουδρίου, ΗράκλειοΗράκλειο, 29 ΑὐγΑὐγ.–3 Σεπτ. 19761976, vol.vol. IIII,, AAthensthens 1981, pp. 1146–154;46–154; SeraphSeraph seen on Mount Verna, i.e. in thethe veryvery moment Chryssa Ranoutsaki, “Απεικονίσεις του Φραγκίσκου τηςτης ΑσσίζηςΑσσίζης as he receives the imprintsimprints of Christ’s wounds on his στις εκκλησίεςεκκλησίες ττηςης ΚΚρήτηςρήτης”, iinn ΠΠεπραγμέναεπραγμένα τοῦ Ι´ ΔιεΔιεθνούςθνούς Κρη- τολογικούτολογικού ΣυνεδρίουΣυνεδρίου, Χανιά, 1–8 ΟκτωβΟκτωβρίουρίου 20020066, vol.vol. IIII/3,/3, Chania hands,hands, ffeeteet and chest. IInn Sklaverochori the saint is 202011,11, pp. 111–134; EEadem,adem, “Darstellungen des Franziskus von AAssisissisi shown in his visual interaction with a fragmentaryfragmentary iinn den Kirchen Kretas”, IIconographicaconographica 13 (2014), pppp.. 78–95, with prepre-- Virgin of MercMercy,y, i.e. with another theme of Western vious bbibliography.ibliography. OnOn AstrakoiAstrakoi see Giuseppe Gerola,Gerola, “I“I Francescani iinn Creta al tempo del dominio Veneziano”, CCollectaneaollectanea FrFranciscanaanciscana, 2 ooriginsrigins which became relativelyrelatively wideswidespreadpread in the (1932), pppp.. 301–325 andand 445–461, esp. p.p. 302. OnOn tthehe image at SSklaver-klaver- LLevantevant iinn tthehe 1144th andand 1515th centurycentury1. ochori see Manolis Borboudakis, “Παρατηρήσεις στή ζζωγραφικήωγραφική τουτου ΣκλαΣκλαβεροχωρίουβεροχωρίου”, iinn ΕΕὐφρόσυνονὐφρόσυνον. ἈἈφιέρωμαφιέρωμα στστὸνὸν Μανόλη The displaydisplay of images honouring such a distinc-distinc- ΧατζηδάκηΧατζηδάκη, vovol.l. II,, AAthensthens 1991, pppp.. 3375–399,75–399, esp. pp.. 336262 and fig. 134134.. tivelytively Latin saint in BByzantine-riteyzantine-rite cchurcheshurches imimpliesplies 2 Maria Vassilaki,Vassilaki, “ΚαθΚαθημερινήημερινή ζωζωήή και πραγματικότητα στη βενετοβενετο- κρατούμενηκρατούμενη ΚΚρήτηρήτη: Η μαρτυρία των τοιχογρατοιχογραφημένωνφημένων εκκλησιών”, onlyonly that Francis of AssisiAssisi enjoyedenjoyed a high reputationreputation in Ενθύμησις Νικολάου Μ. Παναγιωτάκη, HerakleionHerakleion 2000, pp. 57–80;57–80; inin the eyeseyes ooff Cretan Greeks and that local believers AnneAnne Derbes and AAmymy Neff, ““Italy,Italy, the Mendicant OOrders,rders, and the ByzantineByzantine Sphere”, in Byzantium. Faith and Power (1261–1557)(1261–1557), exhibexhibi-i- couldcould use it as a visualvisual counterpartcounterpart to theirtheir prayersprayers tion catalogue (New York,York, Metropolitan Museum ofof Art,Art, 2004), Helen andand supplications.supplications. YYet,et, this did not ppreventrevent them from C. EEvansvans eed.,d., New Haven – LonLondondon 2004, pppp.. 449–46449–461,1, espesp.. p. 45453.3. 191191 2 / Saint Francis, muralmural painting,painting, bbeginningeginning of the 14th century, Kritsa Mirabellou (Crete), PanagiaPanagia KeraKera

ThisThis inindicatesdicates tthathat tthehe indigenousindigenous peoplepeople couldcould 1515th centurcenturyy theythey achievedachieved to establishestablish an imimportantportant easilyeasily acknowledgeacknowledge thethe Francis’ sanctitysanctity andand appro-appro- collection ooff relics, ppartlyartly due to the munificence ofof priate his image even if they did not sympathize AlexanderAlexander V, that included, inter alia, a frafragmentgment ooff withwith thethe OrderOrder bearingbearing hishis name. TheThe llaatter pprovedroved the HolyHoly Cross, a ppieceiece ofof the Flagellation column to be one of the most influential among the manmanyy andand a ststoneone ooff ththee GGoldenolden GGateate aassociatedssociated wwithith ththee rreligiouseligious institutions ooperatingperating in the island, where commemoration ofof Christ’s EEntryntry into Jerusalem. it ownedowned severalseveral convents. TheThe most prominentprominent SuchSuch oobjectsbjects suitesuitedd tthehe ppilgrims’ilgrims’ wishwish to worshipworship Franciscan house,house, first mentioned in 1242,1242, was sit-sit- holyholy mementoes hintinghinting at tthehe holyholy placesplaces theythey ex-ex- uated in the south-east corner ooff the citycity ofof Candia, ppectedected to venerate in PalestinPalestinee5. This ChristologicalChristological andand incincludedluded a bbigig cchurchhurch wwhichhich visitors celebratedcelebrated ememphasisphasis combined with a specialspecial effort to ppresentresent asas thethe moremore attractiveractive iinn town.town. ItIt waswas embellishedembellished the convent as an importantimportant cult-placecult-place for Saint Fran-Fran- by manymany altars, chachapels,pels, ffuneraryunerary monuments and cis. Since no bodilybodily relics ofof the latter were available furnishings,furnishings, including elegantlelegantlyy carved choir stalls to believersbelievers – thethe saint’s corpsecorpse hadhad namelynamely beenbeen andand paintingspaintings..3 TThehe convent possessepossessedd a ricrichh llibrary,ibrary, concealedconcealed in an unundergroundderground space, witwithinhin tthehe bbrickrick endowed with manuscriptsmanuscripts ooff the holholyy scriptures,scriptures, pillarpillar located under the Lower Church ofof Saint Fran-Fran- ttheologicalheological treatises andand biblicalbiblical commentaries, li-li- cis at AssisiAssisi – the fragmentfragment ooff his habit ppreservedreserved in turgicalturgical books, juridical manuals, hagiographies,hagiographies, thethe chchurchurch wwasas ttoo bbee cconsideredonsidered aass a rrelicelic of ououtmosttmost and collections ofof sermons, as well as texts on phi-phi- importance.importance. AAnyway,nyway, the most relevant goal fforor local losophy,losophy, medicine,medicine, grammar, geogrageography,phy, astroastrologylogy and foreiforeigngn visitors was a well located in the cloister, and geometry.geometry. This collection ofof books enabled the which was said to have appearedappeared to Francis himselhimselff MMendicantendicant communitycommunity to act as a pivotalpivotal centre ooff dduringuring hhisis wayway to EEgyptgypt in 121121996. llearningearning in the whole AegeanAegean area and to playplay an By worshippingworshipping this well commemorating an importantimportant role in the dissemination ooff Latin theologtheologyy event ofof the Poverello’s commendable lilife,fe, ppilgrimsilgrims and culture: friarfriar Petrus Philargis, a Greek-sGreek-speakingpeaking were enabledenabled to experienceexperience a holyholy objectobject which,which, nativenative of NisyrosNisyros who was elected to the ppontiontificate likelike those venerated in the HolyHoly Land, was grafted as AAlexanderlexander V durinduringg the council ofof Pisa in 1409, on the soil itself.itself. Since the death ofof their founder,founder, had his first training here, before continuing his ththee MinorMinor friarsfriars hadhad beenbeen commicommitteedd ttoo eestablishstablish a educationeducation inin OxfordOxford andand ParisParis4. peculiarpeculiar network of holholyy pplaceslaces which were deemed LocalLocal ffriarsriars sseemeem ttoo hhaveave bbeeneen aalsolso ccommiommitteded toto composecompose the sspecipecific sacred topographytopography ofof the toto the promotionpromotion of their church as an importantimportant alteralter ChristusChristus. UUnlikenlike ananyy ototherher saint, wwhosehose materiamateriall cult-site,cult-site, associated with the network ofof maritime cult-objects consisted in bodilybodily remains and mirac-mirac- holyholy placesplaces visitevisitedd by Western ppilgrimsilgrims dduringuring ttheirheir ulousulous images, Francis was mainlymainly worshippedworshipped in 192192 voyagevoyage from Venice to the HolyHoly Land. During the thethe venerablevenerable ssitesites aassociatedssociated withwith hhisis mostmost ffamousamous deeds.deeds. anandd actions, wwhichhich ppartlyartly ecechoedhoed tthosehose assasso-o- ent-dayent-day Chania), whereas byby 1506 almost all ofof the ciatedciated with Christ: forfor example,example, Mount Verna could local friariesfriaries had joined the ObservanceObservance9. bebe easilyeasily paralleledparalleled withwith thethe JerusalemJerusalem GolgothaGolgotha andand tthehe Lower CChurchhurch witwithh tthehe HoHolyly SeSepulchre.pulchre. TThehe 3 GeroGerola,la, “I“I Francescani in Creta” (n. 1), pp. 311–318; Maria Georgopo-Georgopo- uulou,lou, VVenice’senice’s MMediterraneanediterranean CColonies:olonies: AArchitecturerchitecture aandnd UUrbanismrbanism, CCam-am- well in Candia was the onlyonly memorial site of Saint bridgebridge (Mass.) 2001, pp.pp. 1133–135;33–135; NicNickiphoroskiphoros II.. Tsougarakis,Tsougarakis, TheThe FFrancisrancis located outside the IItaliantalian ppeninsula,eninsula, along Latin Religious OrdersOrders in Medieval Greece, 1204–15001204–1500, TurnTurnhouthout 2012, ththee sea route connecting Western EuropeEurope withwith thethe pp.pp. 111111–120.–120. 4 Giorgio HoHofmann,fmann, “La biblioteca scientifica del monastero di San HHolyoly LandLand andand tthehe localoca sasanctancta. ItsIts ppresenceresence in thatthat Francesco a CandiaCandia nenell Medioevo”,Medioevo”, OrientaliaOrientalia Christiana PeriodicaPeriodica,, 8 veryvery point,point, half-wayhalf-way fromfrom the starting pointpoint and the (1942),(1942), pppp.. 3317–360.17–360. 5 Such relics are mentioned in a number ooff late Medieval travelogues, final goal ofof the pilgrims’pilgrims’ pathpath made it specialspecial and includingincluding that ooff duke AAlexanderlexander ooff Palatinate and John-Ludovic ooff attractive, inasmuchinasmuch it couldcould bebe easilyeasily paralleledparalleled Nassau-SaarbrückenNassau-Saarbrücken (1495–1496), Jürgen KarbachKarbach eed.,d., “Die ReiseReise Her-Her- zog AlexandersAlexanders von Pfalz-ZweibrückenPfalz-Zweibrücken und GraGraff Johann Ludwigs von with a definitelynitely Christological relic, the well ofof the Nassau-SaarbrückenNassau-Saarbrücken ins HeiHeiligelige LanLand,d, 1495–1496, nacnachh ddemem BericBerichtht SamaritanSamaritan woman on the sloslopespes ooff Mount GariziGarizimm7. desdes JoJohannhann MeisenMeisenheimer”,heimer”, ZeitschriftZeitschrift ffürür die Geschichte der Saargegend, 45 (1997), pp.pp. 1111–118,–118, espesp.. p. 559;9; Frederick II ooff Liegnitz and Brieg Undoubtedly,Undoubtedly, the friars made many efforts to (1507),(1507), Reinhold Röhricht, Heinrich Meisner eds., “Die PilgerPilgerfahrtfahrt promotepromote worshiworshipp fforor their founderfounder and to stress his desdes Herzogs FrieFriedrichdrich IIII.. von Liegnitz undund Brieg nacnachh ddemem HeiHeiligenligen pparallelismarallelism with Christ. AlreadyAlready in the first halhalff ofof Lande”,Lande”, ZZeitschrifteitschrift des deutschen Palästina-Vereins, 1 (1878), pp. 1101–209,01–209, esp.esp. p. 1120;20; SpanisSpanishh AAnonymous,nonymous, ViajeViaje de Terra Santa (ca. 1520), JosepJosephh thth thethe 1155 century,century, the site had alreadyalready functionedfunctioned as a RamonRamon Jones eed.,d., Viajeros españoles a Tierra Santa ((siglossiglos XVI y XVIIXVII)), sharedshared sshrinehrine visitevisitedd not ononlyly by indigenousindigenous Latins Madrid 1998, pppp.. 109–243,109–243, esp. 130.130. TheThe samesame relicsrelics areare aalsolso mmentionedentioned in the 17th century inventory ooff Friar Michelangelo da Candia: see aandnd Western ppilgrims,ilgrims, bbutut aalsolso by thethe locallocal GreekGreek Gerola,Gerola, ““II Francescani in Creta” (n(n.. 1),1), pp. 314–315, footnotefootnote 5. Cf.Cf. population,population, to such an extent that in 1414 PoPopepe John alsoalso GeorgopouGeorgopoulou,lou, Venice’sVenice’s MMediterraneanediterranean CoColonieslonies (n. 3), pp. 1134–135.34–135. 6 See the testimony ofof Jacques Le Saige (1518), Voyage de Jacques Le Saige XXIII,XXIII, uuponpon rerequestquest ooff Friar Marco Schiavo, authautho-o- de Douai à Rome, Nostre Dame de Lorette, Venise, JJérusalemérusalem et autres saints rized the convent of Candia to solemnize the yyearlyearly lieux, Romain-HippolyteRomain-Hippolyte DutDuthillœulhillœul eed.,d., Douai 1852, pp.. 81. 7 OOnn Franciscan sacresacredd geograpgeographyhy see MicMichelehele Bacci, ““ImmaginiImmagini sacre ffeasteast ooff Saint Francis with both a Latin and a BByz-yz- e ‘pietà topografica’ presso i Minori”, in Le immagini del Francescanesi-Francescanesi- antine-riteantine-rite mass, apparentlyapparently performedperformed byby Greek mo.mo. Atti del XXXVI Convegno internazionale (Assisi,(Assisi, 9–11 ottobre 20082008),), priests.priests.8 The worshipworship for the saint was pprobablyrobably enen-- SSpoletopoleto 2009, pp.pp. 31–57; on holy sites along the Venetian sea route to thethe HolyHoly LandLand in thethe Late MiddleMiddle AAgesges see iidem,dem, “La momoltiplicazi-ltiplicazi- hancedhanced bbyy the rereplacementplacement ofof the Conventuals with oneone ddeiei lluoghiuoghi sacri llungoungo llee vie dd’acqua’acqua per GerusaGerusalemmelemme nenell tartardodo ObservantObservant friars, which took pplacelace around the midmid-- MMedioevo”,edioevo”, in PPeregrino,eregrino, ruta y meta en las peregrinationes maiores, VVIIIIII CongresoCongreso internacional de estudios jacobeos (Santiago(Santiago de Compostela, 13–15 thth 1515 century.century. AAlreadylready in 1424, the reformed branch of OctubreOctubre 2010)2010), PaoloPaolo Caucci von SauckenSaucken ed.,ed., Santiago dede CompostelaCompostela thethe Franciscan orderorder hadhad beenbeen authorizedauthorized by PopePope 2012,2012, pppp.. 1179–194.79–194. 8 Freddy Thiriet, “Le zèle unioniste d’un Franciscain crétois et la riposte Martin V to openopen its own houseshouses on Crete; by thethe dede Venise”, in FestschriftFestschrift zu Franz DölgeDölgerr, Munich 1967, pp. 49496–5046–504 1450s OObservantbservant ffriarsriars managed to take ppossessionossession (republished(republished in idem,idem, Études sur la Romanie greco-vénitienne (XXe–XVVe siècles)siècles), EEssayssay nn.. XII,XII, LondonLondon 1977); Tsougarakis,Tsougarakis, The Latin Religious of the mamajorjor convents ofof the island, includinincludingg Saint OrdersOrders ((n.n. 33),), p. 11117.7. FFrancisrancis of Candia and Saint Francis of Canea ((pres-pres- 9 TsougaraTsougarakis,kis, TheThe Latin Religious OrdersOrders ((n.n. 3)3),, pp. 1119–12119–121 aandnd 123–125. 193193 The new friars, who perceived themselves as earth and under the earth”: this was the passage ofof strictstrict followers of the Poverello’s lifestyle,lifestyle, had cho-cho- SaintSaint PPaul’saul’s LeLetter to PPhilippianshilippians (2:10),(2:10), whichwhich was sensen to settlele on Crete, as ttheyhey explainedexplained to Martin V, constantlyconstantly evoked to assert the legitimacy ofof this inin orderorder to preacpreachh amongst tthehe scschismatichismatic GreeGreeks.ks. IItt newnew devotiondevotion14. isis veryvery pprobablerobable that, in this context, thetheyy ffosteredostered ItIt is highlyhighly probableprobable that the ObservantObservant friarsfriars worshiworshipp not onlonlyy forfor Saint Francis, but also forfor the introducedintroduced the cult ofof the holyholy name ofof Jesus into most eminent representativerepresentative of their movement, Crete. This is indirectlindirectlyy witnessed byby the capstonecapstone SaintSaint Bernardine ofof Siena,Siena, dead in 1444 and can-can- bearingbearing a Gothic monogrammonogram which decorates one ofof onizedonized six yyearsears later,later, in 1450. AlreadyAlready by 1457, a thethe vaultsvaults iinn thethe clcloisteroister ooff thethe FrFranciscananciscan cconventonvent iinn churchchurch hadhad beenbeen ddedicatededicated ttoo hhimim iinn ththee islandisland ofof ChaniaChania1515. TheThe ssuccessuccess ooff ththee nnewew ddevotionevotion iinn ththee iis-s- Rhodes1010. AnalogousAnalogous ddedicationsedications are not ddocument-ocument- landland is ffurthermoreurthermore witnessed bbyy a small devotional ed on Crete,Crete, but we know from later sources that at triptychtriptych ppreservedreserved in the National GallerGalleryy of Prague, ssomeome ppointoint the convent ooff Saint Francis in Candia whose stylisticstylistic characters, blending Venetian and came into ppossessionossession ofof a relic ooff Bernardine’s habit ByzantineByzantine elements, pointpoint to the authorshipauthorship ofof a andand tthathat its main aaltarpiece,ltarpiece, attributedributed to Giovanni Cretan master working in the third quarterquarter of the Bellini,Bellini, included the imaimagege ooff the Sienese ffriarriar11. 1155th centurcenturyy /Fig./Fig. 5/.5/. The work disdisplaysplays the Madon-Madon- TheThe ddistinctiveistinctive mmarkark of SSaintaint BBernardineernardine iinn ccon-on- na enthroned and bearinbearingg a Gothic crown, flanked temporarytemporary imageryimagery was thethe so-calledso-called monogram, by four saints – AnthonyAnthony the Great and John the i.e.i.e. the Gothic abbreviation ofof the name ofof JesusJesus BaptistBaptist to the leftleft and Jerome and Bernardine ofof (YHSYHS) incincludedluded witwithinhin a twetwelve-rayedlve-rayed sun12. TheThe Siena to tthehe right.right. TheThe lalatter is rerepresentedpresented accord-accord- devotion for the holy name of Jesus had been dde-e- ing to hishis standardstandard iconograpiconographyhy as a thin,thin, almostalmost velopedveloped in Western EuropeEurope since thethe 1313thth centurycentury emaciatedemaciated ooldld man wearinwearingg tthehe llightight brownbrown habithabit and had been frefrequentlyquently mentioned byby Franciscan of OObservantbservant Friars and holding an accuratelyaccurately ren-ren- authorsauthors,, such as BonaventureBonaventure,, Gilbert de Tournai,Tournai, dereddered YYHSHS--monogram,monogram, included in the twelve-ratwelve-rayedyed andand UUbertinobertino ooff Casale: it originalloriginallyy consisted in the sun und supportedsupported byby a staff1616. TheThe diminutivediminutive didi-- practicepractice of bowing when the name was pronouncedpronounced mensions of this work (17,6 x 13,1 cm) pointpoint to its duringduring the holholyy mass13. StartinStartingg ffromrom the 1410s, Saint originaloriginal use as a domestic imaimagege intended to suit the Bernardine ooff Siena had been esespeciallypecially commicommit-t- devotional needs. ofof an individual or a ffamilyamily grougroup.p. tedted to ppromotingromoting tthishis cultcult phphenomenon:enomenon: dduringuring hhisis A mucmuchh more comcompellingpelling anandd controversiacontroversiall ccluelue preachingpreaching activity,activity, hehe was accustomedaccustomed to showshow a isis providedprovided byby an icon signed byby the famousfamous Cretan wooden panelpanel ofof rectangular formform displayingdisplaying the ppainterainter AndreasAndreas Ritzos, presentlypresently preservedpreserved in thethe threethree leletters withinwithin a goldengolden sun. He consideredconsidered Byzantine Museum in AAthens,thens, anandd proprobablybably ddatingating thatthat worshipworship couldcould bebe bebetter enenhancedhanced by appeal-appeal- from about 1460 //Fig.Fig. 44/./. It is an unusual horizontal iingng to the organs ooff sight: thereforetherefore he invented a panel,panel, measuring 63,5 x 44,5 cm. andand displayingdisplaying ccult-object,ult-object, whose material and visual aappearanceppearance the monogram in capitalcapital Gothic, precededpreceded byby two rremindedeminded viewers ooff contemporarycontemporary devotional im-im- rhomboidalrhomboidal pperiods.eriods. BotBothh leletters andand ppunctuationunctuation aages,ges, even if it was meant to foster veneration for marksmarks are enriched with imaimages:ges: the first two letters a gragraphic,phic, rather than an iconic element. A number are used to displaydisplay the Crucifixion, whereas the S ooff such earlearlyy tablets have been preservedpreserved to us, the shows the ByzantineByzantine theme ofof Christ’s Descent into most famous being that ppreservedreserved in the OOsservanzasservanza Hell, or AAnastasis,nastasis, and the Western renderinrenderingg of the churchchurch in Siena and datingdating from ca. 1425 /Fig./Fig. 7/.7/. Resurrected Christ, holdingholding a standard decorated This work, which was ffrequentlyrequently rereplicated,plicated, disdisplaysplays withwith a cross, in thethe veryvery moment as hehe comes out the ggoldenolden monomonogramgram in the lowercase Gothic form of the SeSepulchre.pulchre. The sun and the moon, a ttypicalypical yhsyhs with a cross-stroke on the straistraightght line ofof thethe h element ofof the Crucifixion scene,scene, are included in (standing for a Greek eta): it is set against a black

bbackground,ackground, within a twelve-ratwelve-rayedyed sun located in 1010 Tsougarakis,Tsougarakis, TheThe Latin ReligiousReligious OrdersOrders (n.(n. 3), p. 127.127. the middle ooff a qquadrilobe.uadrilobe. The whole comcompositionposition 11 See the 17th-century17th-century inventoryinventory of Michelangelo of Candia, quotedquoted byby GGerola,erola, ““II Francescani in Creta” ((n.n. 1), p. 3315,15, footnote 5: “DeDe hhabituabitu SS.. is included within a red frame bearing an inscriinscriptionption BernardiniBernardini SSenensisenensis OrdinisOrdinis Minorum…Minorum… PicturaPictura aaltarisltaris mmaiorisaioris S. FrFrancisciancisci whichwhich rreads:eads: “in nomine Iesu omne(s) genuflectantur, Candie,Candie, in qquaua sunt B. Virgo Maria cum puero Jesu, S. Joannes Baptista, S.S. Petrus, S. Paulus, S. Bernardinus Senensis, S. Bonaventura cardinalis, celestium terrestrium et infernoruminfernorum”, “t“thathat at tthehe name S.S. Ludovicus eepiscopus,piscopus, S. ppaterater Franciscus, et S. Joannes EEvangelista:vangelista: 194194 of Jesus everyevery knee should bow, in heaven and on JoannisJoannis Bellini”. 12 For the history of the monogram see especially Ephrem Longpré, “S. Bernardin de Sienne et le nom de Jésus”, ArchivumArchivum FrFranciscanumanciscanum Historicum,Historicum, 28 (1935), pp. 443–476; 29 (1936), pppp.. 142–168 anandd 443–447, andand AA.. Montanari, La devozione del santissimo nome di Gesù approvata dalladalla ChChiesaiesa, Napoli 1957. OOnn the iconography ooff Saint Bernardine, see especiallyespecially EnciclopediaEnciclopedia bernardiniana. IIconograconografia, Mario AlbertoAlberto Pavone andand Vincenzo Pacelli eds., Salerno 1981. OOnn the use ooff the monogram as the saint’s attribute in later paintings cf.cf. Daniel Arasse,Arasse, “Iconographie“Iconographie et evolutionevolution spirituelle:spirituelle: lala tabletablette dede Saint BernarBernardindin ddee Sienne”, Revue d’histoired’histoire de la spiritualité, 50 (1974), pppp.. 433–456433–456.. 1133 Longpré, “S. Bernardin de Sienne”, 1936 (n. 12), p. 15153.3. 14 Vincenzo Pacelli, ““IlIl monogramma bernardiniano tra segno e immag-immag- iine”,ne”, in LLaa croce. Iconografia e interpretazione (secoli(secoli I–inizio XVI)XVI), BBorisoris UlUlianichianich ed.,ed., NapoliNapoli 2007, pp.pp. 4407–435,07–435, esp. pppp.. 4407–409.07–409. 15 Gerola,Gerola, “I“I Francescani in Creta” (n. 1),1), p. 447; Cf.Cf. also OlgaOlga Gratziou, Η ΚρήτηΚρήτη στην ύστηρηύστηρη μεσαιωνικήμεσαιωνική εποχήεποχή. Η μαρτυρίαμαρτυρία της εκκλεσιαστικήςεκκλεσιαστικής αρχιτεκτονικήςαρχιτεκτονικής, IraklionIraklion 2010, p. 111 and fig. 128; thisthis autauthorhor misunmisunderstandsderstands thethe monogram YHSYHS asas anan abbreviationabbreviation foforr vveritas.eritas. 1166 The work (inv. no. O5258-O5260) is discussed in Hana Hlaváčková, “An“An UUnknownnknown IItalo-Cretantalo-Cretan Triptych ffromrom the Former Figdor Collection, now HeldHeld in tthehe NationalNational GalleryGallery in Prague”, Byzantinoslavica,Byzantinoslavica, 56 (1993), pp. 713–719, who interp rets it as the work ofof a Greek painter in ItalyItaly anandd associate it hypotheticallyhypothetically withwith Bessarion. Anyway,Anyway, thethe stylistic ffeatureseatures ooff the work, blending Venetian and Palaiologan elements,elements, are in kkeepingeeping witwithh worworksks mamadede in Crete in tthehe 1450s: tthehe image ofof St Jerome is almost identical to that displayed in the mid-mid- 15th century icon ofof the Fitzwilliam Museum in Cambridge and the VVirgin’sirgin’s thronethrone can bbee strictstrictlyly comparecomparedd to tthehe anaanalogouslogous renrenderingdering in a slightly later icon by AAngelosngelos now in the Museum ooff Zakynthos: see ΧΧειρειρ Αγγέλου. Ένας ζωγράφος εικεικόνωνόνων στη βενετοκρατοβενετοκρατούμενηύμενη ΚΚρήτηρήτη, exhibitionexhibition cataloguecatalogue (Athens,(Athens, BenakiBenaki Museum, 2010), Maria VVassilakiassilaki ed., AthensAthens 2010, entries nos. 16 (pp.(pp. 100–101,100–101, Dimitra KoKo-- ttoula),oula), anandd 47 (pp. 196–197, MyrtaMyrtalili AAcheimastou-Potamianou).cheimastou-Potamianou). See 3 / ThreeThree FranciscansFranciscans inin frontfront of thethe aalsolso PPetretr Přiibyl,byl, ““Ikony”,Ikony”, in EEvropskévropské umění od antiky do závěru baroka. Leviathan,Leviathan, muralmural painting, ca. 1340, Průvodce stálou expozicí SbírkSbírkyy starého umění, Národní galerie v Praze ve Deliana (Crete), Church ofof Saint John ŠŠternberskémternberském palácpalácii, PrahaPraha 2004, pp.pp. 26–30, esp.esp. p.p. 27.27. thethe BaptistBaptist

4 / AndreasAndreas Ritzos, Holy Name ofof Jesus with Representation ofof Christ’s Crucifixion and Resurrection, panel painting, ca. 1450–1460, Athens,Athens, ByzantineByzantine MuseumMuseum the two rhomboidal periodsperiods on both sides of the were pproducedroduced and used bbyy a number of Dominican inscription.inscription. ElegantlyElegantly foliatefoliate branches springspring out andand AugustinianAugustinian authorsauthors as ttheologicalheological supportssupports to of eacheach markmark1717. denounce Bernardine as heretic beforebefore the papalpapal ThisThis worworkk is aallll tthehe more compecompellinglling as it seems court. The friar’s critics insisted that worship for his to cclashlash withwith thethe veryvery meaning attributedributed by BeBer-r- aniconic ppanelanel contracontradicteddicted tthehe iconoiconodulicdulic ddoctrineoctrine nardinenardine to his monogram tablets. If comcomparedpared to the established byby the seventh ecumenical council ooff latter, Ritzos’ icon looks ververyy distinctive. First, the Nicea,Nicea, seemed to reintroduce a JudaizinJudaizingg cult fforor panelpanel is not verticallyvertically orienteorientedd anandd seems to contra-contra- the name ooff GodGod,, and was even at odds with Latin ddictict BernarBernardine’sdine’s wiswishh to pproviderovide bbelieverselievers witwithh an ChristologChristology,y, given that its ememphasisphasis on the name ooff aaniconicniconic cult object which ttypologicallyypologically looked like Jesus, rather than on that ooff Christ, risked seseparatingparating a hhorizontalorizontal cult-image.cult-image. Second,Second, thethe leletters abbre-abbre- humanityhumanity ffromrom divinitdivinityy in the Son ooff God’s pperson.erson. viateviate thethe namename inin ththee unusualunusual IHSIHS-form,-form, i.e. with i Moreover, it was considered to enengendergender dandangerousgerous iinsteadnstead of y. Third, ggoldold is used fforor the backbackgroundground misunderstandings.misunderstandings. The Dominican Bartholomew andand no visualvisual hinthint is mademade at thethe twelve-rayedtwelve-rayed sun, LapacciLapacci ooff Florence lamented that some Sicilians which was described byby Bernardine himself as an had started scrapingscraping out the Child from Marian iim-m- essential element ofof his ppanelsanels1818. Finally,Finally, the veryvery factfact agesages and substitutinsubstitutingg it with the monomonogramgram ooff Jesus, thatthat thethe letteersrs aarere ccombinedombined wwithith nnarrativearrative scscenesenes whereas his brother AAndreandrea of Cascia rereportedported that seemsseems to be comcompletelypletely at odds with Bernardine’s OObservantsbservants wwereere cconvincedonvinced ththatat ththee nnewew ddevotionevotion aimaim to use the name ooff JJesusesus as an alternative to the would have cast into oblivion all ppreviousrevious ttypesypes ooff more and more frefrequentquent misuses of contemcontemporaryporary cucult-objects,lt-objects, incincludingluding rerelicslics andand cucult-imageslt-images1919. image-worshiimage-worship.p. ManyMany authors stressed that the monogram was This latter ppointoint was namelnamelyy a leitmotileitmotiff in the deemeddeemed to bebe in competitioncompetition withwith thethe most popu-popu- 198198 polemicalpolemical writings against the new ppracticeractice which lar of Christ’s images, the Crucifix. AAnn anonanonymousymous 5 / TriptychTriptych withwith thethe Virgin andand ChildChild and Saints AAnthonynthony the Great,Great, JohnJohn thethe Baptist,Baptist, Jerome andand Bernardine of Siena,Siena, ca. 14601460,, Prague,Prague, NationalNational GalleryGallery

writer, pprobablyrobably from Perugia, observed that the 1717 TThehe basicbasic studystudy is thatthat byby MyrtaliMyrtali Acheimastou-Potamianou,Acheimastou-Potamianou, “Δύο name ofof Jesus could hardlhardlyy be more efficacious than εικόνες του Αγγέλου και του Ανδρέα ΡίτζουΡίτζου στο ΒυΒυζαντινόζαντινό ΜοΜουυ- thethe image ofof Christ’s sacrifice on the cross, given that σείο”, ΔεΔελτίονλτίον τῆς χχριστιανικῆςριστιανικῆς ἀρἀρχαιολογικῆςχαιολογικῆς ἑταιἑταιρείαςρείας, ser. IVIV,, 1155 (1989–1990), pppp.. 1105–118,05–118, espesp.. pp. 110–117. CCf.f. also eadem, EEntryntry no. 2020 it llackedacked tthehe llaatter’s ddramaticramatic power anandd patpathoshos . 206,206, in ΕικόνεςΕικόνες της κρητικήςκρητικής ττέχνηςέχνης, exexhibitionhibition catacataloguelogue ((Iraklion,Iraklion, TheThe comparisoncomparison becamebecame dramaticdramatic in 1431, whenwhen 1993),1993), ManolisManolis BorBorboudakisboudakis ed.,ed., IraklionIraklion 1993, pp. 5556–557;56–557; EEadem,adem, ΕικόνεςΕικόνες του ΒυΒυζαντινούζαντινού ΜουσείουΜουσείου ΑθηνώνΑθηνών, AthensAthens 1998, p.p. 132; Eadem,Eadem, the ininquisitorquisitor ooff Bologna, the Dominican Ludovico entryentry no. 2295,95, in Byzantium.Byzantium. Faith and Power (n.(n. 2)2),, pp.. 485. SSeeee alalsoso TTosiosi ooff Pisa, gave orders to remove the ppanelanel with RobinRobin CormacCormack,k, Painting tthehe SouSoul:l: IIcons,cons, DeatDeathh MasMasks,ks, anandd SShrouds,hrouds, the monogram positedposited on the main altar ofof the ca-ca- LondonLondon 1997, pp. 206–209; AAngelikingeliki LymLymberopoulou,beropoulou, ""AudiencesAudiences anandd MarketsMarkets fforor Cretan IIcons",cons", in Renaissance AArtrt Reconsidered, Volume ththedraledral ooff SSaintaint PPetroniusetronius aandnd ttoo ssubstituteubstitute iitt wwithith 3,3, Viewing Renaissance AArt,rt, Kim W. Woods – Carol M. Richardson – an image ooff Christ on the cross. PoPopepe EEugeniusugenius IIVV AngelikiAngeliki LymberopoulouLymberopoulou eds,eds, New Haven – LonLondondon 2007, pp. 171–206, esp. pp. 171–173; Diana Newall,Newall, "Can"Candiadia anandd Post-Byzantine IIconscons in was obligedobliged to intervene anandd BernarBernardine’sdine’s ppanelanel was Late FiFifteenth-Centuryfteenth-Century EEurope",urope", in Byzantine AArtrt and Renaissance reinstalledreinstalled onon ththee altaraltar tabletable21. The alternative imaimagege EuropeEurope, AAngelikingeliki LymLymberopoulouberopoulou – RemRembrandtbrandt Duits eeds.,ds., FarnFarnhamham 2013,2013, pp. 1101–134,01–134, esp. p. 1126.26. exhibited bbyy Tosi has pprobablyrobably to be identified with 18 ThisThis was tthehe topic developeddeveloped in some sermons pronouncepronouncedd in PaduaPadua thethe smasmallll ppanelanel by OOraziorazio ddii Giacomo stistillll ppreservedreserved iinn 1423, especiaespeciallylly tthehe sermon XL DeDe nnomineomine Iesu, pupublishedblished in OOperapera omniaomnia, vovol.l. IIIIII,, Jean ddee llaa Haye eed.,d., Venice 1745, pp. 277–28277–283.3. in San Petronio /Fi/Fig.g. 1/:1/: it shows the twelve-ratwelve-rayedyed 19 Longpré, “Saint Bernardin”, 1936 (n(n.. 1212),), pppp.. 158 anandd 465–466. LonLong-g- sun housing a Crucifix accomaccompaniedpanied bbyy the name pré’s negative view of these Dominican and Augustinian authors has ofof Jesus abbreviated in a completelycompletely different waway,y, beenbeen nuancenuancedd bbyy IIsabellasabella GagGagliardi,liardi, “FiguraFigura NomNominisinis IIesu:esu: inin margmargineine allaalla controversiacontroversia DeDe JesuitateJesuitate (1427–1431)”,(1427–1431)”, BulleBullettinoino ddell’Istitutoell’Istituto sstoricotorico 22 asas JSJS, and followed bbyy CChristushristus . italianoitaliano per iill MeMediodio EEvo,vo, 113 ((2011),2011), pp. 209–249, wwhoho points out tthathat AsAs a matter ofof fact,fact, a number ofof extant works BernardineBernardine and his ffollowers,ollowers, by the promotion ooff the aniconic tablet, revealedrevealed anxiety fforor the possible idolatric misuses ooff image-worshipimage-worship.. indicateindicate that,that, notwithstandingnotwithstanding Bernardine’sBernardine’s andand 2020 See the text in LongprLongpré,é, “Saint Bernardin”, 1936 (n(n.. 112),2), p. 1146.46. his ffollowers’ollowers’ concerns fforor the sspreadingpreading ooff a thor-thor- 21 CelestinoCelestino Piana, “San BernardinoBernardino dada Siena a Bologna”,Bologna”, SStuditudi ffrancescanirancescani, 42 ((1945),1945), pppp.. 2213–261.13–261. oughlyoughly aniconic fformorm ooff devotion and pprobablyrobably as a 22 PacePacelli,lli, ““IlIl monogramma bbernardiniano”ernardiniano” (n. 1414),), pp. 430–431; ccf.f. also resultresult of ppolemicsolemics about its legitimaclegitimacy,y, the ppanelanel of iibidem,bidem, pppp.. 432–433432–433.. 199199 the holyholy name ofof Jesus underwent, fromfrom the 1430s decorated the ffaçadeaçade ooff the town cathedral with a oonward,nward, a processprocess ofof iconization. The Crucifix was modified version ofof the holholyy name ofof Jesus, incluinclud-d- sometimessometimes introducedintroduced into thethe composition as a inging an imageimage of the Crucifix in the central h24. crowning element ooff the twelve-ratwelve-rayedyed sun, but more IInn the light ofof these developmentsdevelopments in Italy,Italy, one oftenoften it was displayeddisplayed within the straight stroke ofof wonders what was the original functionfunction and mean-mean- the central h. Viewers were easilyeasily led to recognize inging attributed to AndreasAndreas Ritzos’ painting.painting. Indeed,Indeed, thethe signsign ooff Christ’s sacrifice in the fformorm ofof this letter, iitt can hardlyhardly bebe consideredconsidered to directlydirectly mirror thethe markedmarked bbyy a cross-stroke through the uupperpper ppartart of ObservantObservant Friars’ commitment to foster worshiworshipp iitsts verticalvertical lline.ine. A nnumberumber of vversionsersions mmadeade vvisibleisible forfor the holholyy name ofof Jesus, since the inclusion ofof thisthis allusionallusion to thethe cross by representingrepresenting nailsnails on imagesimages withinwithin thethe monogrammonogram was inconsistent withwith itsits surface. OOtherther versions were more exexplicitplicit and Saint Bernardine’s emphasisemphasis on aniconicitaniconicity,y, even ddidid not rerefrainfrain ffromrom disdisplayingplaying the crucified Christ ifif his rigorism maymay not have been shared byby all withinwithin it23. ItIt isis notnot clearclear if suchsuch alterationsalterations of thethe members ofof his Order.Order. Shall one imagineimagine that this monogram’smonogram’s originaloriginal form were introduced, after odd sosolutionlution was meant to estaestablishblish a dialoguedialogue Bernardine’sBernardine’s trial bebeforefore Martin VV,, as a visual com-com- with the Greek Orthodox,Orthodox, who regardedregarded religiousreligious promisepromise enabling the ppromotersromoters of the new devotion iimagesmages as a constitutive element of their religious toto come to an arrangementarrangement with their critics or if, on identity,identity, and to assert a sort of semantic equivalenceequivalence thethe contrary,contrary, theythey were duedue to thethe secularsecular clergy’sclergy’s ofof graphicgraphic and iconic signs? Did this compositioncomposition wish to regulate the unexpectedunexpected success of Bernar-Bernar- implyimply that viewing the abbreviated letters of the ddine’sine’s monogram:monogram: AAndreandrea ooff Cascia witnesses that name ofof Jesus was not unlike veneratinveneratingg icons?

SaintSaint John ofof CapestranoCapestrano was much disadisappointedppointed to 2323 Pacelli,Pacelli, ““IlIl monogramma bbernardiniano”ernardiniano” (n(n.. 1414),), pppp.. 42426–435.6–435. 200 seesee that the bishopbishop of L’AquilaL’Aquila and his clerics had 24 Text in LongprLongpré,é, “Saint Bernardin”, 1936 (n(n.. 1212),), pp.. 44449.9. 6 / RetableRetable of VallbonaVallbona dede lesles 7 / MonogramMonogram panel ofof Monges,Monges, ca. 1350, Barcelona,Barcelona, SaintSaint BernarBernardine,dine, ca. 1425, NationalNational MuseumMuseum of CCataloniaatalonia Siena,Siena, OsservanzaOsservanza 8 / VenetianVenetian master,master, AAllegoricalllegorical Crucifixion, llateate 14th14th century, KimoKimolos,los, HoHodegetriadegetria CChurchhurch Indeed,Indeed, the use of Gothic minuscule and Latin let-let- the Corpus ChristiChristi iinn iitsts EuEucharisticcharistic ttabernacleabernacle disdis-- ttersers (even(even if the h correspondedcorresponded to a GreekGreek eta) was playsplays the Gothic form ihus withwith double mmacron:acron: tthehe problematic: critics ooff Bernardine’s monogram had iinscriptionnscription is combined with an image ooff Christ on pointed out that the name of Jesus could not act as the cross, embellished by foliate motifs /Fig./Fig. 6/6/28. SuSuchch a universaluniversal cult-object,cult-object, givengiven thatthat its beingbeing written graphicgraphic and figurative elements must have stronglstronglyy in thethe Latin alphabetalphabet preventedprevented non-Westerners, ccontributedontributed to enhance the visual exexperienceperience ooff the and in first instance Greek-rite Christians,Christians, from hhostost durinduringg the EElevationlevation rite in Latin churches ooff understandingunderstanding iitt25. bobothth WWesternestern ccountriesountries aandnd VVenetian-ruledenetian-ruled Crete.Crete. IItt is ppossibleossible that the arguments formulated bbyy TheThe sacramentalsacramental associationsassociations ofof thethe namename of criticscritics ooff ththee nnewew ddevotionevotion ccirculatedirculated iinn ththee LLatinatin Jesus,Jesus, which ppreexistedreexisted the success of Bernardine’s East,East, given tthathat tthehe Dominican BartBartholomewholomew Lapa-Lapa- monogram, are manifestlymanifestly visualized in Ritsos’ ppanelanel ccicci of Florence, one of Bernardine’s harsher ooppo-ppo- by the couplingcoupling of Crucifixion and Resurrection. nents and a strong supportersupporter ofof the union ofof the The redemredemptiveptive ppowerower ooff the Son ooff God’s sacrifice GreekGreek andand tthehe Latin cchurch,hurch, was twice a llegateegate in isis evoevokedked by tthehe sspecialpecial ememphasisphasis llaidaid on AdAdam,am, Greece and was aappointedppointed bishobishopp of the Venetian thethe progenitorprogenitor of humanityhumanity and first sinner: he ap-ap- colonycolony ooff Korone, in the Southern PeloPeloponnesus,ponnesus, in pearspears in the cave ooff Golgotha, where his skull is 141455552626. ShShouldould wwee iinfernfer ffromrom ththisis ththatat ththee iiconizedconized usuallyusually rerepresented,presented, aalivelive anandd bbowingowing in a gesture monogram inventedinvented by Ritzos hhasas to bbee intenintendedded of self-dedication, while a great manymany trickles ofof asas a visual comcompromisepromise between the ppositionsositions ooff Christ’sChrist’s blbloodood ooze ddownown hhisis hhead;ead; anandd hhee is sshownhown ObservantObservant ffriarsriars andand ththeireir ddetractors?etractors? InIn orderorder toto again in thethe Anastasis,Anastasis, in thethe veryvery moment as thethe res-res- answeranswer thisthis question, we neeneedd to havehave a closercloser looklook urrectedurrected SSaviouraviour drdrawsaws hhimim aandnd EEveve frfromom HHell.ell. ThThee at its iconograiconographyphy and other comcompositionalpositional ffeatures.eatures. representationrepresentation ooff the first man as a supplicantsupplicant can be AsAs mentioned above, the use of a horizontal ppan-an- paralleledparalleled witwithh anaanalogouslogous sosolutionslutions encountereencounteredd in el,el, the lack ofof the twelve-rayedtwelve-rayed sun and the spellingspelling lalatete 1144th centurcenturyy Venetian ppaintingsaintings that disdisplayplay an IIHSHS with i instead ooff y is all the more striking and allegorical reading ofof the Crucifixion: a case in ppointoint can hhardlyardly bbee ddeemedeemed to hhaveave bbeeneen introintroducedduced by is a ppanelanel ppreservedreserved in the AAegeanegean island of Kimolos, chance, given that, as witnessed bbyy the Prague tritrip-p- where not onlonlyy AAdam,dam, but also David and Solomon, tytych,ch, the standard ttypeype ooff Bernardine’s monogram as rerepresentativespresentatives ooff the OOldld Testament righteous, was well known on Crete. To the best of mmyy knowl-knowl- are shown kneeling in the cave /Fig/Fig.. 8/29. edge, the isolated monogram, separatedseparated ffromrom the TThehe Greek inscriinscriptionption reinreinforcesforces and exexplicatesplicates sun,sun, was useusedd in tthehe Late MeMedievaldieval anandd Renaissance the meaning ooff this image as an allegorallegoryy ooff ReRe-- West in two special contexts: first, as a decoration for demption.demption. It reads ἘσταυρώθηςἘσταυρώθης ἀναμάρτητεἀναμάρτητε κaὶ pendantspendants useusedd as ddevotionalevotional amuamuletslets (as witnessewitnessed,d, ἐνἐν μνημείῳ κατετέθης ἑκών, ἀλλ’ἐἐξανέστηςξανέστης ὡς forfor instance, bbyy Holbein’s pportraitortrait ooff Jane SeSeymourymour Θ(εό)ς/ συνέγειρας τὸν προπάτορα. ΜνήσθητίΜνήσθητί in Vienna,Vienna, Cranach’s YYoungoung mamann in ColoCologne,gne, and μου κράζοντακράζοντα, ὄταν ἔλθῃς ἐν τῇ ββασιλείᾳασιλείᾳ σου, i.e. Tizian’s pportraitortrait ooff EEleonoraleonora Gonzaga in Florence), 25 See the anonymous treatise in Longpré,Longpré, “Saint Bernardin” (n. 12),12), p.p. 475. wherewhere it usuausuallylly displaysdisplays thethe spellingspelling witwithh YY,, un-un- 2626 OnOn Lapacci andand hhisis thoughtthought see ThomasThomas Kaeppeli,Kaeppeli, “Bartolomeo“Bartolomeo Lapa-Lapa- less its letters are transcribed into Humanist cacapitalspitals ccicci de’ Rimbertini (1402–1466), vescovo, legato pontificio, scrittore”, 27 ArchivumArchivum Fratrum PraePraedicatorum,dicatorum, 9 (1939), pppp.. 886–127;6–127; Luciano CineCinelli,lli, (where(where Y is substituted with I) . SeconSecond,d, it is kknownnown IlIl trattato “De sanguinis pretiosissimi crucifixi divinitate” di Bartolomeo that the abbreviation of Jesus’ name could be strictlstrictlyy Lapacci de’ Rimbertini OP per la disputa del “Triduum mortis” (1463)(1463), FribourgFribourg 20052005.. associated with the Eucharist,Eucharist, to such an extent that it 2277 Pacelli,Pacelli, ““IlIl monogramma bbernardiniano”ernardiniano” (n. 1414),), pp. 42420–421.0–421. couldcould bbee even imimprintedprinted onto tthehe hholyoly hhost.ost. A most 28 OnOn tthishis retaretableble see tthehe accurate iconograpiconographichic anaanalysislysis bbyy Marisa MeMelerolero comcompellingpelling witness to tthishis is pprovidedrovided by a CataCatalanlan Moneo, “Eucaristía y polémica antisemita en el retablo y frontal de Vallbona de les Monges”, Locus Amoenus,Amoenus, 6 ((2002–2003),2002–2003), pppp.. 222–40.2–40. work datindatingg ffromrom ca. 1350, i.e. well bebeforefore BernarBernar-- 2299 MyrtaliMyrtali Acheimastou-Potamianou,Acheimastou-Potamianou, entry no. 97, in Byzantine andand dine’s ppreaching.reaching. The retable of the CorCorpuspus Domini Post-ByzantinePost-Byzantine AArtrt, AAthensthens 1985, pp. 96–98. AnotherAnother vvariantariant of ththisis themetheme occurs in a painting bbyy AAntoniontonio Vivarini anandd Giovanni dd’Alle-’Alle- originallyoriginally in the Cistercian monastermonasteryy of Vallbona mmagnaagna now in Prague, ccf.f. Petr Přibyl,ibyl, entry no. 135, in IItaliantalian Painting dede les Monges disdisplaysplays a uniuniqueque selection ooff miracle c.c. 1330–1550. II.. NationaNationall GaGalleryllery in Prague. IIII.. CoCollectionsllections in tthehe CzecCzechh Republic.Republic. IllIllustratedustrated Summary CataCataloguelogue, Olga Pujmanová and Petr scenes where the holyholy host, rendered in relief pas-pas- Přibylibyl eds.,eds., Prague 2008, pp. 2202–20302–203 (wit(withh previous bbibliography).ibliography). ttiglia,iglia, is the onlyonly and absolute protagonist.protagonist. InIn all ofof OnOn the early motimotiff ooff the resurrected AAdamdam at the ffootoot ooff the cross ccf.f. GertrudGertrud ScSchiller,hiller, IkIkonographieonographie dderer cchristlichenhristlichen Kunst. 2. Die Passion Jesu ththemem thethe IIHSHS is written withwith i in capitalcapital lleetters, witwithh ChristiChristi, GütersGüterslohloh 1968, pp. 142–143,142–143, wherewhere hehe is normallynormally representerepresentedd a mmacronacron aboveabove ththee h, whereas the central imaimagege ooff withinwithin a sarcopsarcophagus.hagus. 203203 “You“You were crucified without sin and were willingly 3030 See Παρακλητική, ἤτοι Ὀκτώηχος ἡ μμεγάληεγάλη, RoRomeme 11885885, pp.. 22. bburieduried in tthehe tomtomb,b, yyetet yyouou resurrecteresurrectedd as GoGodd anandd 31 AAcheimastou-Potamianou,cheimastou-Potamianou, “Δύο εικόνες” ((n.n. 1717),), pp. 110–111.110–111. TheThe ttextext rreleasedeleased tthehe progenitor. RememRememberber me, as I invoinvokeke isis edited in Stergios G. SSpanakis,panakis, “Ἡ διαθδιαθήκηήκη τοῦ Ἀνδρέα Κορνάρου (1611)”,(1611)”, ΚρητικὰΚρητικὰ χρονικάχρονικά, 9 (1955), pppp.. 3379–478.79–478. you, wwhenhen you wiwillll arrive in your kkingdom”.ingdom”. SucSuchh versesverses are fformulasormulas ofof the BByzantineyzantine rite: thetheyy belong to tthehe Great OkOktoechostoechos (or ParaParakletike)kletike) anandd are sung atat SundaSundayy Matins, alternating with the Beatitudes ooff Christ’sChrist’s SermonSermon oonn thethe MountMount30. TTheirheir ppresenceresence in thethe image makemake cclearlear tthathat tthehe worworkk was intenintendedded for a viewer being familiar with the Greek liturgy,liturgy, given tthathat ttheyhey hhaveave no pparallelarallel in Western usage. NonethelessNonetheless,, such formulas were not used to hint at a sspecipecific rite, yyetet rather to mirror and orientate the beholder’sbeholder’s ddevotionalevotional exexperience:perience: at a gglance,lance, hhee or she wwasas led ttoo uunderstandnderstand tthathat CChrist’shrist’s deadeathth aandnd resurrection,resurrection, reenacted in the Eucharist,Eucharist, enabled sinnerssinners to attain sasalvation,lvation, as ssymbolizedymbolized by AdAdam’sam’s liberationliberation fromfrom Hell.Hell. Undoubtedly,Undoubtedly, this odd work seems to dedefyfy ananyy straightforwardstraightforward or univocal interinterpretation:pretation: it disdis-- plays a much widespread Latin motif invested with EucharisticEucharistic symbolism,symbolism, the holholyy name ooff Jesus, while distorting its meaning and its function in such a wayway to turn it into a visual allegoryallegory ofof Christ’s sacrifice andand redemptiveredemptive action. IItsts iconograiconographic,phic, composi-composi- tionaltional andand typologicaltypological peculiaritypeculiarity makesmakes improba-improba- bleble that it was originalloriginallyy meant to be exhibited in a church.church. MucMuchh more llikely,ikely, it must hhaveave suitesuitedd tthehe religious needs. of either a Greek who was fascinated by the cultic efficacycacy ooff the holholyy name ooff Jesus or ofof a Venetian who ffeltelt that an iconized monogram couldcould be more profitably used as visual support forfor his or her meditational ppractice.ractice. AAss observed bbyy MyMyrtalertale AAcheimastou-Potamianou,cheimastou-Potamianou, a simisimilarlar image “delle lettere IHSIHS con pipitture dentro esse lettere” was ownedowned in tthehe earearlyly 1177thth centurcenturyy by tthehe lliterateiterate AndreaAndrea Cornaro, whowho keptkept it in hishis privateprivate roomroom31. Most pplausibly,lausibly, the ppanelanel signed bbyy Ritzos and now in AAthens,thens, whichwhich is likelylikely to bebe thethe same workwork ownedowned by Cornaro, was destined since its ververyy beginnings fforor an analogous domestic setting: unlike ananyy other imageimage and regardlessregardless ofof theolotheologicalgical distinctions, it aappropriatedppropriated a successful devotional ppaattern ooff contemporarycontemporary Latin ppietyiety and made it suitable to thethe Byzantine-inspiredByzantine-inspired visual conventions of Cretan believers.believers.

MicheleMichele BBacciacci Medieval ArtArt HistoryHistory UniversityUniversity ofof FribourFribourgg 204 [email protected]@unifr.ch SUMMARYSUMMARY

KKrétaréta ppodod benbenátskouátskou nnadvládouadvládou a NeNejsvjsvětějjšíší jjménoméno JežíJežíšš

ByzantskéByzantské muzeum v AAthénáchthénách uuchováváchovává vvel-el- tutu iindividuálníhondividuálního i kkolektivníhoolektivního uctívání.uctívání. KromKromě mi neobvyklýneobvyklý obraz Andrease Ritzose, pocházejícípocházející tohotoho kompozicekompozice postrádápostrádá slunce se dvanácti pa-pa- ze 3. čtvrtinytvrtiny 15. století. VVynikáyniká neobvneobvyklouyklou kom-kom- prsky,prsky, které bylobylo popsánopopsáno BernardinemBernardinem samotnýmsamotným binacíbinací italskýchitalských a bybyzantskýchzantských vizuálních prvkprvků. jakojako základnízákladní pprvekrvek monogramumonogramu IHSIHS a bylobylo pro-pro- UkazujeUkazuje neobratnoneobratnouu “ikonizovanou”“ikonizovanou” vverzierzi stan-stan- to nnapodobovánoapodobováno i na Krétě. Také typologickytypologicky iko-iko- dardní gotické zkratkzkratkyy pproro NejsvNejsvětějšíjší jménojméno Ježíš,Ježíš, na vodorovně orientovaná neodpovídáneodpovídá standardní tzv. monogram nebonebo trigram IHS, jehož písme-písme- formě bernardinskýchbernardinských desek, které bylybyly všechnyvšechny na jjsousou dedekorovánakorována scscénamiénami z KKristovaristova ukřižováníižování orientovanéorientované vvertikálnertikálně. a zmrtvýchvstání,zmrtvýchvstání, a kterýkterý je doprovázendoprovázen řeckýmeckým ScényScény zastoupenézastoupené v písmenechpísmenech odkazují na jis-jis- nápisemnápisem spojenýmspojeným s rituálnímirituálními formulemiformulemi používa-používa- toutou esceschatologickouhatologickou dimenzi. ZejménZejménaa ppostavaostava AdaAda-- nýminými při ortodoxníchortodoxních nednedělníchlních ranníchranních chválách.chválách. ma klanícíhoklanícího se ve své ppohohřebníební jeskynijeskyni u patypaty ByloBylo navrženo,navrženo, žeže toto řešeníešení ssee můžžee vázatvázat keke KristovaKristova kříížeže se zdá býtbýt inspirovánainspirována obdobný-obdobný- zvláštnímzvláštním formám úctúctyy k NeNejsvjsvětějšímujšímu jménujménu JJežíšežíš mi řešenímiešeními v ssououčasnýchasných benátskýchbenátských alegoriích podporovanépodporované v IItáliitálii ssv.v. BBernardinenernardinen ze SienySieny Ukřižování,ižování, jejichž přítomnostítomnost ve vvýchodnímýchodním Stře-e- a obobservantskouservantskou oodnožídnoží frfrantiškánskéhoantiškánského řádu.ádu. Ob-Ob- dodomomoří svědčí o obrazuobrazu dochovanémdochovaném nana egejském servanté pěstovali úctuúctu k deskovým obrazům iko-iko- ostrovostrově Kimolos. PerspektivaPerspektiva individuální spásy nickéhonického ttypuypu zobrazujícímzobrazujícím NejsvNejsvětějšíjší jménojméno JežíšJežíš jeje také zdůrazněnnaa řeckýmeckým nápisemnápisem na spodnímspodním uprostuprostředed slunceslunce sese dvanáctidvanácti paprskypaprsky a podníti-podníti- okrajiokraji ikony,ikony, obsahujícím verše pochazejícípochazející z orto-orto- li jjehoeho ppoužívání,oužívání, jak jjejichejich kritici častoasto podotýkali,podotýkali, ddoxníchoxních nednedělnlníchích laud.laud. jjakoako alalternativuternativu ke kultukultu obrazobrazů. ZdáZdá se nenepochybné,pochybné, že toto zvlzvláštníáštní ddíloílo ssee vzvzpí-pí- VeVe skuteskutečnnostiosti observantstvíobservantství zzaačaalolo na KrétKrétě rárá jakékolijakékolivv jednoduché a jednoznačné interpretaci.interpretaci. převládat od ppolovinyoloviny 15. ststoletíoletí a mmístníístní mnmni-i- ZobrazujeZobrazuje rozšířenýený latinskýlatinský motiv, jenž je zahalen ši nneupustilieupustili od pprosazovánírosazování úctyúcty jakjak k Bernar-Bernar- eueucharistickoucharistickou ssymbolikouymbolikou a zzároveároveň narušuje vvý-ý- ddinovi,inovi, tatakk k mmonogramuonogramu IIHS.HS. MalMalýý tritriptychptych znam a ffunkciunkci Nejsvětějšíhjšíhoo jména JežíšJežíš takovýmtakovým z 50.50. nebonebo 60.60. letlet 15.15. stoletístoletí z Národní galeriegalerie zpzpůsobem, žeže jej promproměňěňujeuje ve vizuální alego-alego- v Praze, kdekde je BernardinBernardin zobrazenzobrazen s monogra-monogra- rii KristovyKristovy oběti a sspásnéhopásného působení. NaNa rozdílrozdíl mem,mem, nese zvláštní svědectví tohoto vývoje. Řešeše-e- odod jjakéhokolivakéhokoliv jjinéhoiného obobrazurazu a bebezz ohledu na tteolo-eolo- níní RiRitzosovoosovo jjee vevelmilmi kontroverzníkontroverzní,, neboť zahrnutí gické rozdíly,rozdíly, přiivlastnilvlastnil sisi tetentonto obobrazraz úspúspěšnšnýý narativních figurálních scén dodo monogramumonogramu IHSIHS se devodevočníní vzvzoror ssououčasnéasné llatinskéatinské zbzbožnostiožnosti a přizpizpů- zdá býtbýt v příímémmém rozporurozporu s BernardinovBernardinovýmým učením sobilsobil je bbyzantskyyzantsky insinspirovanýmpirovaným vizuálním zvzvyk-yk- o NeNejsvjsvětějšímjším jménujménu JJežíšežíš jjakoako o skutečném objek-objek- lostemlostem krétskýchkrétských věřěřících.ících.

205205