Byzantina Symmeikta

Vol. 14, 2001

.



10.12681/byzsym.879

Copyright 2001

To cite this article:

(2001). .
. Byzantina Symmeikta, 14, 229-256.

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256

Vassiliki FOSKOLOU, Tracing the Monemvasia Icon of Christ Helkomenos. The

City's lost Palladium and its Influence on the Late Byzantine Monuments of
Southern Greece
The study's aim is to trace the now lost Monemvasia icon of Christ Helkomenos.
Our knowledge of the city's celebrated palladium is confined to fragmentary
information deriving from narrative sources. Specifically, we know that it was
transferred by Isaac Comnenos to Constantinople in the late 12th century; as for
the scene represented on the icon, our sole information comes from an epigram by
John Apokaukos.
The written sources as well as some recent oral testimonies, reveal also the
icon's importance to local tradition; this leads us to the thought that the famous icon
might have influenced the artistic production of southern Greece. The research
resulted to the conclusion that a specific iconographie type of Christ Helkomenos
is widely diffused throughout the late Byzantine monuments of this area, especially
of Laconia (Ploponnse). In this iconographie type, Jesus, wearing a red tunic and
a crown of thorns, is standing facing the Cross, which is already fixed on the ground
with a ladder standing against it. This basic notion is in some examples enriched
with secondary figures such as Roman soldiers accompanying Jesus, or the Jewish
prelate. The latter, pointing towards the symbol of Passion, is ordering Jesus to
ascend, by the exclaiming word , which is usually inscribed at the
background of the scene.
Since G. Millet's days (1916), scholars have already expressed assumptions
regarding a probable relation between these depictions and the lost icon. However,
having as a starting point the above quite appealing thought, and based on the
currently available evidence, we must pose two questions, presented below.
The theme of Christ Helkomenos is depicted in Byzantine Art in two different
iconographie forms. The theme, moreover, does not belong to the illustrations of
the Great Feasts of the liturgical Calendar, which were usually represented in
Byzantine icons. So the following question arises: Is it possible for the iconographie
type found in Laconia to have been used for a devotional icon and, furthermore, to
reflect the Monemvasia palladium?
If we accept a positive answer to the first question, we have then to answer
the second one: in what way the icon, kept at the Archangel Michael Monastery en
to Anaplo in Constantinople since the late 12th century, could have been used as
a model for several monuments in its native land?
A brief review of the ivonographic type's evolution, combined with research
into Monemvasia's historical profile in the end of the 13th century, provides us with
satisfactory answers to our questions and allows an approach to the city's legendary
icon.

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