After Pentecost, remembering the descent of the Holy Spirit, the Church celebrates the Sunday of All Saints. This is fitting, as the Saints are the result of the Holy Spirit being given to the Apostles, the fruits of that “grain of wheat, which fell into the earth and died” (John 12:24).

The current feast of All Saints came to prominence in the 9th-century, under the patronage of Byzantine ruler Leo the Wise. Upon the death of the emperor’s devout wife, Theophano, he wanted to build a church named in her honour, but was forbidden from doing so because Theophano was not a canonized saint. Instead, Leo dedicated the church to “all saints”, therefore including the pious Theophano among their number. There was already a day dedicated to the Christian martyrs. The patronal day for Leo’s All Saints church became this day, and the celebrations expanded to commemorate not just the martyrs, but all righteous Christians who were glorified in Heaven. Theophano, as it happens, eventually was counted among the Saints, and her feast day is the 16th of December.

The icons for this feast developed from the 9th-century onwards, and do not vary much. The setting of the icon is Paradise, identifiable by the abundance of trees and shrubery. In the bottom-left of the icon is Abraham holding a righteous soul to his chest, which also identifies the place as Paradise: the Bosom of Abraham is a name given to the place where the righteous dead rest until Judgement Day (Lk 16:19-31). To the right of the icon is Jacob, holding the “Twelve Tribes” in a cloth, whilst in the centre is Dismas the penitent thief who was told by Christ on the cross that “this day you will be with me in paradise” (Lk 23:39-43). These figures at the bottom of the icon can be seen to represent the saints of the “old testament”, before Christ’s Resurrection.

Central to the icon is the great “cloud of witnesses” described by St Paul in his letter to the Hebrews (11:33-12:2). The Saints are gathered around Christ, Who is seated in glory on a rainbow. Beneath Him is the Throne of Preparation, before which Adam and Eve prostrate themselves, whilst the Cross is also present (sometimes supported by Ss Helena and Constantine). These are all images present in the Last Judgment.

The Saints themselves are gathered into ranks according to their “type”: martyrs with martyrs, ascetics with ascetics, holy fathers with holy fathers, Apostles with Apostles and so on. Some of the Saints are usually recognizable, but the idea is always that the number of Saints present is beyond counting, as was beheld by the Apostle John in the book of Revelation:

After these things I looked, and behold, a great multitude which no one could number, of all nations, tribes, peoples, and tongues, standing before the throne and before the Lamb, clothed with white robes, with palm branches in their hands, and crying out with a loud voice, saying, “Salvation belongs to our God who sits on the throne, and to the Lamb!” All the angels stood around the throne and the elders and the four living creatures, and fell on their faces before the throne and worshiped God,

-Revelation 7:9-11

The “four living creatures” can be seen in the icon, along with the various kinds of angels. The resemblance between the iconography of All Saints and the vision from Revelation is another clear reference to the Last Judgment. The Christian cannot escape such constant reminders of the need for repentance, even in triumphal icons like All Saints.

Often in the top corners of the icon are images of King David the Psalmist, and King Solomon. The psalmist writes “But to me, exceedingly honorable are Thy friends, O Lord” (Ps. 138:16), poetically describing one reason for honouring them with a feast-day. The writings of King Solomon are used for two of the readings for the feast of All Saints. Of the Saints, the wise king says: “But the souls of the righteous are in the hand of God, and no torment will ever touch them… In the time of their visitation they will shine forth, and will run like sparks through the stubble;” and “the righteous live for ever, and their reward is with the Lord; the Most High takes care of them.” Any of these verses could describe the scene observed by the two prophet-kings in the icon.

Surrounding the multitude of Saints is a mandorla of light. This shows the communion of Saints: communion with each other and with God. The holy fathers describe how the Saints in heaven can hear our prayers through the grace of the Holy Spirit. Modern fathers like Silouan the Athonite and Theophan the Recluse explain especially well how the Holy Spirit envelops the Saints and allows them through grace to share the percipience of God in hearing the multitude of our feeble prayers. The cloud of light surrounding the angels, saints, and Christ not only show the unity of the saints with God, but the true depth of communion and shared conscience: real theosis.

There are some icons of All Saints that show a more “organized” hierarchy of the saints in heaven, such as this one. This gives the impression of an ordered Heaven, a completed Heaven, like a great heavenly temple with Christ reigning over all. This is not a wrong vision of Heaven by any means. However, the more common All Saints icon shows a circular mandorla of light surrounding the ranks of saints and angels around the throne of God. The circle is a perfect shape and does not look “unfinished”, yet the potential is there for the circle to grow larger: to encompass yet more souls and bring them into the Heavenly realm. The icon reminds us of the Last Judgment in many of the details, yet this great shining cloud also reminds us that there is still room there for us.

More about the feast (including hymns and practices)

Readings for the feast of All Saints

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Saint Irene Chrysovalantou (Ειρήνη Χρυσοβαλάντου)

July 28th is the feast day of our venerable mother Irene of Chrysovalantou. This popular saint was born in Cappadocia during the 9th-century, and gave up the chance of royal marriage to join the Chrysovalantou convent eventually becoming its abbess. She can be recognized in icons by the the presence of some, or all, or the following:

• The clothing, and sometimes staff, of an abbess (see icon above).
• Three apples from Paradise, given to St. Irene by a sailor after being instructed by an apparition of St John the Apostle. The apples gave off a divinely sweet aroma, and were shared among the sisters of the convent.
• Bowing cypress trees, which recall a miracle observed three times by one of the nuns, who saw St Irene levitating during prayer whilst two cypress trees bent down before the abbess. The nun tied scarves to the bowed tips of the trees to prove to the other sisters the miracle had occurred. The scarves are usually shown tied to the trees, and the nun may also be shown spying on the Saint.
• An angel holding a scroll. This is the guardian angel of St Irene, who appeared to her after she prayed to foreknow the trials of her nun. The angel greeted her saying: “Hail, handmaiden of God, the Lord has sent me that more might be saved through your guidance. I am to remain at your side and disclose the events of the future.”
• An open scroll held by St Irene, written upon which is some of the preserved teachings and admonishments of the Saint.
• The Chrysovalantou convent may be shown in the background, especially if the bowing cypress tress are also shown.
• The inscription of her name: Οσία Ειρήνη Χρυσοβαλάντου (Greek); Saint (or Blessed) Irene Chrysovalantou (English); Святая (Св) Ирина Каппадокийская (Cyrillic); Sfanta (Sf) Irina Hrisovalant (Romanian)

Venerable Irene of Chrysovalantou

Brief hagiography of Irene Chrysovolantou

More detailed biography from Mystagogy

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Icon of Panagia Fidousa (Virgin of the Snakes)

In a tiny Greek village in the south of Kefallonia, a miracle occurs every year after the feast of the Transfiguration (Aug 6). Around the bell-tower of the chapel at Markopoulo, small venomous snakes appear. These snakes crawl around the church, and upon the icons of the Mother of God in an act of apparent veneration. The snakes remain in the confines of the chapel, docile throughout, until the feast of the Dormition (Aug 15), when they disperse and become almost impossible to find on the island. This is a strange miracle, especially given the association of the serpent with Satan, so what is the significance?

Snakes on Dormition icon

The chapel at Markopoulo is built on the ruins of a convent. In the early 18th-century, the nuns there were attacked by pirates. After praying to the Mother of God for help, the church was filled with snakes; when the pirates entered the convent they were terrified by the sight and fled. Every year since then, snakes have appeared during the Dormition fast around the church, venerating the icons there, leaving after the feast itself. In recent years, the snakes have failed to appear twice: in 1940, the year Greece was brought into the Second World War, and 1953, the year of a devastating earthquake on Kefallonia. Because of this, it is believed to be a portent of coming disaster if the snakes do not appear, or appear in small numbers. The first, straight-forward, meaning of the snakes appearance in Kefallonia is simply to remind us of one of the many times the Mother of God has helped those who prayed to her.

And I will put enmity Between you and the woman (Gen 3:15)

Yet there is much symbolic history associated with snakes in Christianity, much of it relating to the serpent being a representation of the devil (Gen 3; Ps 91:13; Rev 12:9; 20:2) and evil in general (Num 21:4-9; Matt 3:7; 23:33). This symbolism is so deeply implanted in our historically Christian culture that it may seem as though the snake by its very nature is a wily, slippery, evil creature. Yet the holy fathers remind us that our current instinctive revulsion to vipers is something that came after the Fall:

The serpent tempting Eve

Do not regard the present serpent; do not regard how we flee it and feel revulsion towards it. It was not such in the beginning. The serpent was the friend of man and the closest of those who served him. and who made it an enemy? The sentence of God: “Cursed are you above all the cattle, and above all wild animals… I will put enmity between you and the woman” (Gen 3:14-15). It was this enmity that destroyed the friendship. I mean not a rational friendship, but one of which an irrational creature is capable. Similar to the way that now the dog manifests friendship… just so did the serpent serve man. As a creature who enjoyed great closeness to man, the serpent seemed to the devil to be a convenient tool (for deception)… Thus, the devil spoke through the serpent, deceiving Adam.
-St John Chrysostom, On the Creation of the World; 6.2

Blessed Theodoret and St John Damscene set forth the same teaching, the latter summarizing:

The serpent was accustomed to man, and approached him more readily than it did other living creatures, and held intercourse with him in delightful motions. and hence it was through it that the devil, the prince of evil, made his most wicked suggestion to our first parents.
-On the Orthodox Faith; 2.10

The curse is lifted

The serpent – in all its varieties and species – were thus cursed because it was used as an instrument of Satan:

But perhaps some will say: If the counsel was given by the devil, using the serpent as an instrument, why is this animal subjected to such a punishment? This was also a work of God’s unutterable love for mankind. As a loving father, in punishing the murderer of his son, breaks also the knife and sword by which he performed the murder, and breaks them into small pieces – in similar fashion the All-good God, when this animal, like a kind of sword, served as an instrument of the devil’s malice, subjects it to a constant punishment, so that from this physical manifestation we might conclude the dishonour in which it finds itself.
-St John Chrysostom, Homilies on Genesis; 17.6

“In my name…they shall take up serpents”

The world suffered from the condemnation given to Adam, Eve, and the serpent, as it still does today. However, with the advent of Jesus Christ in the world, His death, resurrection, and ascension, the curse is lifted, and the means of our restoration is available. And through our restoration to our pre-fallen state, the fallen state of the world is also reversed. This is why St Paul was unharmed by the snake that bit him (Acts 28:3-5), why Jesus said we would be able to pick up serpents with our hands (Mk 16:17-18), and why numerous other Saints have lived in peace with wild beasts. These examples show to us that with faith and through God, the harmony of Paradise is restored even in this life.

The miracle bestowed upon Kefallonia every year is just another example, and a particularly fitting one. As one Sunday hymn proclaims:

You are exceedingly blessed, O Virgin Mother of God, for Hades has been taken captive by him who was incarnate of you. Adam was recalled, the curse was abolished, Eve was delivered, death was put to death and we were given life. Therefore, praising you we cry aloud: Blessed are you Christ our God, who thus was well pleased, glory to you.

Jesus redeems mankind and the entire created world, so what is true of Adam and Eve is true also of the snake. And so this animal, through which the devil tempted Eve, comes to venerate icons of the “second Eve”, Mary: the woman who brought forth the seed, Christ, through Whom “the curse was abolished.”

Links:
The Holy Snakes of the Virgin Mary in Kefallonia: Part 1 and Part 2 – A lot of detail about the miracle and the location, including videos.

The European Cat Snake - Wiki article about the specific species of snake that appears in Kefallonia.

Contemporary pictures of the miracle – written from a distinctly non-Orthodox perspective.

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Transfiguration, Kirillo-Belozersk Monastery, Russia (1497)

August 6/19 is the feast of the Transfiguration. Below are links to two articles about the Transfiguration icon. The articles also contain links to sermons and other resources related to the feast.

Transfiguration Icon | The Event and the Process

Who’s in the Transfiguration Icon?

You were transfigured on the Mount, Christ God revealing Your glory to Your disciples, insofar as they could comprehend.
Illuminate us sinners also with Your everlasting light, through the intercessions of the Theotokos.
O Giver of light, glory to You.

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St John the Baptist, Angel of the Desert (17th Century, Russian)

August 29th is the day that commemorates the Beheading of John the Baptist. Why is this Saint, almost uniquely, shown in many icons with wings?

As well as “the Baptist”, John is also known as “glorious prophet and forerunner of Christ”. Therefore, the presence of the wings is to symbolize John’s status as a divine messenger (in Greek “Evangelos”, from where the word “Angel” is derived). It’s worth noting that the wings of the archangels (Gabriel, Michael etc.) in icons are largely symbolic too, as they are not specifically described as having wings in the Scriptures (see: The Divinely revealed appearance of angels in icons).

But if that were all, then why aren’t the prophets of the Old Testament, or the Apostles, shown with the angelic wings of divine messenger? The answer, in the words of Jesus Christ Himself, is because “among those born of women there is no one greater than John;” moreover, he is “the culmination and the crown of the prophets”, as the hymn from the feast of John’s nativity proclaims. Therefore, St John is an especial example among the Saints of an earthly “angel” and a heavenly man. As such, he is also described as the “Angel of the Desert” in the inscriptions of icons.

The life John led in the desert was angelic for two reasons. On the one hand he proclaimed the coming of the Messiah, Jesus Christ, becoming a herald of God like the angels. On the other, he lived a life of chastity, abstinence, and prayer, not being mindful of material needs, but with his attention fixed firmly to heaven. This is the life of the angels, and why the monastic way of life is sometimes called “angelic”, as well as why St John is the patron of monastics, hermits, and ascetics. For both reasons, it is appropriate to show St John with the spiritual wings of a dove.

She that once was barren now brings forth Christ’s Forerunner, John, the culmination and the crown of all the Prophets. For when he, in River Jordan, laid his hand on Him Whom the Prophets preached aforetime, he was revealed as God the Word’s fore-chosen Prophet, His mighty preacher, and His Forerunner in grace.
(Kontakion from the Feast of the Nativity of John the Baptist)

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John the Baptist | John the Forerunner – general article on icons of John the Baptist.

The life of St John the Baptist in iconography

Article on John the Baptist’s Nativity – from Orthodox England, which contains the following excellent passage on St john’s wings:

“…the Baptist John, thus came to be called ‘the Forerunner of Christ’, a star compared to Christ, the Sun of Righteousness. Our Lord Himself called him the greatest born of women. Thus in the Church he has become the particular patron of monks and is called an earthly angel and a heavenly man. This is why in icons which portray him, he is shown as having wings. These are not of course physical wings, they are the spiritual wings of the dove, of one who prays unceasingly, which is the task of all, but especially of those in the monastic life.

The Holy Baptist stands at the very end of the Old Testament, but also at the very beginning of the New Testament. That is why he appears at the beginning of the Gospels. He opens up a new way and answers in a new way the old question which people have posed from ancient times and which I gave at the beginning of this sermon: ‘What is the purpose of life?’ John the Baptist who never married, who remained a virgin, who prophesied, tells us that the purpose of life is to be spiritually fruitful. This is his prophetic revelation to us. Whether we are called to marriage and having children or not, we are called to bring forth spiritual fruit, to improve the world and not to worsen it, to be fruitful, and not to be barren, as his parents had been.”

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Over the past couple of days, a number of websites have been linking to an article I posted a couple of years ago, quoting Fr Seraphim Rose’s words on why icons of the Mother of God weep. The reason for this is because of uncorroborated stories appearing in a Polish paper reporting dozens of icons weeping in both Russia and Ukraine.

Many of these websites are rather “apocalyptic” in tone and are regarding these miracles as a portent of how the Crimean crisis may escalate into full-scale war (simultaneously fulfilling so-called prophecies of Fatima). It’s worth noting that the icons have not begun weeping in the past few days, or even this year, but in fact began to weep in September last year (as described here). Therefore, the weeping icons preceded the protests in Kiev and the current situation, and may have warned about what has now happened, rather than anything worse to come.

However, amid the article linked to by so many websites recently are the most important words regarding this and every situation:

What is certain is [the] tears of the Mother of God speak directly to the heart of every Orthodox believer, calling all to repentance, amendment of life and return to Orthodox faith and tradition in their fullness.

As we are beginning the rigors of the Lenten fast, let us take the tears of the Mother of God as a reminder to repent ourselves, praying also that fellow Christians in Russia, Ukraine and worldwide may act wisely and in the fear of God.

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Panagia Giatrissa (All-Holy Virgin the Healer) Icon of Loutraka

The Panagia Giatrissa Icon (All-Holy Virgin “the Healer”) is a well-known wonder-working image in Greece. In the early hours of December 24th 2014, another miracle was added to the list attributed to the holy icon.

Three people with covered faces broke into the church after smashing the external security cameras. Caught on the internal cameras, the three thieves walk up to the Panagia Giatrissa Icon, apparently to take the votive offerings (usually solid silver) left by the icon by grateful pilgrims. Upon approaching the icon, the thieves seem to hesitate, the leader of the gang appears to cross himself before the icon, and then all three leave without taking a thing. In the stories of icons and the Saints, we sometimes read of “miraculous forces” stopping would be assailants from committing a sinful act; in the life of St Mary of Egypt, a mysterious force prevents her from entering a church, whereupon she is led to pray before an icon of the Mother of God fixed to the doorway. In the grainy images shown in the news report linked below, we see what such a miraculous force might look like from the outside. We do not know what went through the hearts and minds of the would-be thieves, who remain at large, but it looks like they were “put to confusion” at approaching the icon at the very least!

Fragrant nectar of the Theotokos, precious Throne of the King of All,
You pour forth fragrance O Virgin to Your servants, for You held God in your womb,
Fill us with all divine grace, therefore now,
We all ever preach and glorify You as the true Mother of God.
(Apolytikion of Panagia Giatrissa)

News Report of the incident (in Greek) – including the CCTV footage of the thieves being turned away from the icon and fleeing the church.

Account of the Panagia Giatrissa Icon (written in 2009)

Anton of Martqopi, the Stylite

January 19th celebrates the memory of a Georgian saint: Venerable Anton of Martqopi, the Stylite. He is one of the Thirteen Syrian Fathers who settled in Georgia during the 6th century to preach the Gospel and are credited with establishing monasticism in Georgia. St Anton was known for always carrying with him an icon of the Saviour “not made by hands”, and it is notable that the monks who came to Georgia to evangelize would use icons for this purpose. Indeed, the original “not-made-by-hands” icon was instrumental in bringing about the conversion of Edessa.

A pagan nobleman who encountered the saint holding the icon and surrounded by deer (closeness to wild animals being a feature of many ascetic saints) was driven by fear to have the icon removed from Anton by chopping off his hands. This was miraculously prevented and this event helped in convincing many of the truth of Christianity.

After establishing monasteries, St Anton spent the last years of his life in seclusion, retreating into the wilderness and living atop a pillar (from where he gets his title of Stylite), although he could not prevent many people coming to him with petitions and seeking advice. After his repose, St Anton was buried in the monastery he founded – still holding onto the icon of his Saviour.

A brief life of St Anton the Stylite.

The Publican and the Pharisee, Kosovo, 14th Century.

February 1 marks the beginning of the Lenten Triodion (the period of preparation before Easter) with the Sunday of the Publican and the Pharisee. This is a reminder for any readers that there is a page on the Icons for Lent on this site, and a reminder for me that I really should update the blog this Lent with some appropriate posts for Holy Week!

A joyous fast to everyone!

Icon showing the empty tomb and the angel appearing to the myrrh-bearing women. The Mother of God is on the far left.

There are three general representations of the Resurrection in Orthodoxy: the Harrowing of Hades, Christ triumphantly rising from the tomb, and the angel appearing to the myrrh-bearing women beside the empty tomb (example at the top of this post). The first composition, which is technically an icon for Holy Saturday, would not contain the Mother of God as she was still alive when Christ descended into Hades, and the second composition is not particularly common in the Orthodox Church; it is in the third type of icon – of the myrrh-bearing women attending the empty tomb, where the Theotokos is present… though it is not always immediately obvious.

Click to enlarge.

The Mother of God is not described in the Gospels as being present on the Sunday morning when women coming to attend to the body of Jesus saw the empty tomb, and Mary Magdalene specifically met the risen Christ, becoming the one to proclaim the resurrection to the Apostles. However, in his work The Life of the Virgin, St Maximus the Confessor draws on the Church’s tradition to say that Mary was “inseparable from the tomb” and so was there on the Sunday morning when the other women arrived. The reason the Evangelists didn’t include this in their Gospels, St Maximus adds, was “to preclude any doubt and so that no one would take it as a reason for disbelief that the vision of the Resurrection was reported by the mother.”

Click to enlarge

This belief has been preserved in the iconography of the Church too because many icons of the myrrh-bearing women, when studied closely, contain the Mother of God with the other women. For example, in the fresco on the left, it can be seen that the of the two myrrh-bearing women shown above the sleeping guards, the women on the left wears the same deep red robes of the Mother of God, with the same three stars on the shoulders and head covering that represent her ever-virginity (see Icons of the Mother of God for a clearer example). Other icons, like Russian icon on the right, are more explicit in that the MP ƟY (Gr. Mater Theos; Mother of God) inscription is clearly written in her halo.

The presence of the Mother of God at the tomb has also been preserved in the hymns of the Church. The Paschal Hymn to the Mother of God imagines the angel’s words to the Mother of God at the empty tomb:

(Romanian melody, reminiscent of the pealing of bells at Easter. Incidentally the icon in the video also shows the Mother of God, with Mary Magdalene, at the feet of the Risen Christ)

The Angel cried to the Lady Full of Grace:
Rejoice, O Pure Virgin!
Again I say: Rejoice!
Your Son is risen from His three days in the tomb.
With Himself He has raised all the dead.
Rejoice, all ye people!
Shine, shine, O New Jerusalem,
The glory of the Lord has shone on you.
Exult now and be glad, O Zion,
Be radiant, O Pure Theotokos,
In the Resurrection of your Son!

The hymn likely informs the inclusion of the Mother of God in Resurrection Icons and the imagined conversation of the angel is intended to capture the festive mood of Easter. It is similar to the ‘extended’ conversation between Gabriel and Mary contained in the Akathist Hymn or the words of reproach from Christ to Judas in hymns during Holy Week; a dramatic way of drawing out profound meaning contained in the more concise Gospel narratives. However, this does not mean that the inclusion of the Theotokos in the scene at the empty tomb is “symbolic”, much as the Apostle Paul’s inclusion in Pentecost icons is non-literal. Just as the Mother of God stayed with her Son throughout His crucifixion, when all-but-one of the Apostles had fled, it is inconceivable to imagine she did not keep vigil over the Sabbath and was absent when the other women disciples came to the grave. And the fruit of such vigilance from Christ’s Mother was the early revelation of her Son’s life-giving resurrection:

“Again I say: Rejoice!”

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A couple of other icons of the Lord’s Tomb, clearly showing the Mother of God.

The Angel Cried (in Slavonic); with a more familiar melody for many readers.

Жены-мироносицы (Myrrh-bearing women); more images, many of which include the Mother of God.

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Today, Feb 21st 2016, is the Sunday of the Publican and the Pharisee. It is the first Sunday of the Lenten Triodion – a three week period that leads up to the beginning of Lent, and from Lent we reach the feast of feasts: Pascha.

There are links to articles about the icons of this period on the “Icons for Lent” page. I hope they can be of some use, and wish everyone a fruitful Lent!

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Nativity Icon from Mount Athos

Prepare, O Bethlehem, for Eden has been opened to all!
Adorn yourself, O Ephratha, for the tree of life blossoms forth from the Virgin in the cave!
Her womb is a spiritual paradise planted with the Divine Fruit:
If we eat of it, we shall live forever and not die like Adam.
Christ comes to restore the image which He made in the beginning!

Christmas greetings to everyone reading. There has been little activity on this site for a while, but I fully intend to start writing again in the new year. God-willing, it will happen – and should include a “Synaxarion” of Iconographer Saints and a number of articles charting the history of Icons throughout the Church’s history.

In the meantime, may you all have a blessed Nativity feast and a peaceful New Year.

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Two iconographic portraits from the 15th and 16th centuries (Russia)

Above are two Russian portraits painted on wooden panels, with the distinctive “recess” creating a raised border seen in many icons. One is painted in the 16th century and the other in the early 17th century. Both contain similar stylized depictions of the subjects features, hair and foreheads. Both have inscriptions along the top (although the painting on the left’s inscription is faded) in Cyrillic.

However, only one of these paintings is an Icon. The other was never even intended to be thought of or used as a Holy Icon.

17th-century parsuna of Prince Mikhail Skopin-Shuisky

The painting on the left is a 16th century icon of the Holy Apostle and Evangelist St. John the Theologian. The painting on the right is a portrait of Tsar Ivan the Terrible, a complicated person respected by many Russians who know their history, but who is not, and is unlikely ever to be, considered a Saint. This type of portrait is known as parsuna (Парсуна), a rough Russian transliteration of the Latin word persona, or person.

Parsuna appeared in Russia from the 17th century onward and usually depicted monarchs or other notable people. Initially, the word simply referred to any portrait of a secular person, and their similarity to icons of saints was down to nothing more than the “iconographic” method of painting being the only one widely known by artists in medieval Russia. The inscription alone would be enough to distinguish parsuna of notable people from holy icons of saints. As new artistic techniques were introduced from the west, parsuna in the late 17th century tended to be painted on canvas, rather than wooden boards as was the continued method with icons. However, they still maintained the same basic iconographic style as earlier parsuna (like the first example of Ivan the Terrible).

Tsar Michael I of Russia (17th century)

By the end of the reign of Emperor Peter I (1725), western European styles of painting and portraiture were widespread in Russia, and portraits done in this style were called портрет (portret; lit: portrait) to distinguish them from the more “primitive” parsuna. Now, parsuna is generally a term used to describe 17th century secular portraits in the iconographic style; a footnote in Russia’s art history.

There is no evidence that parsuna were painted in order to subtly “canonize” the subject, or that these portraits would have been venerated as icons by the people who owned them. Yet the existence of these “secular icons” do act as a window into Russia’s past (as holy icons act as windows into heaven). The stylized forms used in parsuna reveal a lack of concern with preserving the actual features of a person, but rather their overall image (i.e. icon): the tsar; the military leader; the influential boyar. The occasional presence of Christ or Saints in the borders of these parsuna intended to show the hope that these dearly departed were in Heaven, and that what was depicted was their eternal state, which was of far more importance than the remembrance of their earthly life and appearance. The painters of these portraits tended to be anonymous, just as iconographers were and tend to be, showing a humility in the artist unthinkable among the later court artists of Europe. The parsuna of 17th century Russia reveal a world where the spiritual, religious and secular worlds were one and the same. The profound heritage of Russian spirituality that was at its epoch in the medieval period is revealed in these 17th century secular icons not despite their “primitiveness”, but because of it.

It is important to remember this in our own secular times, so that we do not become confused or even scandalized at these literal icons (images) of men who are not saints.

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Icon of Saint Phanourios in Rhodes

Icons have been often described as a method of teaching about theology, Christ’s life and His Saints to the illiterate. In centuries past – and it seems for most of human history – the majority of people could not read or write and so Christian churches were decorated with Biblical images and Saints for their edification. I was always a bit wary of this description of icons because, on top of most icons having written descriptions on them anyway, very few iconographic images can be read “cold”. A fairly deep knowledge of the Bible and the lives of the Saints is needed before icons can be easily identified as depicting such-and-such a story or showing a particular Saint. At best, they are a reminder of the person it depicts, but not really a teaching method. The Gospels and the lives of Saints were primarily learned by hearing them, usually in church.

The life of Saint Phanourios (or Fanourios; Gr. Φανουρίου) is different, however, because literally everything we know of him – his life, his martyrdom, even his name – was revealed by an icon discovered many centuries after he lived.

In the 16th century the Greek island of Rhodes fell to the Ottoman Empire, after being previously ruled for two centuries by the Catholic Order of the Knights Hospitaller. Seeking to rebuild the old fortress, the new Muslim occupiers started to look for reusable stones. They discovered an old ruined Orthodox church, perhaps neglected ever since the Knights Hospitaller took over the island, and began digging out its foundations. Amid the rubble, the soldiers discovered many Orthodox icons, all of which were rotted beyond recognition except one, which looked as new and as bright as if it had been painted that very day.  The Turks did not see any value in the icon and left amid the ruins. However, a group of Orthodox monks had observed the icon’s uncovering and brought their Bishop, Metropolitan Nilus of Rhodes, to see it. Nilus read the inscription, as clear as everything else on the icon, as being “Saint Phanourios” (meaning “Revealer” in Greek) and not recognizing the name declared him to be a newly-discovered Saint.

Icon of St Phanourios showing his confession of faith, tortures and final martyrdom (Rhodes)

His life and some of his background had to be gleaned from the icon itself. St. Phanourios was shown as a youth (beardless) in military uniform, holding a Cross, indicating his martyrdom, on top of which is a lighted taper. His youthful appearance and military uniform suggested he was among one of the many virgin-martyrs of the Roman empire in the second and third centuries A.D., before Emperor Constantine’s legalization of Christianity in 313. These saints were often young educated Roman men, secretly Christians, who gained rank in the Imperial army. These saints most often bravely confessed their faith after refusing to offer sacrifice to the idols, were tortured, and then executed. The most prominent example of these type of Saints is Saint George the Victory-Bearer.

More details of his martyrdom could be found in twelve panels around the border of the icon. These panels show him being questioned by an official, being beaten with stones by soldiers, stretched out on the ground while soldiers whip him, then having his sides raked with iron hooks. He is also shown locked up in prison, standing before the official again, being burned with candles, tied to a rack, thrown to the wild animals (who obviously do not touch him given subsequent scenes), and being crushed by a large rock. The remaining scenes depict him standing before idols holding burning coals in his hands, while a demon stands by lamenting his defeat by the saint, and finally, the saint stands in the midst of a fire with his arms raised in prayer.

Church of St Phanourios being dedicated to Christ (from the frescoes of the original church, Rhodes)

When and where St Phanourios lived were not know, but Metropolitan Nilus had enough information to piece together the story of his martyrdom and sought to have the church rebuilt in his honour. The new Muslim ruler of Rhodes refused, but Nilus was undeterred and went to Constantinople to petition the Sultan himself. His pleas were successful and the church of St Phanourios was built on the site the saint’s icon was discovered, within the city of Rhodes. His feast-day became the anniversary of the icon’s discovery: 27th August.

The church was closed down by later Turkish rulers and converted into a mosque, not being reverted to an Orthodox church until the island was liberated by the Italians after World War One. At that time the plaster on the interior walls was removed to reveal remarkably well-preserved frescoes from the 16th century. The church today also has an icon of St Phanourios, of course, which may or may not be the original although it is certainly a faithful copy if not. Even if the icon is not the original, it scarcely matters. The original icon has done God’s job of revealing Saint Phanourios to the world, and ensuring his legacy and intercessions are known.

Phanouropita is blessed in Argolis, Greece.

Numerous miracles have been ascribed to Phanourios, particularly in the centuries immediately after he was newly-revealed. Due to his unique method of discovery, St Phanourios is also considered a patron-saint of lost things. Among Greeks generally, and Cypriots in particular, there is a pious tradition of baking Phanouropita (lit. Phanourios’ Cake), a sweet round loaf flavoured with cinnamon. The phanouropita is baked when a person wants to find something – whether material or spiritual – and taken to church to be blessed by the priest, then distributed among the parishioners.

A heavenly song of praise is chanted radiantly upon the earth; the company of angels now joyfully celebrate an earthly festival, and from on high with hymns they praise thy contests, and from below the Church doth proclaim the heavenly glory which thou hast found by thy labors and struggles, O glorious Phanourios.

(Troparion to St Phanourios in Tone 4)

Further reading:

• Full life of St. Phanourios: includes descriptions of his best-known miracles.
• Prayers to St. Phanourios
• Recipe for Fanouropita: if you have a better recipe, leave it in the comments!
• “Saint Phanourios Resource Page”: all of the above, plus more, in one place if you want to read a lot more about this Saint.

Detail of bleeding hands on icon of St Nektarios, Rhodes

After yesterday’s post about St Phanourios of Rhodes, current news of a potentially wonder-working icon from the same Greek island. According to various sources, an icon of St Nektarios has been bleeding from the hands since December last year and, and is now starting to attract various pilgrims from around the Orthodox world.

Wonder-working icon of Rhodes

Saint Nektarios is a 20th century saint with an inspiring life-story that is known in detail, and numerous postmortem miracles attributed to him. Reposing in 1920, we have photographs of him and writings that reveal his “voice”, which all contribute to him being an incredibly popular and well-loved saint. Indeed, the Rhodes icon currently bleeding and exuding a myrrh-like fragrance (right) is based on a photograph of the Saint. Relics of impeccable provenance are readily available and kept in various churches in practically every country with a considerable Orthodox presence. Therefore it is no surprise that on the island of the “Holy Revealer” (i.e. St Phanourios), this icon of St Nektarios is garnering international attention.

Bleeding and weeping icons have been discussed here before. In this instance, the priest of the church, Fr Spyridon says: “Do not be afraid; it’s a good thing.” He also goes on to say: “There is no need to wait for something like this to obtain faith and do good deeds. Every day we have to offer ourselves, to be as God wants us to be, to not hate but to forgive.”

Links:

The story as originally reported in English

Article on Saint Nektarios: includes the photograph of St Nektarios upon which the icon is based.

More in depth life of the Saint: from an Orthodox perspective (his feast-day is November 9th)

St Stephen (right) with another defender of the icons, St Theodore the Studite

On Nov 28, the memory of the Holy Confessor and Martyr Stephen “the New” of Mount Auxentios. Born after numerous prayers for a child from his pious parents, John and Anna, St Stephen was born in Constantinople in 715 and dedicated to God from an early age. During the iconoclast controversy under Emperor Leo the Isaurian (716-741), Stephen’s parents fled the heresy that had taken over Constantinople and settled in Bithniya, giving the youngster over to the care of the monks of Mount Auxentios (now Mt Kayışdağ).

Stephen soon became a model of obedience and was raised to the position of abbot. At the same time, the new Emperor Constantine V turned out to be a fiercer iconoclast than Leo and moreover hated monasticism due to the intransigence of the monks’ icon-veneration. In 754 he held a council that outlawed the veneration of icons. Due to Stephen’s defence of icon veneration, the emperor accused the abbot of having an affair with a nun named Anna and sent him into exile, despite the nun denying any wrong-doing to the point of dying under torture. In exile, the saint performed healing through the holy icons and so turned more people from iconoclasm.

The enraged emperor transferred the saint to the island of Pharos for trial. Before the judges, Stephen bravely and eloquently defended the veneration of icons. Holding a coin bearing the emperor’s face, he asked, “If any man trample upon the emperor’s image, is he liable to punishment?”. When the judges replied yes, the saint said that an even greater punishment awaited anyone who would dishonor the image of the King of Heaven and His Saints. With that, he spat on the coin, threw it to the ground, and began to trample it underfoot. Dragged from the court, he was imprisoned for a further 11 months. Later, after more deceit from the Emperor Constantine, St Stephen was dragged from his cell, beaten and stoned to death; thus Stephen is given the title “New”, after the similar fate of the first-martyr Stephen. The year was 767.

Lovers of the feasts, from the heart with hymns let us praise in faith
godlike Stephen the lover of the Trinity,
for he honored the fair icon of the Master and of His Mother.
Now let us rejoice together and cry out to him with love:
“Rejoice, ever glorious Father.”
(Kontakion of the feast)

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Life of St Stephen the New (OCA website)

Life of St Theodore the Studite (celebrated Nov 11)

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The day after every major feast in the Orthodox Church is usually dedicated to a saint who played a major “supporting role” in the events celebrated. So, the 7th of January – the day after we celebrate the baptism of Christ – is dedicated to St John the Baptizer of Christ; the day after the Annunciation is dedicated to the Archangel Gabriel; after Pentecost we celebrate the “day of the Holy Spirit”. And so, on the 26th of December we celebrate the Synaxis (Meeting) of the Mother of God.

The Greek word Synaxis is often retained in English, or else translated to “Meeting”; in Russian, the word used is sobor (Собор). In both the Greek and Russian meanings, it denotes an assembly of the faithful for liturgical, celebratory, reasons. Therefore the synaxis of the Mother of God is the celebration of Jesus’ earthly mother. It is perhaps one of the oldest feast-days dedicated solely to the Mother of God, dating from the 4th century A.D. At this time, the “twelve days of Christmas” were a general wintertime celebration of Jesus’ birth, childhood and all his life up to the point of His baptism in the River Jordan, at the age of 30, which is celebrated on the twelfth day (6th Jan). Within this context, it is fitting to celebrate also the Mother of God.

Detail from Russian icon of Synaxis (17th C)

Despite the ancient precedent of the feast, icons specifically depicting the synaxis did not appear until the medieval period, presumably because more standard icons of the Mother of God would suffice for liturgical purposes. Those that survive, are usually found on the walls of churches and generally show the Mother of God seated on a throne with the Christ-infant in her lap. Around her, there is an assembly of various peoples, Saints and angels – some of which are recognizable from icons of the Nativity and the Christmas story whilst others are more mysterious. However, the hymns of the Church provide the answer, and source, of the image, in particular one section written by St. Anatolius from the Vespers (evening) service for Christmas Day:

What shall we offer Thee, O Christ, who for our sake hast appeared on earth as man? Every creature made by Thee offers Thee thanks. The angels offer Thee a hymn; the heavens a star; the Magi, gifts; the shepherds, their wonder; the earth, its cave; the wilderness, the manger: and we offer Thee a Virgin Mother. O pre-eternal God, have mercy upon us

– Stichera from “Lord I have cried…”

The angels, heavens, shepherds and magi are all easily recognizable. The two female figures – usually in the lower third of the icon – are personifications of “the earth” and “the wilderness” (or desert) carrying their respective offerings of the cave and the manger. The lady representing the earth is sometimes honored with a crown, whilst the lady representing the desert-wilderness is often surrounded by much greenery. This is to symbolize the spiritual fruitfulness of the desert. Additionally, in Russia where many of these icons originate, the wilderness would have been a place full of trees, swamps and teeming with wildlife. An 18th century Russian icon (see right) of the Synaxis shows the wilderness offering a manger and surrounded by typically Russian fir trees (full icon can be viewed here).

Finally, at the bottom of the icon is a collection of people, Saints (sometimes), clergy, monks etc. representing the whole human race who offer up: “a Virgin Mother”. What does this mean?

Detail from 16th Century Russian icon

The feeling of motherly love is something natural to God’s creation yet it is not something possible for God to experience directly. In God’s supreme humility toward us He became human and so was able to finally experience this love from His earthly mother, Mary. Yet because this motherly affection is truly a part of creation, not the Creator, it can be said that this motherly love is humanity’s offering to God. Thus the Word of God came to earth and all creation made an offering: the angels, praise; the earth, a cave; the wilderness, a manger; the heavens, a star; and humanity – we – offered Mary, the Mother of God! By being incarnated as man on earth, God truly allowed all of us to partake in salvation and communion with God. But knowing that we truly did nothing in and of ourselves to bring about Mary’s humble acceptance and final birth-giving of God, we can only cry out: Have mercy on us!

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Further reading:

On the Synaxis of the Mother of God – from the OCA website

Icon of the Synaxis (17th C) – (in Russian) a detail of this icon is used in the article.

Icon of the Synaxis (16th C, Palekh) – a detail of this icon is used in the article.

Article on the Synaxis Icon and “its riddles” (in Russian)

Icon at the Church of the Nativity, Bethlehem

A famous variation of the Synaxis of the Mother of God is found in an icon at the Church of the Nativity in Bethlehem. The image is usually cropped to show the mouth of the cave and the holy family inside, and is widely shared at this time of year. The full image shows that the rest of the icon depicts the Nativity hymn “What shall we offer Thee…” as in Synaxis icons. Interestingly, here “the wilderness” is shown as a female ascetic, similar in appearance to Mary of Egypt.

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Detail from modern Romanian icon of the Bosom of Abraham by Elena Murariu.

The Sundays before the Nativity feast (Christmas) are dedicated to the Holy Forefathers and Ancestors of Jesus Christ. Among all the Old Testament Saints commemorated on these days, Abraham is perhaps the supreme example, being the common patriarch of Judaism (as the founding father of the Covenant  between man and God) and Christianity (being seen as the prototype of all believers). This patriarchal image of Abraham has influenced his representation in iconography, and has resulted in many images – in the east and west – of “the Bosom (or Embrace) of Abraham“.

Abraham in paradise, inc. Cherubim guarding the gates (Decani Monastery)

The bosom of Abraham is an image used to refer to a place of comfort for the reposed, found in Judaic, and subsequently Christian, literature. In most religions, even if only symbolically, Paradise is referred to in terms of joyous feasting with all the other righteous. Among the Jews around the time of Jesus, it was normal to eat reclining on the left elbow on couches, with the right arm at liberty to eat. As couches were often shared one person would naturally recline “in the bosom” of the person to his left. It was considered a mark of honour to recline in the bosom of the master of a feast (c.f. John 13:23) . Therefore, to be in the bosom of Abraham – the father of all the faithful – is to be in a particularly favourable place in the “feast” of the afterlife. The most well-known reference to the bosom of Abraham comes when Jesus tells the story of the “Rich man and Lazarus”, where the beggar ends up in Abraham’s bosom whilst the rich man is in hell (Luke 16:19-31).

Most iconographic representations of Abraham’s bosom in the East, then, are shown in the context of paradise. They show this place of the afterlife quite literally, with numberless child-like souls (c.a. Matt 18:3) nestling in Abraham’s chest, covered partially by his robe. He may also be holding out a sheet which supports the souls. As it is an image of paradise, Abraham is shown as part of a larger picture – most commonly as a small part of a composition of the Last Judgement. Abraham’s bosom can also be found in the bottom corner of the All Saints icon. Here too, though, the image being shown is that of paradise, indicated by the luscious trees in the background (in this late 18th century Russian example, the trees are native “Christmas trees” which would be recognizable to the locals).

Feasting with the three Patriarchs in Paradise (Nevyanskaya, c.1830s)

More often than not, Abraham is shown with two other patriarchs: his son, Isaac and his grandson, Jacob (renamed Israel in the Old Testament narrative). They are usually shown on either side of Abraham, all seated as befitting a person of honour; sometimes they are also shown “nursing” small souls in their breasts. Jacob might have 12 small men in his breast, indicating the 12 sons – and tribes – of Israel. To include Isaac and Jacob in this image of paradise is no mystery: Jesus also includes the three patriarchs in His images of paradise: “And I say unto you, That many shall come from the east and west, and shall sit down with Abraham, and Isaac, and Jacob, in the kingdom of heaven…” (Matt 8:11; emphasis mine). “Sitting down” once again suggests paradise as being in a place of honour (i.e. reclining on the breast of the patriarchs) at a great feast.

As Jesus Christ’s earthly line is traced back through Jacob, Isaac and Abraham. The three are often considered together in the hymns of the Church:

“Let us venerate the greatest of the Fathers: Abraham, Isaac and Jacob; for in taking flesh of the Virgin from their line, Christ has been manifested as the Mighty God!” (Ode 4, Canon of the Fathers at Matins)

and

“… for Abraham, Isaac and Jacob were the foundation of the prophets…” (Ode 9, ibid.)

and

“O Sion, city of our God, lift up your voice and celebrate the memory of the Fathers, honoring Abraham, Isaac and Jacob…” (Stichera for the Fathers at Lauds)

The hymns of the Church even present us with the image of all three Patriarchs in paradise, with the saved righteous (and the Mother of God):

“O Virgin, contemplating the bright splendour of your conception, Abraham, the friend of God, together with Isaac, and Jacob, rejoices with the choir of chosen holy ones…” (Ikos from Canon of the Fathers at Matins)

Fresco on west wall of Ferapontovo Cathedral. The Mother of God, seated, is shown with Abraham, Isaac and Jacob, seated on her right. (Click to enlarge)

Clearly the images of young souls reclining in the bosom of Abraham are symbolic, as are related images of feasting in paradise with the Three Patriarchs. However, the popularity of the image is precisely because of its “earthiness”. The image was used by Jesus in His teachings, after all: God in the flesh here to tell us ‘fleshy’ stories in order to lead us to Heaven. It is not unsurprising that a very early depiction of Abraham’s bosom (6th century) can be found in the Syrian Monastery in Egypt. As mentioned in another post on the Milk-Giver icon, this monastery was established by monks fleeing the Julian heresy which denied the corruptibility (i.e. human-ness) of Christ’s body before His Resurrection. As well as frescoes showing the Mother of God breast-feeding Jesus, we also find very intimate images of the righteous in Abraham’s bosom:

Abraham, Isaac and Jacob feeding the righteous souls in paradise (Syrian Monastery, Egypt, after 6th C)

Here the child-like souls of the righteous are not only feasting with Abraham, Isaac and Jacob; they’re not only reclining on the breasts of the patriarchs; they are being hand-fed by them!

“Lord of the living and the dead, the immortal King and Risen Christ, our true God, through the intercessions of… the holy and glorious forefathers Abraham, Isaac, and Jacob… place the soul of His servants, departed from us, in the dwelling place of the righteous; give rest to them in the bosom of Abraham, Isaac and Jacob; and number them among the saints and have mercy on us, as a good God who loves mankind.” (from the dismissal at the Memorial Service)

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Wikipedia article on Abraham’s Bosom

The artwork of Elena Murariu – her icon is used at the top of this article.

All Creation Rejoices. Icon of Dionysius, 15th or 16th Century

Many icons are inspired directly by the hymns of the Church and are indeed simply a visual representation of the words. One such icon is that of the Mother of God, “All Creation rejoices in thee…”

The hymn the icon is based upon was written by St John Damascene (shown in the icon holding a scroll and close to the right of the Mother of God) and is used in the Liturgy of St Basil the Great instead of the usual “It is truly meet…”  hymn to the Theotokos. This hymn comes after a great prayer of intercession said by the priest on behalf of all those reposed in faith: “forefathers, fathers, patriarchs, prophets, apostles, preachers, evangelists, martyrs, confessors, ascetics, and for every righteous spirit made perfect in faith.” The prayer is completed with the exclamation: “Especially for our most holy, pure, blessed, and glorious Lady, Mother of God and ever-virgin Mary.”

Then, on days the Liturgy of St Basil is celebrated, comes the hymn “All creation rejoices in thee…”

All of Creation rejoices in thee, O full of grace:
the angels in heaven and the race of men,
O sanctified temple and spiritual paradise,
the glory of virgins, of whom God was incarnate
and became a child, our God before the ages.
He made thy body into a throne,
and thy womb more spacious than the heavens.
All of creation rejoices in thee, O full of grace:
Glory be to thee.

The icon then represents this hymn. In the centre is the Mother of God, seated, with the Christ-child on her lap so that “[Christ] made [her] body into a throne.” Around her are “the angels in heaven” whilst below the “race of men” are represented by a multitude of the righteous – some recognizable such as John the Baptist, the Holy Apostles, Empress Helena, whilst others are representations of holy bishops, (naked) ascetics, virgins, rulers and other men and women. The blue mandorla of light represents Mary as “full of grace“, and this circle of light is mirrored by the tree-filled “spiritual paradise” and “sanctified temple” which appear to bend around our Holy Mother, conforming to her; truly as though this humble woman had suddenly been made “more spacious than the heavens” through the Incarnation.

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Difference between this icon and the Synaxis Icon.

As discussed recently, the Icon of the Synaxis of the Mother of God, celebrated on the 26th December, also has a composition based upon a hymn of the Church. It is similar in that the Mother of God is seated at the centre of the icon, with the Christ-child on her lap. Sometimes, these icons are mixed up, as has happened on the Orthodox Church of America website. The “All creation rejoices…” icon is a comparatively more popular icon, so it is not unusual for this icon to be used in place of the more Nativity-themed icon. It is the icon containing the three kings, shepherds, star, manger and cave that properly belongs to the feast of the Synaxis, although of course any icon of the Mother of God is appropriate for the feast of the 26th of December.

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YouTube video of the hymn – in tone 6 and in English

Wikipedia article on Dionysius – the painter of the icon used in this article.