01 Religious Icon, Saint Christopher with the head of a dog, with footnotes #42

Unknown iconographer

 Saint Christopher with the head of a dog, Greece, 18. Century

Tempera on gesso, the Background gilded

27.5 cm x 22.5 cm. 

Private collection

In the Eastern Orthodox Church, certain icons covertly identify Saint Christopher with the head of a dog. Such images may carry echoes of the Egyptian dog-headed god, Anubis. Christopher pictured with a dog's head is not generally supported by the Orthodox Church, as the icon was proscribed in the 18th century by Moscow.

The roots of that iconography lie in a hagiographic narrative set during the reign of the Emperor Diocletian, which tell of a man named Reprebus, Rebrebus or Reprobus (the "reprobate" or "scoundrel") being captured by Roman forces fighting against tribes dwelling to the west of Egypt in Cyrenaica and forced to join the Roman numerus Marmaritarum,. He was reported to be of enormous size, with the head of a dog instead of a man, both apparently being typical of the Marmaritae. He and the unit were later transferred to Syrian Antioch, where bishop Peter of Attalia baptised him and where he was martyred in 308. It has also been speculated that this Byzantine depiction of St. Christopher as dog-headed may have resulted from a misreading of the Latin term Cananeus (Canaanite) as caninus, that is, "canine".

The late 10th century German bishop and poet Walter of Speyer portrayed St. Christopher as a giant of a cynocephalic species in the land of Canaan who ate human flesh and barked. Eventually, Christopher met the Christ child, regretted his former behavior, and received baptism. He, too, was rewarded with a human appearance, whereupon he devoted his life to Christian service and became an Athleta Christi, one of the military saints. More on Christopher with the head of a dog

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1 Religious Icon, DUTCH MASTER's Crowning of Mary, with footnotes #25

DUTCH MASTER

Crowning of Mary

Oil/tempera on oak. Parqueted

78 x 51cm. 

Private collection

Surrounded by a cloud aureole God the Father (to the left) and Christ (to the right) are sitting on a throne bank with high rests. God the Father is dressed in a coat of brocade and has a tiara on his head. Christ wears a green-lined red coat and holds the globe in his left hand. Together they hold the crown above Mary's head who is kneeling in between them, her hands clasped for prayer. In this way she is crowned Queen of Heaven. Behind the throne bank there are two angels observing what is going on. In the upper margin of the painting there is the dove of the Holy Spirit which, together with God the Father and Christ represents the Holy Trinity. All of the flesh tones are overall in a good condition. The background shows a condition, which makes presume a former pressed brocade application. The rather curious rests of the throne also support this presumption, because they would fit more organically into such an original context. The entire colouring of the work shows a harmonic character which is typical for this time. The painting might be a section of a formerly large retable. More on this work

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1 Religious Icon, Spanish School's Annunciation, with footnotes #18

Spanish School. First half of the 16th century

The Annunciation

Oil on panel

41 x 31 cm

Private collection

The Virgin appears kneeling in front of a table decorated with a red cloth with gold trim.. The arrival of the archangel has caused the Virgin to put down her book and turn her face to observe the unexpected visitor. Saint Gabriel, is in the act of approaching the Virgin. In his left hand he grasps a golden sceptre topped with a kind of fleur-de-lys: it is the messenger's staff. He extends his right arm pointing with his index and middle fingers towards the sky to emphasise the fact that the message he brings comes directly from God.

Mary brings her left hand to her chest as a sign of compliance with the divine message, while with her right she still holds a page of the book she was reading. More on this painting

The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua, meaning "YHWH is salvation".

 

According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation

Spanish School, 16th Century. In the sixteenth century when Spain became a world power with vast possessions and sources of wealth in the New World, as well as possessions dotted about Europe, it might have been expected that a vigorous national school of painting would emerge, transforming the somewhat tentative or imitative character that painting in Spain had shown up to then. It turned out otherwise. For most of the 16th century, painting remained spiritless. Both the Emperor Charles V and his son Philip II of Spain were patrons with a feeling for art, but the great Venetians, especially Titian, claimed most of their interest. Philip also highly approved of the fantasies of Hieronymus Bosch (1450-1516) - although the top Spanish clergy suspected heresy in these strange pictures from the Netherlands. More on Spanish School, 16th Century

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1 Religious Icon, Bartolo di Fredi's Saint Anthony Abbot, with footnotes #14

Bartolo di Fredi

Saint Anthony Abbot

Tempera on panel, gold ground, a fragment, unframed

38.5 by 33 cm.; 15 1/8  by 13 in.

Private collection

Saint Anthony or Antony (251–356) was a Christian monk from Egypt, revered since his death as a saint. He is distinguished from other saints named Anthony by various epithets: Anthony the Great, Anthony of Egypt, Anthony the Abbot, Anthony of the Desert, Anthony the Anchorite, and Anthony of Thebes. For his importance among the Desert Fathers and to all later Christian monasticism, he is also known as the Father of All Monks. His feast day is celebrated on January 17 among the Orthodox and Catholic churches and on Tobi 22 in the Egyptian calendar used by the Coptic Church.

The biography of Anthony's life by Athanasius of Alexandria helped to spread the concept of Christian monasticism, particularly in Western Europe via its Latin translations. He is often erroneously considered the first Christian monk, but as his biography and other sources make clear, there were many ascetics before him. Anthony was, however, the first to go into the wilderness, a geographical move that seems to have contributed to his renown. Accounts of Anthony enduring supernatural temptation during his sojourn in the Eastern Desert of Egypt inspired the often-repeated subject of the temptation of St. Anthony in Western art and literature. More Saint Anthony

Bartolo di Fredi (c. 1330 – January 26, 1410) was an Italian painter, born in Siena, classified as a member of the Sienese School. Bartolo di Fredi was one of the most popular masters in Siena in the second half of the fourteenth century.

He registered in the Guild of that city in 1355. He helped decorate the Hall of Council at Siena, in 1361. In 1362 he went to San Gimignano, where, by 1356, he had painted the entire side of the left aisle of the Pieve with scenes drawn from the Old Testament. In 1366 the Council of the city of Gimignano ordered a painting, representing Two Monks of the Augustine Order to be placed in the Palazzo Pubblico In the early part of 1367 he returned to Siena, and was employed with Giacomo di Mino in the decorations of the cathedral. In 1372. In 1381 he was made a member of the Council. In 1389, Bartolo, assisted by Luca Thome to paint the altar-piece for the Shoemakers' Company, in the Cathedral, and continued from that year until his death to furnish altar-pieces for the cathedral and other churches of Siena, which have now all disappeared.

His style is marked by the rejection of the concrete figures. Instead he favor flatter decorative otherworldly compositions. He combined a spirit of fantasy with anecdotal details. More on Bartolo di Fredi

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1 Religious Icon, George Klontzas' Three Church Hierarchs, with footnotes #12

George Klontzas (1540 – circa 1608)

Three Church Hierarchs; St Basil The Great, St John Chrysostom and St Gregory the Theologian, Cretan, late 16th century

Tempera on wood

Private collection

The Saints are depicted against a gold ground, in frontal position with elongated bodies and relatively small heads, each making a blessing gesture and holding a jewelled closed Book of Gospels, robed in precious bishop's garments with striking geometric ornament of crosses set within squares and circles of a type worn during the Byzantine period. More on this painting

The Three Hierarchs of Eastern Christianity refers to Basil the Great, Gregory the Theologian and John Chrysostom. They were highly influential bishops of the early church who played pivotal roles in shaping Christian theology. In Eastern Christianity they are also known as the Three Great Hierarchs and Ecumenical Teachers, while in Roman Catholicism the three are honored as Doctors of the Church. The three are venerated as saints in Eastern Orthodoxy, Catholicism, Anglicanism, and other Christian churches. More on Three Church Hierarchs

Basil of Caesarea, also called Saint Basil the Great (330[8] – January 1 or 2, 379), was a Byzantine bishop of Caesarea Mazaca in Cappadocia, Asia Minor (modern-day Turkey). He was an influential theologian who supported the Nicene Creed and opposed the heresies of the early Christian church, fighting against both Arianism and the followers of Apollinaris of Laodicea. His ability to balance his theological convictions with his political connections made Basil a powerful advocate for the Nicene position.

In addition to his work as a theologian, Basil was known for his care of the poor and underprivileged. More on Basil of Caesarea

John Chrysostom ( 347 – 14 September 407) was an important Early Church Father who served as archbishop of Constantinople. He is known for his preaching and public speaking, his denunciation of abuse of authority by both ecclesiastical and political leaders, Divine Liturgy of Saint John Chrysostom, and his ascetic sensibilities. Chrysostom was among the most prolific authors in the early Christian Church.

He is honoured as a saint in the Oriental Orthodox, Eastern Orthodox, Catholic, Anglican, and Lutheran churches, as well as in some others. The Eastern Orthodox, together with the Byzantine Catholics, hold him in special regard as one of the Three Holy Hierarchs (alongside Basil the Great and Gregory of Nazianzus). More on John Chrysostom 

Gregory of Nazianzus (329 – 25 January 390), also known as Gregory the Theologian or Gregory Nazianzen, was a 4th-century Archbishop of Constantinople and theologian. He is widely considered the most accomplished rhetorical stylist of the patristic age. As a classically trained orator and philosopher he infused Hellenism into the early church, establishing the paradigm of Byzantine theologians and church officials, More on Gregory of Nazianzus

Georgios Klontzas (1535-1608) was a scholar, painter, and manuscript illuminator. He is one of the most influential artists of the post-Byzantine period. He defined the Cretan Renaissance. He worked for both Catholic and Orthodox patrons. His artistic output included: icons, miniatures, triptychs, and illuminated manuscripts. He is known for occupying his icons with countless figures. The technique is extremely complex and unique to Klontzas. Andreas Pavias attempted this technique in the Crucifixion of Jesus. Klontzas's painting All Creation rejoices in thee is his most popular work. Klontzas influenced Theodore Poulakis he created an extremely similar painting called In Thee Rejoiceth. Klontzas's work is strongly influenced by the Venetian school. His triptychs strongly resemble the works of Gentile da Fabriano, namely the Intercession Altarpiece. Klontzas's Last Judgement resembles Michelangelo's Last Judgement in the Sistine Chapel. There are very close similarities. There is no indication that Klontzas saw the work but it is a possibility. According to the Institute of Neohellenic Research fifty-four items of his art exist today. More on Georgios Klontzas

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1 Russian Icon, with footnotes #5

Lady Achtyrskaja (of Akhtyrka), Veneto-Cretan, 17th century
Hardwood single panel, back tiling

Tempera on chalk ground, background gilded 

29.5 x 25.5 cm 
Private collection

Nimbus hallmarked ornamental. Image-filling representation of the seated Virgin in three-quarter figure,  holding the crucifix with the crucified Christ in her hands. About her green tunic she wears the red maphorion which is contoured by white and black shades.  a western-style transparent head-cover complimented by the traditional maphorion. The halo is finely tooled.

Okhtyrka, also known by its Russian variant Akhtyrka, is a small city in Ukraine, a town of Hussar and Cossack Fame. It was also once a regional seat of Sloboda Ukraine and the Ukrainian SSR. It is home to historical and religious places of interest. More on Okhtyrka,

In the town of Akhtyrka, there had long been a parish dedicated to the Protection of the Most-pure Theotokos (The Virgin Mary). In 1739, Fr. Daniel Vasiliev was serving at that church. Once, as he was mowing the grass in his garden he saw an icon of the Mother of God praying before the crucified Lord Jesus Christ, and shining with an indescribable light. In awe, Fr. Daniel carried it into his house. Three years later, while dozing, he dreamt of the Mother of God, and heard her direct that he wash the icon with clean water, and then drape a cover over the icon. The priest did as he was told, intending to later pour the water into the river, he put the water into a container. He again fell asleep, whereby the Most-holy Theotokos said to him: “Keep this water; it will heal all those who suffer from the fever.” The priest had a daughter who suffered with fever. Awaking, he gave her some of the water to drink, and she immediately was healed. 

Thereafter, all those who suffered with fever would run to the Most-holy Theotokos, and as soon as they drank of the water from her icon, would be healed. Recognizing the miraculous signs coming from the icon, the priest took it to his parish church. There the icon shone forth with the power of working miracles. 

One noteworthy miracle was to Elizabeth, the ill wife of General Vedel, who came and fervently prayed before the icon that she might be healed. The next night she saw the Mother of God in a dream, and heard her direction: “You ask in vain for healing from illness. You do not need that. You will soon depart from life. Give all of your possessions to the churches and to the poor. That sacrifice will be for the good of your soul.” The ill one answered, “O Mother of God, I have children, and if I give away my estate, my children will be left in extreme poverty and need.” In response, the Mother of God said, “Do not be concerned for your children. I will be their eternal protectress.” Then, the Mother of God became invisible. Elizabeth, five days later, as told to her by the Mother of God, peacefully reposed. Empress Catherine II, learning of the miraculous protection promised to the children of the late Mrs. Vedel, took her two daughters into her care, and later gave them in marriage, one to Count Palen, the other to Count Chernishev. This miraculous icon used to be in the cathedral church of the town of Akhtyrka, Kharkov province. More on this Icon

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1 Russian Icon, with footnotes, #3

Unknown artist

St. Pachomius the Great, St. Alexander Nevsky, St. Dimitry Uglicheski and St. Mary Magdalene

Russian Silvered Metal-Mounted Icon

Height 15 5/8 inches (39.7 cm.), width 13 7/8 inches (35.2 cm.).

Private collection

The four saints depicted standing beneath the ascended Christ

Pachomius (c. 292 – 9 May 348 A.D.), also known as Pachome and Pakhomios, is generally recognized as the founder of Christian cenobitic monasticism. Coptic churches celebrate his feast day on 9 May, and Eastern Orthodox and Roman Catholic churches mark his feast on 15 May or 28 May. In the Lutheran Church, he is remembered as a renewer of the church, along with his contemporary (and fellow desert saint), Anthony of Egypt on January 17. More on Pachomius

Alexander Yaroslavich Nevsky (13 May 1221 – 14 November 1263) served as Prince of Novgorod (1236–40 and 1240–56 and 1258-1259), Grand Prince of Kiev (1236–52) and Grand Prince of Vladimir (1252–63) during some of the most difficult times in Kievan Rus' history.

Nevsky rose to legendary status on account of his military victories over German and Swedish invaders while agreeing to pay tribute to the powerful Golden Horde. He was canonized as a saint of the Russian Orthodox Church by Metropolite Macarius in 1547. More on Alexander Yaroslavich Nevsky

St. Dimitry Uglicheski (Unknown)

Mary Magdalene,  literally translated as Mary the Magdalene or Mary of Magdala, is a figure in Christianity who, according to the Bible, traveled with Jesus as one of his followers. She is said to have witnessed Jesus' crucifixion and resurrection. Within the four Gospels she is named more than most of the apostles. Based on texts of the early Christian era in the third century, it seems that her status as an “apostle" rivals even Peter's.

The Gospel of Luke says seven demons had gone out of her. She is most prominent in the narrative of the crucifixion of Jesus, at which she was present. She was also present two days later when, she was, either alone or as a member of a group of women, the first to testify to the resurrection of Jesus. John 20 and Mark 16:9 specifically name her as the first person to see Jesus after his resurrection.

During the Middle Ages, Mary Magdalene was regarded in Western Christianity as a repentant prostitute or promiscuous woman, claims not found in any of the four canonical gospels. More Mary Magdalene

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