These murals—depicting the Deesis and Saint Eustace's hunting scene—have largely faded.
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Preserved in the iconostasis of Iprari is the 12th–13th century icon depicting the archangel Michael and the Deesis.
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Middle leaf, top panel: Deesis, Christ, Mary and John the Baptist Recto, full view. 28 x 24 cm. The Harbaville Triptych is a Byzantine ivory triptych of the middle of the 10th century with a Deesis and other saints, now in the Louvre. Traces of colouring can still be seen on some figures.
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Deesis scene at Chora Church. The image of Maria (seen on top of page) can be seen in the lower right of this mosaic. There is a surviving mosaic portrait of Maria, from the narthex at the Chora Monastery (she appears as a nun, with an inscription with her monastic name of Melania),Source in the lower right hand corner of the Deesis scene.
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Icon of the Deesis St. Catherine's Monastery Sinai, 12th century) Great Deesis with Prophets; 16th century; Walters Art Museum In Byzantine art, and later Eastern Orthodox art generally, the Deësis or Deisis (, "prayer" or "supplication"), is a traditional iconic representation of Christ in Majesty or Christ Pantocrator: enthroned, carrying a book, and flanked by the Virgin Mary and St. John the Baptist, and sometimes other saints and angels. Mary and John, and any other figures, are shown facing towards Christ with their hands raised in supplication on behalf of humanity. In early examples, it was often placed on the templon beam in Orthodox churches or above doors, though it also appears on icons and devotional ivories. After the development of the full iconostasis screen there was room for a larger "Deesis row" or "Great Deesis" of full-length figures, and the number of figures expanded, in both Byzantium and Russia.
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After the reconquest of the city by Michael VIII Palaiologos in 1261 the Hagia Sophia was restored and a beautiful new Deesis was made on the south gallery. This huge mosaic panel with figures two and a half times lifesize is really overwhelming due to its grand scale and superlative craftsmanship. The Hagia Sophia Deesis is probably the most famous Byzantine mosaic in Constantinople. The Pammakaristos Monastery was restored by Michael Glabas, an imperial official, in the late 13th century.
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The apse is dominated by an orant Theotokos with a Deesis in three medallions above. Below is a Communion of the Apostles. Gelati, Georgia. c. 1125–1130. Prince Sviatopolk II built St. Michael's Golden-Domed Monastery in Kiev in 1108.
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The also includes Andrija Raičević icons, icons of the Cretan School and Russian icons as well as many by unknown artists. Those by the Cretan School are very fine, especially an icon of the Deesis with saints and Saint George and the Dragon.
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Traditional Deesis is depicted in the altar conch. Multifigure Eucharist is found in the upper part of the apse, and below it, bishops with open scrolls and deacons. Dominant colors are dark brown, blue, yellow and dark grey.Закарая, П. (1983) Памятники Восточной Грузии.
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The coronation of Demetre I (photo by Jaba Labadze, 2018). The interior of the church is entirely frescoed, but the paintings are now damaged. They are dated by an inscription to 1140 and credited to Mikael Maghlakeli. The sanctuary is traditionally adorned with the Deesis.
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PortalThe church was designed with a private entrance for the king from within the Residence.Biller and Rasp (2006), 244. The public entrance faced east, towards the Marstallplatz. Above the doorway a deesis sculpted in relief is framed by a gothic wimperg, with statues of Saint Peter and Saint Paul on either side.
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380px Deesis with Saint Paul and Saint Catherine is a 1520 oil on panel painting by Giulio Romano, now in the Galleria nazionale di Parma. Its title refers to deesis, a subject in Christian iconography, shown here with Paul of Tarsus and Catherine of Alexandria in the lower register and the Virgin Mary and John the Baptist in the upper Patrizia Sivieri, Scheda dell'opera; in Lucia Fornari Schianchi (a cura di) Galleria Nazionale di Parma. Catalogo delle opere, il Seicento, Milano, 1999. It shows the artist still in his Raphaelesque classicising phase, far from the Mannerism he later showed at the Palazzo Te in Mantua - for example, his figure of St Catherine explicitly refers to the figures of Raphael's Vatican fresco Disputation of the Holy Sacrament.
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Deesis, 17th-century icon. Left to right: Archangel Michael, Theotokos, John the Baptist, Archangel Gabriel (Historical Museum in Sanok, Poland). It is in this form that the mention of "diptychs" in early Christian literature is found. The term refers to official lists of the living and departed that are commemorated by the local church.
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Only the mosaic decoration of the small burial chapel (parekklesion) of Glabas survived. This domed chapel was built by his widow, Martha around 1304–08. In the miniature dome the traditional Pantokrator can be seen with twelve prophets beneath. Unusually the apse is decorated with a Deesis, probably due to the funerary function of the chapel.
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Already Jovanović had written about sixty names, mostly in the section "Memory Eternal of the Deceased Servants of God". The book is illustrated with two headpieces, one representing Jesus Christ (f.3r) and the other depicting the Deesis (f.5r). Characteristics of the language and script of Epistolija are similar to those of Jovanović's previous book, Sobornik.
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Bishop Berthold arranged for an expansion of the High Choir at the end of the 13th century. Also, frescos were added, depicting the Annunciation, the Coronation of Mary, St. Catherine, St. Philippus, St. Peter, Deesis and angels. The choir banks were manufactured by an unknown artist working under the pseudonym Magister rusticus at the beginning of the 16th century.
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The eagle with an animal in his talons probably symbolises victory, and the whole sculptural composition the triumph of the heavenly forces represented by the archangels Michael and Gabriel. In the province of Tao the power lay in the hands of the ruling dynasty of the Bagrationi, whose members Bagrat eristavt-eristavi and David Magistros are depicted lower down on the same facade, near the deesis, to show that the heavenly forces were the family's patrons. The figures are well proportioned, elegant in contour and form. The static postures of earlier donor portraits give way to free movement, and an equal attempt can be traced in the near three-dimensional renderings of the archangels and the deesis of the southern facade, as well as on a column in the southern gallery.
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Stefan Likić was a priest and an artist -- a master in woodcuts -- who worked for churches and monasteries, including Lepavina Monastery, in Slavonia during the height of the Habsburg Empire.Many icons were attributed to him; Deesis of Saint Simeon and Saint Sava (1712); Antimension of Christ with the Apostles (1724);and two-sided woodcut representing St. Nicholas and St. John the Baptist (1732).
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Cormack (2000), p. 114 The exact appearance of the icon is unclear: although the early image has been interpreted as a bust of the Christ Pantocrator type, late Byzantine references, such as coins by John III Vatatzes (r. 1221–1254) and the Deesis mosaic in the Chora Church, use the term for depictions of a standing Christ on a pedestal.Kazhdan (1991), p.
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Museo dell'Opera del Duomo, Florence. Giulio Romano, Deesis with Saint Paul and Saint Catherine, 1520 ca., Galleria nazionale, Parma Its dating is the object of much critical dispute, depending on various interpretations of its significance. Some argue it was an expression of Odoardo's campaign to be granted the throne of England, then in the balance as Elizabeth I approached her death without a named successor.
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After this, the body is washed and clothed for burial. Traditionally, this act of love is performed by the family and friends of the deceased (). A crown (sometimes referred to as a phylactery), is placed upon the dead layman's head. This consists of a strip of paper upon which the Trisagion is written, and sometimes an icon of the Deesis is printed on it as well.
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Further mosaics, constituting a Deesis, were added to the narthex (entryway) of the church in 1973; further mosaics (a Crucifixion and a Descent into Hades) were completed in 1974. The Montlake church was formally consecrated by Archbishop Iakovos in on April 28, 1974 and Father Demopulos was raised to the position of Protopresbyter or Archpriest, the highest honor awarded to a married Orthodox priest.Mootafes et al.
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Oxford University Press, Oxford, 1991. 2023–4, The most widespread image on the medieval templon seems to have been the Deesis. Its popularity arose from not only its simplicity and elegance, suggesting the efficacy of prayer and the threat of the Last Judgment, but also because it could be easily adapted to the patron’s tastes with the addition of secondary scenes and characters, as in the Saint Catherine's Monastery where scenes from the life of St Eustratios appear on either side of the Deesis on a templon beam. Proskynetaria (large icons) also played a major part in the decoration of the medieval templon, either as monumental images placed on the piers flanking the templon or as portable images in front of the screen. Proskynetaria of both these types still exist in Cyprus, from Lagoudera, now in the Archbishop’s Palace in Nicosia, and in St Neophytos.
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Ancient icons, first-printed and manuscript books, objects of decorative art. Old Russian painting exhibited in the museum belongs to various icon painting schools. The museum exposition has two icons of the Deesis rank (rows in the iconostasis): “Our Lady” and “John the Baptist” by an unknown artist of the late 16th century. The museum's collection consists of more than 4,000 exhibits of all types of fine art.
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The church is semi-circular in shape. The apse is decorated with a series of seven icons, done by Luciana Siotto, which form Deesis at with the centre is the icon of Christ on the throne, to his right are icons depicting the Virgin Mary, the Archangel Michael and St. Peter. To the left are the icons depicting St. John the Baptist, the Archangel Gabriel and St. Paul.
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The frescoes are organized so as to follow the architectural features of the interior; various ornamental motifs are used to frame and demarcate the mural compositions. Scenes in the conch of the apse depict, in the upper and lower tiers, respectively, the Deesis and a group of church hierarchs flanked by two burning candelabra. The altar screen contains depictions of Sts. Cyricus and Julitta, Demetrius of Thessaloniki, and Stephen.
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The book also contains hymns to Saints Constantine and Helena, the patrons (slava) of the guild of goldsmiths, as well as hymns to archangels Michael and Gabriel, the patrons of the Old Orthodox Church in Sarajevo. The book is illustrated with a headpiece representing the archangels (f.1r), a whole-page miniature with standing figures of Saints Constantine and Helena (f.3v), a headpiece depicting the Deesis (f.
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The complex has several surviving khachkars. The most intricate of them all is a 1308 khachkar by Momik. Standing out against the carved background are a large cross over a shield-shaped rosette and salient eight-pointed stars vertically arranged on its sides. The top of the khachkar shows a Deesis scene framed in cinquefoil arches symbolizing a pergola as suggested by the background ornament of flowers, fruit and vine leaves.
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Together with the icon of the Theotokos and Saint John the Baptist is symbolized the Deesis icon. The Holy Trinity was chosen by Patriarch Daniel, to emphasize the Scripture quote that says, "Going, teach all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit" (Matthew 28:19). The Saints Apostles preach the teaching of the Holy Trinity, being the representatives who baptizes the nations.
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The monastery of Grottaferrata founded by Greek Basilian monks and consecrated by the Pope in 1024 was decorated with Italo-Byzantine mosaics, some of which survived in the narthex and the interior. The mosaics on the triumphal arch portray the Twelve Apostles sitting beside an empty throne, evoking Christ's ascent to Heaven. It is a Byzantine work of the 12th century. There is a beautiful 11th-century Deesis above the main portal.
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Serbo-Byzantine fresco from Gračanica Monastery, Kosovo, c. 1235 In Orthodox icons, he often has angel's wings, since describes him as a messenger. In Byzantine art the composition of the Deesis came to be included in every Eastern Orthodox church, as remains the case to this day. Here John and the Theotokos (Mary the "God-bearer") flank a Christ Pantocrator and intercede for humanity; in many ways this is the equivalent of Western Crucifixions.
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The book exemplifies the three main influences on Ottonian illumination: late Antique/early Christian, Carolingian, and Byzantine. The dedication miniature draws from the late Antique iconography seen in the Chronography of 354, the emperor prostrating himself before Jesus comes from Carolingian ideology, and the depiction of Otto orant below a Deesis derives from contemporaneous Byzantine imagery.Jeep, p.600 It was acquired in 1994 by the Bavarian State Library, and given the catalogue number Clm 30111.
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The composition of the upper part of the painting with Christ between saint Peter and saint John is based on Giulio Romano's Deesis with Saint Paul and Saint Catherine (Galleria nazionale di Parma), which itself derived from a drawing by Raphael. Long misattributed to Raphael himself, Romano's painting would have been seen in Parma by Annibale.Donald Posner, Annibale Carracci: A Study in the reform of Italian Painting around 1590, London, 1971, Vol. II, N. 103, p. 45.
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The marble in the area was mined in antiquity, having been used in the construction of the ancient city of Aizanoi nearby. Near today's Pınarcık village, a Roman city called "Abya" produced its own coins. In the Osmaniye village, a mausoleum from the 2nd or 3rd century AD was excavated. In the district center of Altıntaş, a tomb called the Seydisül Tomb, built in the late 19th or early 20th century, contains an arch from the Byzantine era, depicting Deesis.
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The silver chasing, remodeled in 1825, presents Christ Pantocrator, while the original encaustic painting shows the bust of Jesus. The frame of the central panel is adorned with Beka Opizari's work, a high point of the medieval Georgian art. The two symmetrically located standing figures of John the Baptist and Mary, combined with the icon of Jesus, creates the scene of deesis. The archangels Michael and Gabriel and the apostles Peter and John can be seen in the corners of the frame.
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The Deesis continues to appear in Western art, but not as often or in such an invariable composition as in the East. Romanesque illuminated manuscript Gospel Book, c.1220 In the West the image showed a full-length enthroned Christ, often in a mandorla or other geometrical frame, surrounded by the symbols of the Four Evangelists, representing the vision of Chapters 4 and 5 of the Book of Revelation. In the Romanesque period the twenty-four elders of the Apocalypse are often seen.
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The iron core of the cross is encased in silver. Points projecting from the four arms of the cross would all have had small silver- gilt balls, which can be seen on other such crosses. Traces of gilding where the balls would have been provide further evidence. On one side across the central arm are three roundels forming a deesis, which shows Christ as a central figure holding a book of gospels in his left hand and blessing with his right.
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See here for further details] As well as the miracles the transepts contain cycles of the Life of the Virgin before and during the Infancy of Christ. As well as many saints, church fathers, virtues and angels, there are scenes from the lives of Saints Mark, Clement, Peter, and John (with many scenes in post-Renaissance versions). The west wall has a 13th-century deesis below a Last Judgement in the vault, and a huge Tree of Jesse was added to the end wall of the north transept in 1548.
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Mosaic of Christ Pantocrator from Hagia Sophia from the Deesis mosaic. A mosaic from the Hagia Sophia of Constantinople (modern Istanbul), depicting Mary and Jesus, flanked by John II Komnenos (left) and his wife Irene of Hungary (right), c. 1118 AD There are very few existing mosaics from the Komnenian period but this paucity must be due to accidents of survival and gives a misleading impression. The only surviving 12th-century mosaic work in Constantinople is a panel in Hagia Sophia depicting Emperor John II and Empress Eirene with the Theotokos (1122–34).
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The doors on either side are called the Deacons' Doors or Angel Doors as they often have depicted on them the Archangels Michael and Gabriel. These doors are used by deacons and servers to enter the sanctuary. Mid-17th-century iconostasis at Ipatiev Monastery. To either side of the Holy Doors are Christ Pantokrator and the Theotokos; above them, the Great Feasts; above them, the Deesis; above that Prophets to either side of Our Lady of the Sign; above them the Apostles to either side of the Holy Trinity.
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The presence of Mary and John, and other figures, is one of the differences with the Western Christ in Majesty, where the Four Evangelists and/or their symbols are more commonly included around Christ. The Deesis composition is also commonly found in the West, especially those parts of Italy under Byzantine influence, but also the rest of Europe. It often forms part of a scene of the Last Judgement. The use of the image declined slowly throughout the Middle Ages, and it is never as common as the Western forms of Christ in Majesty.
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Jesus Christ Pantocrator (Detail from the deesis mosaic in Hagia Sophia, Istanbul) In Christian iconography, Christ Pantocrator () is a specific depiction of Christ. Pantocrator or Pantokrator, usually translated as "Almighty" or "all-powerful", is derived from one of many names of God in Judaism. The Pantokrator, largely an Eastern Orthodox or Eastern Catholic theological conception, is less common under that name in Western (Roman) Catholicism and largely unknown to most Protestants. In the West the equivalent image in art is known as Christ in Majesty, which developed a rather different iconography.
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The esonarthex has two domes. The smaller is above the entrance to the northern corridor; the larger is midway between the entrances into the naos and the pareclession. # Enthroned Christ with Theodore Metochites presenting a model of his church; # Saint Peter; # Saint Paul; # Deesis, Christ and the Virgin Mary (without John the Baptist) with two donors below; # Genealogy of Christ; # Religious and noble ancestors of Christ. The mosaics in the first three bays of the inner narthex give an account of the Life of the Virgin, and her parents.
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The plastered walls of the interior bear frescoes of high artistic value, executed between around 1170 and 1180 and painted over an earlier layer of the murals which can be traced on the northern and southern walls. The style of the paintings demonstrate that the painter was well-acquainted with Byzantine models. The frescoes—noted for the color harmony and the purity of line—have largely faded away or have been peeled off, but are in a relatively better state of preservation in the apse. The conch of the sanctuary is adorned with the Deesis.
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85 In the inferior church were discovered two deesis, a fresco representing the soldier Saint Mercurius - of unparalleled technique among the known Byzantine works of this age - and prophets. These paintings were executed either in the tenth or in the middle of the eleventh century, belonging so to the first church. The diakonikon of the second church was adorned with frescoes showing saints and episodes of the Life of the Virgin. The best preserved frescoes (among them Saint Mercurius) were detached, restored and are on display at the Archaeological Museum of Istanbul.
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Between the 8th and 11th centuries the second floor was used by the nuns as an oratory, as shown by the presence of an altar (now lost) and depictions of religious figures on the walls. On the east wall are traces of depictions of velaria (Roman awnings), which is a rare subject. Above is the figure of Christ Pantocrator (with no beard), enthroned between two angels and originally close to figures of the Virgin Mary and some apostles. Presently only the figure of Saint John the Baptist can be made out, probably intended to form a Deesis with Mary, and perhaps Saint Peter.
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The conch traditionally bears the Deesis with the seated Christ flanked by Mary and John the Baptist, with the angels in the background. The lower register contains the Apostles and Church Fathers, five figures in total. On the west wall there is George miraculously causing idols to fall down in the upper register and the saint being tortured on a wheel in the lower register. The upper register on the north wall is adorned with the Harrowing of Hell and Baptism, while the lower register contains two mounted warrior saints faceing each other—George transfixing a prostrate Diocletian and Theodore spearing a serpent.
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Saint George, Archangel Michael and Saint John the Baptist are given a special place in the iconographic programme. Another three representations are dedicated to Saint George: in the Deesis, where he takes the place of Saint John the Baptist, on the vault of the northwest corner bay and on the south wall of the southwest corner bay. The wall-paintings are covered in places by a second painting layer of the 13th century, restricted to the half dome of the apse and the lower registers of the walls. Two or three layers of wall-paintings are also found in the narthex, which is of funerary character.
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The Deesis illumination, folio 12 verso, from the Melisende Psalter The Melisende Psalter (London, British Library, Egerton MS 1139) is an illuminated manuscript commissioned around 1135 in the crusader Kingdom of Jerusalem, probably by King Fulk for his wife Queen Melisende. It is a notable example of Crusader art, which resulted from a merging of the artistic styles of Roman Catholic Europe, the Eastern Orthodox Byzantine Empire and the art of the Armenian illuminated manuscript. Seven scribes and illuminators, working in the scriptorium built by the crusaders in the Church of the Holy Sepulchre in Jerusalem, were involved in the creation of the psalter. It measures 21.6 centimetres by 14 centimetres.
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The church is avidly adorned with frescoes, dated to the latter half of the 14th century and beginning of the 15th. The style of the paintings is a local take on the late Byzantine Palaeologan art, executed in a characteristically coarse manner. Inside the building, the conch and walls bear a series of frescoes depicting a Christological cycle, church fathers, and various saints. The outer walls also contain frescoes—now partly faded—including the hunting of Saint Eustace on the east façade, haloed horsemen on the south, the Deesis on the west, and uniquely, scenes from the medieval Georgian romance Amiran-Darejaniani on the north.
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They for most part had a fixed program of icon decoration with three levels: the Local, the Deesis, and the Festival tiers. Early Russian versions were at chest height, and called "thoraxis" in Greek. The full height iconostasis became standard in the 15th century, and probably owes more to 14th-century Hesychast mysticism and the wood-carving genius of the Russians than anything else. The first ceiling-high, five-leveled Russian iconostasis was designed for the Cathedral of the Annunciation in Moscow Kremlin by Theophanes the Greek in 1405, and soon copied by his assistant Andrey Rublyov in the Cathedral of the Dormition in Vladimir in 1408.
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Until the late 19th century Deesis was even misattributed to Raphael, though this was corrected via preparatory drawings for the work (Louvre). Sources state the work was on the high altar of the monastery church of San Paolo in Parma since at least the mid 17th century and possibly earlier, though it is unknown how the work first came to the city. It may have been commissioned around 1520, possibly by abbess Giovanna da Piacenza, who also commissioned frescoes for her private Camera della Badessa from Correggio. This is supported by the work's chosen saints - the church was dedicated to Paul and the monks had a strong devotion to Catherine.
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Some of the best preserved of these images are from the Saint Catherine's Monastery on Mount Sinai in Egypt. The late 12th-century templon beam shows twelve canonical feast scenes, with the Deesis (Christ enthroned, flanked by Mary and St. John the Baptist) located in the middle between the Transfiguration and the Raising of Lazarus, linking the scene of Lazarus with the Holy Week images according to liturgical practice. Several epistyles of this form have been excavated throughout the empire, none earlier than the 12th century, indicating a change from busts on the architrave to scenic decoration. This new scenic style is representative of the increasing liturgification in Byzantine representational art after iconoclasm.
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Jones (2011), 28 The masters usually built up inventories of pre-painted panels as well as patterns or outline designs for ready sale.Ainsworth (1998a), 32 With the former, the master was responsible for the overall design of the painting, and typically painted the focal portions, such as the faces, hands and the embroidered parts of the figure's clothing. The more prosaic elements would be left to assistants; in many works it is possible to discern abrupt shifts in style, with the relatively weak Deesis passage in van Eyck's Crucifixion and Last Judgement diptych being a better-known example.Borchert (2008), 86 Often a master's workshop was occupied with both the reproduction of copies of proven commercially successful works, and the design of new compositions arising from commissions.
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The appearance of many such depictions in Tuscany in the early 14th century was something of a visual revolution for the theology of the time, compared to the Queen of Heaven depictions; they were also popular in Iberia. After the Council of Trent in the mid-16th century, clerical writers discouraged nudity in religious subjects, and the use of the Madonna Lactans iconography began to fade away. Another type of depiction, also deprecated after Trent, showed Mary baring her breast in a traditional gesture of female supplication to Christ when asking for mercy for sinners in Deesis or Last Judgement scenes. A good example is the fresco at S. Agostino in San Gimignano, by Benozzo Gozzoli, painted to celebrate the end of the plague.
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In the 15th century it also appeared as the central section of a triptych on altarpieces, with the side panels showing heaven and hell, as in the Beaune Altarpiece or a triptych by Hans Memling. The usual composition has Christ seated high in the centre, flanked by angels, the Virgin Mary, and John the Evangelist who are supplicating on behalf of those being judged (in what is called a Deesis group in Orthodoxy). Saint Michael is often shown, either weighing the deceased on scales or directing matters, and there might be a large crowd of saints, angels, and the saved around the central group. At the bottom of the composition a crowd of the deceased are shown, often with some rising from their graves.
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In the Deesis the mercy of Christ as judge is invoked by figures of the Virgin and Saint John the Evangelist flanking Christ. More specifically: the icon of the Madonna of St. Alexis refers to the theme of the prayer of Intercession in a way that is different from the scenes in which the Lord is represented. It has a connection with a certain type of Marian imagery that can be found both in Constantinople and in Rome. The Madonna on the icon is represented without the Child, turning to a side, with the upper body slightly inclined as though carrying a weight, with one hand extended forward and the other raised to indicate that she intercedes for those who have no other hope but in Her alone.
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His creations can be traced from 1665 to the Deesis in the church monastery in Crna Reka and from 1671 in the early 14th century Church of Saint John, in the isolated Serb village of Crkolez in the now disputed Serbian province of Kosovo), and the icons in the Church of Saint Nicholas in the Serbian Patriarchate of Peć while his writings are ensconced in the archives of the church of the Holy Trinity in the Praskvica Monastery (1681) in the Serbian Orthodox Metropolitanate of Montenegro and the Montenegrin Littoral. Radul's most important works are the icons he painted in the period from 1673 to 1677 when he was commissioned by Patriarch Maksim (1655–1674) for the Church of St. Nicholas in Peć, and the Church of the Holy Archangels in Sarajevo.
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In the lower part, behind the reredos and inside the semicircular arch, is where the altarpiece itself is, formed by two bodies and three streets, the central one wider and higher than the lateral ones, with six paintings on a table of Juan Soreda made between 1525 and 1528. The central table of the upper body represents the Deesis and the five remaining scenes from the life of the martyr: Wilgefortis and her sisters in front of Catelio; Wilgefortis and her sisters deliberate about their fate; Wilgefortis comforts one of her sisters; Decapitation of Wilgefortis and Wilgefortis enthroned, the latter in the central street of the lower body. The image of Wilgefortis enthroned is inspired by the engraving of Marcantonio Raimondi of Our Lady of the Cloud by Raphael. The martyr is sitting with a book in her hand and the palm of martyrdom in the other.
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Christ Pantocrator, detail of the Deesis mosaic in Hagia Sophia – Constantinople (Istanbul) 12th century The Eastern Orthodox Church is a Christian body whose adherents are largely based in the Middle East (particularly Syria, Lebanon, Jordan, Israel, and Palestine) and Turkey, Eastern Europe and the Caucasus (Georgia, Abkhazia, Ossetia etc.), with a growing presence in the Western world. Eastern Orthodox Christians accept the decisions of the first seven ecumenical councils. Eastern Orthodox Christianity identifies itself as the original Christian church (see early centers of Christianity) founded by Christ and the Apostles, and traces its lineage back to the early Church through the process of apostolic succession and unchanged theology and practice. Distinguishing characteristics of the Eastern Orthodox Church include the Byzantine Rite (shared with some Eastern Catholic Churches) and an emphasis on the continuation of Holy Tradition, which it holds to be apostolic in nature.
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Maria resided in Persia at court of Abaqa for a period of 15 years, until her husband - follower of Tengri - died and was succeeded by his Muslim brother Ahmad.Van Millingen (1912), p. 274 According to Orlean's manuscript, Baidu Khan was close to Maria during her time in Persia and frequently visited her ordo (nomadic palace) to hear interesting stories about Christianity. She eventually returned to Constantinople, but in 1307, during the reign of Andronicus II, she was offered again as bride to a Mongolian prince, Charbanda,Teteriatnikov, Natalia, "The Place of the Nun Melania (the Lady of the Mongols) in the Deesis Program of the Inner Narthex of Chora, Constantinople," Cahiers archéologiques 43 (1995), 163–80 the Mongol ruler of the Middle East in order to obtain an alliance against the rising power of the Ottomans, who at that time were threatening the Byzantine city of Nicaea.
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Commonly, to either side of the Rood, there stood supporting statues of saints, normally Mary and St John, in an arrangement comparable to the Deesis always found in the centre of an Orthodox iconostasis (which uses John the Baptist instead of the Apostle, and a Pantokrator instead of a Crucifixion). Detail of the rood screen of St. Edmund's church, Southwold, United Kingdom Latterly in England and Wales the Rood tended to rise above a narrow loft (called the "rood loft"), which could occasionally be substantial enough to be used as a singing gallery (and might even contain an altar); but whose main purpose was to hold candles to light the rood itself. The panels and uprights of the screen did not support the loft, which instead rested on a substantial transverse beam called the "rood beam" or "candle beam". Access was via a narrow rood stair set into the piers supporting the chancel arch.
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The tympanum, divided into two parts, representing the Last Judgment. On the lintel justly above the door appears a long scene in relief chaired by Archangel Michael with a scale weighing the souls; around him, to the left, a demon trying to unlevel in their favor the weight of the sins as well as those convicted who are driven to Hell, and, to the right, a little house with the open door representing the entrance to paradise, where are already nobles, a king, a queen, a monk with hood and a Franciscan friar, the blessed. This motif of psicostasis is an iconographic heritage of the Romanesque art. At the top of the tympanum appears another motif common to the Romanesque, the Deesis, with Christ enthroned as universal judge, with arms raised, showing the wounded of the side and flanked by the Virgin and St. John imploring mercy for souls of the poor.
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He is beardless, and "compounded from antique conceptions of Hercules, Apollo, and Jupiter Fulminator", probably, in particular, the Belvedere Apollo, brought to the Vatican by Pope Julius II.Khan However, there are parallels for his pose in earlier Last Judgments, especially one in the Camposanto of Pisa, which Michelangelo would have known; here the raised hand is part of a gesture of ostentatio vulnerum ("display of the wounds"), where the resurrected Christ reveals the wounds of his Crucifixion, which can be seen on Michelangelo's figure.Sistine, 185; Hall, 187; Detail from Pisa To the left of Christ is his mother, Virgin Mary, who turns her head to look down towards the Saved, though her pose also suggests resignation. It appears that the moment has passed for her to exercise her traditional role of pleading on behalf of the dead; with John the Baptist this Deesis is a regular motif in earlier compositions.Sistine, 185–186; Freedberg, 471; Barnes, 65–69; Murray, 10 Preparatory drawings show her standing and facing Christ with arms outstretched, in a more traditional intercessory posture.
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Christ's entry into Jerusalem from the Melisende Psalter The first twenty-four illustrations (on each side of the first twelve folios) depict scenes from the New Testament. New Testament images were commonly found at the beginning of western psalters, unlike in eastern psalters, but in this case the images depict scenes more common in the Eastern Orthodox liturgy. The scenes depicted are the Annunciation, Visitation, the Nativity, the Adoration of the Magi, the Presentation of Jesus at the Temple, the Baptism of Jesus, the Temptation of Christ, the Transfiguration, the Raising of Lazarus, the Triumphal entry into Jerusalem (see illustration), the Last Supper, the Washing of the Feet, the Agony in the Garden, the Betrayal of Judas, the Crucifixion of Jesus, the Descent from the Cross, the Lamentation, the Harrowing of Hell, the Three Marys at the Tomb, and the Deesis. These illustrations were made by an illuminator named Basilius, who signed the last illustration (pictured above) Basilius me fecit, and is the only named illuminator or scribe of this manuscript.
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The Andronikov Gospels were made in the Andronikov Monastery, Moscow in the early 15th century Christ in majesty in a mandorla, surrounded by emblems of the evangelists: ivory plaques on a wooden coffret, Cologne, first half of the 13th century (Musée de Cluny) Christ in Majesty or Christ in Glory ()The lexically similar Maestà, Italian for "majesty", conventionally designates an iconic formula of the enthroned Madonna with the child Jesus. is the Western Christian image of Christ seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context. The image develops from Early Christian art, as a depiction of the Heavenly throne as described in 1 Enoch, Daniel 7, and The Apocalypse of John. In the Byzantine world, the image developed slightly differently into the half-length Christ Pantocrator, "Christ, Ruler of All", a usually unaccompanied figure, and the Deesis, where a full-length enthroned Christ is entreated by Mary and St. John the Baptist, and often other figures.
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Dimitrije painted several churches, including St. George in Sisici in 1699, St. Petka in Mrkovima in 1704, St. Nicholas in Pelinovo in 1718, and he is also credited with frescoes in the now-demolished church of St. Mina in Preradi. He also left behind a considerable number of iconic works such as four icons from 1680 -- Deesis, Our Lady of Christ and the Archangels, St. Nicholas, St. George and St. John the Forerunner of All Serbian Saints -- in the Church of Saints Peter and Paul in Risan, two lintels with representations of the Nedremanj Eye and the Hospitality of Abraham in the church of St. Luke in Kotor in 1688, iconostasis in St. George in Sisici in 1690, and during 1716. He painted about 35 icons for the iconostasis in the village of Pelinovo in Grbalj, Montenegro, which was not preserved. In Morača monastery he painted the icons Saint Luke painting the Virgin, now in the Collection of Icons Sekulić in Belgrade, the use of John the Forerunner in the National Museum in Belgrade, both from the end of the seventeenth century and the Assumption of the Virgin with scenes related to the Virgin in 1713.
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