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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05 Icons, Henry Zaidan's Saint Mary of Jesus Crucified, with footnotes #80

Henry Zaidan

Saint Mary of Jesus Crucified

AI Generation

neural.love

Mariam Baouardy (Arabic: مريم بواردي, or Mary of Jesus Crucified, 5 January 1846 – 26 August 1878), was a Discalced Carmelite nun of the Melkite Greek Catholic Church. Born to Palestinian Greek Catholic parents from the town of Hurfiesh in the upper Galilee, later moved to I’billin, she was known for her service to the poor. In addition, she became a Christian mystic who suffered the stigmata, and has been canonized by the Catholic Church.

Henry Zaidan

Saint Mary of Jesus Crucified

AI Generation

neural.love

Henry Zaidan

Saint Mary of Jesus Crucified

AI Generation

Available at DeviantArt

October 25th is the Feast of Our Lady of Palestine, the Patroness of the Equestrian Order of the Holy Sepulchre of Jerusalem (EOHSJ).  The EOHSJ is one of just six Catholic orders recognized and protected by the Holy See. The mission of the order is to protect and preserve the presence of Christianity in the Holy Land.

Henry Zaidan

Saint Mary of Jesus Crucified

AI Generation

Available at DeviantArt

Along the Gaza border, the flowers, which look like poppies, have been crowned with their own festival. It's been a major economic engine and source of local pride for nearly two decades, bringing hundreds of thousands to a little-visited and conflict-scarred part of Palestine.

Henry Zaidan

Saint Mary of Jesus Crucified

AI Generation

nightcafe

Mariam Baouardy (Arabic: مريم بواردي, or Mary of Jesus Crucified, 5 January 1846 – 26 August 1878), was a Discalced Carmelite nun of the Melkite Greek Catholic Church. Born to Palestinian Greek Catholic parents from the town of Hurfiesh in the upper Galilee, later moved to I’billin, she was known for her service to the poor. In addition, she became a Christian mystic who suffered the stigmata, and has been canonized by the Catholic Church.

Her path to canonization solidified on 6 December 2014 with the recognition of a final miracle needed for her canonization. In the consistory of 14 February 2015, Pope Francis announced that she would be canonized on 17 May 2015; she was canonized at the Vatican. More on Mariam Baouardy

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest and deviantart

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07 Religious Icons, The Meister von Meßkirch's Falkenstein Altar, Saint Anne, Saint Elmo, Saint George, Saint Christopher, Roch, John the Baptist and Andrew the Apostle, with footnotes #36

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Tempera on softwood

Johanniterkirche, Johanniterhalle Schwäbisch Hall

The Master of Meßkirch (German: Meister von Meßkirch; active c. 1515 - 1540) was an anonymous German Renaissance painter.

The so-called Master of Meßkirch is named after the eleven altarpieces he painted for the St. Martin church in Meßkirch between 1536 and 1540. His birthplace and apprenticeship are unknown, but he may have studied under an artist from the circle of Albrecht Dürer, such as Hans von Kulmbach or Hans Leonhard Schäufelein. From the 1530s onwards his works seem to display familiarity with contemporary northern Italian paintings. 

Throughout the master's career his figures had Manneristic proportions. While early on his colors were bright and iridescent, his coloration became calmer and more muted in his last years. More on The Master of Meßkirch

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Top Center; Virgin, Child and St Anne

Saint Anne (also known as Ann or Anna) of David's house and line, was the mother of the Virgin Mary and grandmother of Jesus Christ, according to apocryphal Christian and Islamic tradition. Mary's mother is not named in the canonical gospels, nor in the Qur'an. Anne's name and that of her husband Joachim come only from New Testament apocrypha, of which the Protoevangelium of James (written perhaps around 150) seems to be the earliest that mentions them. More on Saint Anne

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Soft wood

height: 49 cm (19.2 in); width: 27 cm (10.6 in)

Top Right; St. Erasmus

Erasmus of Formia, also known as Saint Elmo (died c. 303), was a Christian saint and martyr. He is venerated as the patron saint of sailors and abdominal pain. Erasmus or Elmo is also one of the Fourteen Holy Helpers, saintly figures of Christian tradition who are venerated especially as intercessors. More on St. Erasmus

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Soft wood

height: 49 cm (19.2 in); width: 27 cm (10.6 in)

Top Left; St. George

Saint George (circa 275/281 – 23 April 303 AD) was a soldier in the Roman army who later became venerated as a Christian martyr. His parents were Christians of Greek background; his father Gerontius was a Roman army official from Cappadocia and his mother Polychronia was from Lydda, Syria Palaestina. Saint George became an officer in the Roman army in the Guard of Diocletian, who ordered his death for failing to recant his Christian faith.

 

In the fully developed Western version of the Saint George Legend, a dragon, or crocodile, makes its nest at the spring that provides water for the city of "Silene" (perhaps modern Cyrene in Libya or the city of Lydda in Palistine, depending on the source). Consequently, the citizens have to dislodge the dragon from its nest for a time, to collect water. To do so, each day they offer the dragon at first a sheep, and if no sheep can be found, then a maiden is the best substitute for one. The victim is chosen by drawing lots. One day, this happens to be the princess. The monarch begs for her life to be spared, but to no avail. She is offered to the dragon, but then Saint George appears on his travels. He faces the dragon, protects himself with the sign of the Cross, slays the dragon, and rescues the princess. The citizens abandon their ancestral paganism and convert to Christianity. More on Saint George 

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Soft wood

height: 49 cm (19.2 in); width: 27 cm (10.6 in)

Bottom Left: St. Christopher

Saint Christopher is venerated as a martyr killed in the reign of the 3rd-century Roman Emperor Decius,) or alternatively under the Roman Emperor Maximinus II Dacian. There appears to be confusion due to the similarity in names "Decius" and "Dacian". However his veneration only appears late in Christian tradition, and did not become widespread in the Western Church until the Late Middle Ages, although churches and monasteries were named after him by the 7th century.

It is disputed whether Christopher existed, and if so whether the name applied to a specific person or was a general title meaning "Christ-bearer" which was applied to several different real or legendary people. He may be the same figure as Saint Menas. His most famous legend, which is mainly known from the West and may draw from Ancient Greek mythology, tells that he carried a child, who was unknown to him, across a river before the child revealed himself as Christ. Therefore, he is the patron saint of travelers. More Saint Christopher

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Soft wood

height: 49 cm (19.2 in); width: 27 cm (10.6 in)

Bottom Right: St. Rochus

Roch (lived c. 1348 – 15/16 August 1376/79), also called Rock in English, is a Catholic saint, a confessor whose death is commemorated on 16 August and 9 September in Italy; he is especially invoked against the plague. He has the designation of Rollox in Glasgow, Scotland, said to be a corruption of Roch's Loch, which referred to a small loch once near a chapel dedicated to Roch in 1506.

He is a patron saint of dogs, invalids, of falsely accused people, bachelors, and several other things. He is the patron saint of Dolo (near Venice) and Parma, as well as Casamassima, Cisterna di Latina and Palagiano (Italy).

Saint Roch is known as "São Roque" in Portuguese, as "Sant Roc" in Catalan, as "San Roque" in Spanish (including in former colonies of the Spanish colonial empire such as the Philippines) and as "San Rocco" in Italian. More on Saint Roch

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Soft wood

height: 49 cm (19.2 in); width: 27 cm (10.6 in)

Bottom second from left: St. John the Baptist

The story of John the Baptist is told in the Gospels. John was the cousin of Jesus, and his calling was to prepare the way for the coming of the Messiah. He lived in the wilderness of Judea between Jerusalem and the Dead Sea, "his raiment of camel's hair, and a leather girdle about his loins; and his meat was locusts and wild honey." He baptised Jesus in the Jordan.

According to the Bible, King Herod's daughter Salome requested Saint John the Baptist's beheading. She was prompted by her mother, Herodias, who sought revenge, because the prophet had condemned her incestuous marriage to Herod. More John the Baptist

Master of Messkirch  (fl. 1520–1540)

Falkenstein Altarpiece, c. after 1530

Soft wood

height: 49 cm (19.2 in); width: 27 cm (10.6 in)

Bottom second from right: St. Andrew

Andrew the Apostle (from the early 1st century – mid to late 1st century AD), also known as Saint Andrew was a Christian Apostle and the brother of Saint Peter.

The name "Andrew", like other Greek names, appears to have been common among the Jews, Christians, and other Hellenized people of Judea. No Hebrew or Aramaic name is recorded for him. According to Orthodox tradition, the apostolic successor to Saint Andrew is the Patriarch of Constantinople. More Andrew the Apostle 

The Master of Meßkirch (active c. 1515 - 1540) was an anonymous German Renaissance painter.

The so-called Master of Meßkirch is named after the eleven altarpieces he painted for the St. Martin church in Meßkirch between 1536 and 1540. His birthplace and apprenticeship are unknown, but he may have studied under an artist from the circle of Albrecht Dürer, such as Hans von Kulmbach or Hans Leonhard Schäufelein. From the 1530s onwards his works seem to display familiarity with contemporary northern Italian painting. Hans Baldung Grien was also influential to his work.

Early on he worked for Count Eitel Friedrich III of Hohenzollern in Veringenstadt. Later he was called to Meßkirch to work for Count Gottfried Werner von Zimmern.

Throughout the master's career his figures had Manneristic proportions. While early on his colors were bright and iridescent, his coloration became calmer and more muted in his last years. More on The Master of Meßkirch

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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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, 19th C. Russian Icon of Saints Catherine , Natalya, Ann the Prophetess, Ljubov, John, and Alexander and Saint Anne, with footnotes #20

Unknown iconographer

19th C. Russian Icon with Chosen Saints

Egg tempera and gold leaf on wood

14.25" W x 17.75" H (36.2 cm x 45.1 cm)

Private collection

An icon presenting an ensemble of blessed saints, including Catherine , Natalya, Ann the Prophetess, Ljubov (Love, more commonly interpreted as Charity), John, and Alexander standing in two rows. The seventh saint is most likely John the Evangelist. Each saint is identified with a gold on blue banner, all beneath Saint Anne in the celestial realm aloft billowing clouds donning red and blue robes. More on this Icon

Saint Catherine of Alexandria is, according to tradition, a Christian saint and virgin, who was martyred in the early 4th century at the hands of the pagan emperor Maxentius. According to her hagiography, she was both a princess and a noted scholar, who became a Christian around the age of fourteen, and converted hundreds of people to Christianity. More on Saint Catherine of Alexandria

Saint Natalia's hagiography is closely tied to the life of her husband, Saint Adrian. Adrian was struck by divine grace and told the Roman officials to write his own name with the rest of the martyrs. When his wife Natalia heard that he had been imprisoned with the martyrs, she ran with joy to the gaol and lauded his resolve while embracing his chains. She imploring the other martyrs to pray to God.

When Adrian appeared before the emperor and confessed Christ, he was tutored, and killed, with the other martyrs. Their hands and feet were then cut off.  Natalie managed to steal one of her husband's severed hands from the pile. The fire that was supposed to burn the relics was miraculously put out by a sudden shower of rain, and a Christian named Eusebius was able to retrieve the relics and transport them for burial to Argyroupolis, a town near Byzantium. Some time later, Natalia visited the tomb where she gave up her soul to God and was herself subsequently buried. More on Saint Natalia

Anna the Prophetess is a woman mentioned in the Gospel of Luke. According to that Gospel, she was an elderly Jewish woman who prophesied about Jesus at the Temple of Jerusalem. She appears in Luke, during the presentation of Jesus at the Temple. More on Anna the Prophetess

Saint Ljubov, Saints Faith, Hope and Charity are a group of Christian martyred saints.  In the reign of Roman Emperor Hadrian (2nd century AD), a matron Sophia (Wisdom), with her three youthful daughters, Pistis, Elpis, and Agape (Greek for Faith, Hope and Charity), became martyrs.

The guards took Sophia's daughters one by one, from the oldest to the youngest and beat and tortured them to death in an attempt to force her to renounce her faith in Christ. She proved her unconditional faith in Christ by proving to people that she and her daughters were willing to go through hard times for their faith. Afterwards, Sophia buried her daughters' bodies and remained by their graves for three days until she died herself. More on Saint Ljubov and Saint Sofia

Saint John the Apostle, also called Saint John the Evangelist or Saint John the Divine (flourished 1st century ce), in Christian tradition, the author of three letters, the Fourth Gospel, and the Revelation to John in the New Testament. He played a leading role in the early church at Jerusalem. More on Saint John

Saint Anne (also known as Ann or Anna) of David's house and line, was the mother of the Virgin Mary and grandmother of Jesus Christ, according to apocryphal Christian and Islamic tradition. More on Saint Anne

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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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

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints and 365 Days, also visit my Boards on Pinterest

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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, Stefano di Giovanni, detto il Sassetta's Madonna of the Snow, with footnotes #13

Stefano di Giovanni, detto il Sassetta (Cortona? 1400 c. - Siena 1450)

Madonna of the Snow Altarpiece, c. 1432

Tempera on panel

240 x 256 cm

The Uffizi

White, soft, icy snow is a rare sight in the Mediterranean city of Rome during winter, let alone during summer. Yet, according to tradition, the founding of one of Rome’s most important Catholic churches took place on an extraordinary snowfall day in August of 352. On August 5 of 352, a wealthy Roman nobleman and Pope Liberius both had dreams in which snow was falling over the Esquiline Hill, one of Rome’s seven hills. The two men resolved to visit the place of the unusual event, bumped into one another and testified to the unusual snowfall. It so happened that the nobleman had been looking for a way to donate some of his possessions to the Catholic Church. He then restored to build a beautiful place of worship on top of the hill where the miraculous snow fell. Pope Liberius then proceeded to trace the perimeter of the soon-to-be-church by moving a stick over the thick white blanket. Since then, Santa Maria Maggiore has become one of the most important worship sites for Catholics and the largest Marian worship site in Rome. More on Madonna of the Snow

Stefano di Giovanni di Consolo, known as il Sassetta (ca.1392–1450 or 1451) was a Tuscan painter of the Renaissance, and a significant figure of the Sienese School. While working within the Sienese tradition, he innovated the style by introducing elements derived from the decorative Gothic style and the realism of contemporary Florentine innovators as Masaccio.

Sassetta was probably trained alongside artists like Benedetto di Bindo and Gregorio di Cecco but he had a style all of his own. He achieved a high level of technical refinement and was aware of artistic innovations of talented painters in Florence such as Gentile da Fabriano and Masolino. His work differs from the late Gothic style of many of his Sienese contemporaries.

The Madonna of the Snow altarpiece for the Siena Cathedral was a prestigious commission for Sassetta, and is considered his second major work. Not only does he excel at infusing his figures with a natural light that convincingly molds their shape, he also has an amazing handle on spatial relationships, creating cohesive and impressive work. From this point on, under Gothic influence, Sassetta’s style increases its decorative nature. The polyptych done by Sassetta in San Domenico at Cortona (around 1437) depicts scenes from the legend of St. Anthony the Abbot. He shows great skill in narration through his painting as well as combining a sophisticated color palette and rhythmic compositions.

He died from pneumonia contracted while decorating the Assumption fresco on the Porta Romana of Siena. The work was finished by his pupil Sano di Pietro. More on Stefano di Giovanni di Consolo

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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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