' (2003) .

281-292
2003

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Andromachi Katselak

AN ITALO-CRETAN ICON OF CHRIST MAN OF SORROWS

WITH STS JOHN THE BAPTIST AND GERASIMOS
XVepresented on the icon 227 (41 x60 cm) in the Byzan
tine and Christian Museum are Christ Man of Sorrows with
Sts John the Baptist and Gerasimos (Fig. 1). At the centre,
Christ stands within a rose-purple marble larnax, his hands,
with the marks of the nails, crossed low down. Behind him
looms the massive wooden Cross with three nails and a deltos with the Latin initials in Gothic characters V.N.R.I. The
Lord is flanked by two saints identified by titular inscrip
tions, left Ar(IOC) IQ(ANNHC) BAnTICTHC, and
right A(riOC) TEPACIMOC. In the upper part of the
icon, two angels, in smaller scale, lament with gestures de
noting their grief.
The theme of Christ Man of Sorrows, which was devised as a
visual and timeless statement of the Holy Passion, was wide
ly diffused during the Late Byzantine and the Early Post-

Byzantine period. In the composition, which is developed on

a vertical axis, Christ, with broad chest and body but thin
arms, is depicted in front of a voluminous wooden Cross. In
Western painting Christ is flanked by the Virgin and St John
the Theologian. The increase in the number of figures has a
direct effect on the organization of the composition, which is
developed along a horizontal axis rather than a vertical one
as in the earlier works.
The three-figured version is adopted in the Byzantine Mu
seum icon, but the Virgin and the Theologian have been re
placed by St John the Baptist and St Gerasimos respectively.
The expressive means used in rendering the Baptist, such as
the pose of genuflecting on one knee (Fig. 4), are influenced
by Italian painting. The identification of the other saint as
Gerasimos (Fig. 6) poses problems. In Byzantine and Post-

59. . - . , "
' (1450-1830),2, 1997, 260-262.
60. -

. , , . 28, .
124-127.

291

Byzantine painting St Gerasimos the Jordanite has the features

of an old man and is accompanied by a lion.
The lion is, however, also an attribute of Hieronymus, a saint
of the Western Church. The revival of his cult in Italy, from
the mid-fourteenth century, resulted in a proliferation of re
presentations of him in Italian art, a phenomenon which is
also reflected in regions then under Latin rule. As in the icon
here (Fig. 6), the saint is invariably depicted half-naked and
kneeling before the Crucified Christ, in miniature, holding a
stone and accompanied by a lion. From these iconographie
elements, the figure on the right of the Byzantine Museum
icon can be identified securely as Hieronymus. The com
bination of the two major ascetics, the Precursor and Hiero
nymus, is not without precedent in both Italian and Cretan
painting, as can be seen, for example, in the composite icon
in the Canellopoulos Museum (Fig. 8).
In the present icon, the figures of Christ (Fig. 2) and St John
the Baptist (Fig. 4), with the dark under layer and the wellmodelled flesh, have distinctive facial features - slanting
eyes, pronounced cheek bones and prominent noses -which
are encountered in works by Cretan painters of the second
half of the fifteenth century, such as Nikolaos Tzafouris and
Andreas Pavias. The figure of Christ displays similarities to
its counterpart in the icon in the Saroglou Collection, also in
the Byzantine and Christian Museum (Fig. 3). The close
iconographie affinity between the two figures suggests the
use of a common working drawing (anthibolon) for both
works. This hypothesis is reinforced by the virtually identical
style of the two icons.
The iconographie type of Hieronymus, with the well-drawn

features, the plasticity in modelling the volumes of the flesh,

the robust body, the naturalistic rendering of anatomical
details and the fluid drapery with abundant over-folds, bears
witness to pronounced influences from Italian painting of
the second half of the fifteenth century (Fig. 7), and in
particular the uvre of Giovanni Bellini (1431-1516).
The eclectic disposition of the painter of the icon of Christ
Man of Sorrows, the gentle drawing, the refined figures, the
well-burnished gold ground, the flawless execution and the
aura of luxury the work emanates as a whole, bespeak an
accomplished painter who was active in the years around
1500. Certain details, such as the facial features of Christ
and the Forerunner, the angels rending their robes and
mourning, the similar form of the larnax to that in the threezone icon in the Geneva Museum, lead us to suggest that the
unknown artist of the Byzantine Museum icon was familiar
with the work of the Cretan painter Andreas Pavias and
possibly trained in his workshop.
The choice of the two saints, John the Baptist and Hieronymus, in the icon, which was presumably dictated by the
commissioner, refers to a highly educated milieu in which
there was excellent knowledge of the symbolisms, profounder meanings and ideological ramifications of the personality
of the Western saint. If this hypothesis is correct, then the
icon in the Byzantine Museum was a personal request from
a cultivated nobleman, possibly of Candia, who was associated with pro-Unionist and Humanist circles in Crete, a
view that is confirmed by the fact that the combination of the
subject Christ Man of Sorrows with Sts John the Baptist and
Hieronymus was not repeated.

292