The Ieonography of Sanctuary Doors from Patmos and its Place in the Iconographie program of the Byzantine Ieonostasis By Georgios Kellaris A thesls sutmitted to the Facu1ty of Graduate Studies { and Research in partial fulfi1lment of the requirernents for the degree of Master of Arts Department of Art history McGill University March, 1991 © Georgios Kellaris 1991 Montréal, Québec, canada ---------~~- - ---- il The lconostasis is the most characteristic feature of the Orthodox Church. The metaphyslcal conception of the space of the church prQnpted its emergence, and the ~tical Interpretation of the Liturgy deter~ned its evolution. These aspects were reflected in the iconographie program of the iconostasis. The sanctuary dOOIS are the only part of tt.e Patmlan iconostases bearing figurative decoIatlon. The study of the themes on the doors reveals an iconographie program with strong lituIglcal character. Furthermore, this program encompasses the entire range of the ~tical syrrbol1sm pertaining to the iconostasis. The anal}JSis indicates that the doors are instrumental in the function of the iconostasis as a liturgical device aim1ng at a greater unitY between the earthly and the divine realms. ill 1 L t iconostase est un élément Indispe... .Able de l'Église OrthodoAe. La raison de sa naissance se trouve dans la conception métaphysique de l'éspace ecclésiastique et sa évolution a été determlné par l'interprétë.\tion mystique de la 11 turgie. Ces aspects sont reflétés par le progranme iconographique de l'iconostase. Dctns les iconostases de PatIOOs la porte est la seule section où se trouve des décorations figuratives. L'étude de thémes trouvé sur ces portes révéle un programne iconographique de caractère liturgique. De plus, ce programœ contient tous les aspects du synt>ol1sme mystique attaché à l'iconostase. Cet analyse des oeuvres patmiennes suggère que les portes étaient instrumentales par rapport à la fonct'.on de l'iconostase corrme un appareil liturgique qui réunit le royaume divin et terrestre . .. iv Abstract. • . • ..• .. • . • •....• • . • . .•• • • • • • •..••• • . .. .••• • . • • ••••.. • . •• ii Rés~ .••••••••••••••••••••••••••••••••••••••••••••••••••••••. t • • • •• 111 Acknowledgements ••••...••• v List of Illustrations .......................................... ~ .. .. vi .Abbreviations ................................................... t • • • ix 1 ntroo.uct ion .................................. "" ........ 1 CHAl?TER I: The Evolution of the Iconostasi5.......................... 4 CHAl?TER ~L: Characteristics of the Patrrüan Iconostases ••.....••..... 14 Form aOO decor at i on. ..... 15 Pecul1ar i ties of the Patmian iconostases and their possible sources .................................. 18 1 1 1: The Sanctuary Doors ................................... 27 Royal doors a) General Characteristics. 27 b) The iconographic themes. 29 i. The Annunciation •• 29 i 1. The Saints ••.... 36 The Hierarchs .•. 37 Peter and Paul •• 41 Local Patron Saints •. 42 Patron Saints of Donors ..•.•.••..•. 46 Prothesis doors ........................................ 54 Tyrtpanum icons ....... " .................................... 57 CHAPTER IV: The Heanlng of the Sanctuary doors within the Iconostasis 72 BIBLI~HY •• Il • • • • • • • • • • • • • .. • • • • • • • .. • • • • • • • • .. • • • .. .. .. • • • .. .. • • • • • • • • .. •• 83 1I..LUS'IRATI 008. • .. • • • • • • • • .. .. • .. • .. .. .. .. .. • • • • • .. • • • • .. • • • • • .. • • • • .. • • • • • • • • • .. ... 88 v 1 l ~uld like to express my profound gt'atitude to Professor G. Galavaris for the suggestion of the topie, and inspired guidance throughout this project. His extreme patiel~e, and ceaseless support have been greatly appreciated. To the Department of Art History l am obliged for an enlightening and stl11ll1ating course of study, as well as for facilitating ~ sojourn he~e in every possible way. 1 am also thankful to the Faculty of Graduate Studies and Research for financial assistance in the award of the Max Blnz Fellowshlp. From the nany friends in Greece who facilitated my access to publications, l am particularly indebted ta Ms. E. Ger ontak ou, Ms. A. Oikonomou, and Ms. E. Vasileiou. l thank them all sincerely. Finally, l wuld like to extend IT!Y gratitude to my devoted f:r iend, Monika Tsakanika. The corrpletion of this study wou Id have been il'l{)OsS ible without her assistance and unconditional support. vi LIST Œ' ILLUS'lRATlœS 1. Lesbos, Aphendelli basjlica. reconstruction of the berna (after A. orlandos) . 2. Patmos, Monastery of st. John the Theologian, Chape1 oi the Virgini Iconostasis, 1607. 3. Patmos, Monastery of Zoodochos Pighi, cath01ikoni Iconostasis, 1600- 1617. 4. Patmos, Monastery of st. John the Theologian, Cha~el of the Virgini Detail from the episty1e of the iconostasis, 1607. 5. Patroos, Kathisrna of the Annunciation, Chapel of st. Lukei Iconostasis, ca. 1613. 6. Patmos, Monastery of st. John the Theologian, Chapel of the Cross; Iconostasls: central part of the Deësis, 1600-1610. 7. Patmos, Church of st. George "Aporthianon"; Iconostasis, end of the 15th century. .. 8. Rome, Biblioteca Vaticana, cod. gr . 2137, fol. 4r., 1600. 9. Rome, Biblioteca Vaticana, cod. gr. 2137, fol. 5r. , 1600. 10. Rome, Biblioteca Vaticana, cod. gr. 2137, fol. 6r., 1600. 11. Rome, Biblioteca Vaticana, cod. gr. 2137, fol. 10r. , 1600. 12. Patmos, Chur ch of the Virqin "Diasozousa"; berna-doo! ca. 1600. 13. Patrnos, Church of st. George "Aporthianon"; berre-door, second half/end of the 15th century 14. Detail of fig. 13: Bust of David. 15. Detail of fig. 13: Annunciation. 16. Patmos, Monastery of st. John the The01ogian, New Treasury; right valve of a berna-door, 1480-1500. 17. Detail of fig. 16: the Virgin of the Annunciation. 18. Patmos, Monastery of st. John the Theologian, Chapel of the Cross; bema-door, 1600-1610. ·r 19. Detail of fig. 18: the Virgin and the spinning rnaiden. vil 20. Patrros, Church of Christ "Dem3r:chias" i Upper part of the bema-àoor, 1 first half of the 16th century. 21. Paris, Blbl1othèqueNatlonale, Codex Par. gr. 510, fol. 452I., ca.880. 22. Mount Athos, Protatoni Byzantine bema-door with Ivory intarsia (drawing), late 10th ceratury. 23. Detail of fig. 16: hierarchs. 24. PatlOOs, Church of Christ "Denarchias" i iconostasis, first half of the 16th century. 25. PatlOOs, Monastery of st. John the Theologian, Chapel of Hoslos Christodoulo5; bema-door, ca. 1600. 26. Patrros, Monastery of the Apocalypse, Chapel of st. Anne; bema-àoor, ca. 1600. 27. Patrros, Monastery of the Holiest of Holles, Chapel of the Holy TrinitYi iconostasis, ca. 1613-1623. 28. PatlOOs, Monastery of the Hypapantê of Malandrakis, catholikoni Prothesis-door, Archangel Gabriel, 1610-1630. 29. patlOOs, Monastery of the Hypapantê of Malandrakis, Chapel of the Holy Forty Martyrs; Prothesis-àoor, Archangel Gabriel, 1580-1590. 30. Detail of fig. 3: Prothesis door, Archangel Michael. 31. PatlOOs, Church of Christ "Denarchias"; tyrrpanum-lcon above the Royal door, Last Supper, mid 16th century . 32. Patrros, Church of Christ "Denarchias"; tyrT'4?anum-icon above the Prothesis door, Hospitality of Abraham, mid 16th century. 33. Patrros, Kathlsma of the Annunc1ation, Treasury, tyrrpanum-icon of a Royal door, Epitaphios Threnos, ca. 1500. 34. PatlOOs, Monastery of st. John the Theologian, Chapel of the Vlrgini tympanunricon above the Royal door, Epitaphios Threnos, 1607. 35. PatlOOs, Monastery of st. John the Theologian, TreasurYi embroidered epltaphios, 1460. 36. PatJoos, Monastery of the Hypapantê of Malandrakis, catholikoni tympanunricon, Epitaphios Threnos, ca. 1620-1645. 37. Patrros, Monastery of the Hypapantê of Malandrakls, cathol1kon; tympanunricon above the Royal door, Presentation of christ ln the l Temple, ca. mid. 17th century. .., vi ii 38. Detail of fig. 3: tyrrpanum-icon above the Royal door, Presentation of Ci.rist in the Terrple. 39. Patmos, Monastery of st. John the Theologian, Hegoumeneioni icon, Presentation of Christ to the Temple, end of the 15th century. 40. Patmos, Kathisma of the Annunciation, Churchi icon, Presentation of the Virgin in the 'remple and Presentation of Christ in the Tençle, 1580-1590. 41. Patmos, Twin Church of st. Anthony and st. Aikaterinai tympanurrricon above the Prothesis door, st. Anthony and st. Theoktiste of Lesbos, 16th century. 42. Rome, Biblioteca Vaticana, Cod. gr. 1162, fol. 90r., 12th century. The illustrations included here hdve been reproduced from the following publications: Figs. 2, 6, 13-19, 23, 28-29, 31-34, 36, and 39-41 from M. Chatzidakis, Icons of Patmos, Athens, 1985. Figs. 3, 5, 7, 12, 24-27, and 30 from Ch. Koutelakis, Woodcarved templa of Dodecanesos until 1700, Athens, 1983. ( Figs. 8-11 from P. Vocotopoulos, "Les miniatures d'un manuscrit Crétois de 1600", D.X.A.E. period 4, vol. XIII (1985-1986), pp. 191-208. Figs. 4 and 35 from Patmos, Treasures of the Monastery, Athens, 1989. Fig. 1 from C. Mango, Byzantine Architecture, New York, 1976. Fig. 20 from A. Grabar, "Deux notes sur l' histoire de l'iconostase d'après des monuments de Jougos1avie", Zbornik Radova Byzantoloskog Instituta 7 (1961), pp. 13-22. Figs. 20, and 37-38 from K. Fatourou, patmian Architecture. The Church of the Roly Apostles as a Typical Example of Patmian Style, Athens, 1962. Fig. 42 from C. stornajolo, Miniature delle Gmilie di Giacomo Monaco e dell 'Evangeliario Greco Urbi na te, Rome, 1910. The drawing of the fig. 22 1s based on a photograph in S. Pelekanides "Byzantine bema-door from Mount Athos", Archailogikt§ Ephemeris 96 (l957),