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This is a systematic publication of the approximately 20 Byzantine
churches with wall-paintings which have survived destruction in the
province of Rethymnon, Crete. They date from ca. 1000 A.D. to the
fifteenth century. Most were decorated during the Palaeologan era,
when the island was occupied by the Venetians (1211-1669 A.D).
These monuments are little known to the scholarly world. The style
and iconographic programme of each church is investigated, as well
as the iconography of the scenes. Special attention is paid to rare
and unique iconographic subjects, e.g., a full cycle of the
Akathistos and a cycle of the Life of St. John the Evangelist.
Certain themes prompt an examination of the degree of western
influence on iconography and style. The wall-paintings of Rethymnon
significantly enrich our knowledge of Byzantine art, especially
that of the late Palaeologan era. Alongside local artists, who
worked in a provincial style, we find painters who applied the
styles that were in vogue in the great Byzantine artistic centres
of Macedonia, Mistra and Constantinople itself. This can be
explained by the immigration of artists from the major centres. A
few are known to us by name. This publication is the first of four
volumes on the churches in the nomos of Rethymnon, which will
include the provinces of Mylopotamos, Amari and Agios Basileios.
There are over 400 plates, many in colour.
This book by Professor Spatharakis is a study of the origin and
development of a new iconographic type within the late Byzantine
period, that of the left-handed Evangelist. Although mainly
confined to manuscript illumination, it also takes account of the
surviving depictions of the Evangelists in mosaic and fresco on the
walls of the churches built during this period. The author examines
the appearance of this new type of Evangelist portrait at the
beginning of the fourteenth century, and how it came to be
sufficiently influential to replace the tenth-century models used
by the artists of this period. He investigates how long this new
fashion lasted, and the subsequent influence of the left-handed
Evangelist in later Byzantine art. This leads on to the question of
whether the artists were content to follow older models, or were
actively participating in the creation of fresh groupings. The
isolation of the archetype, the contemporary parallels, and the
subsequent influence of the group of Evangelist portraits examined
in this study is based not only on iconographic similarities but on
a detailed examination of the individual types. This work makes a
significant contribution to our knowledge of Palaeologan
iconography, and the working methods of the artists who were
responsible for its creation.
The work of Ioannis Spatharakis on Byzantine manuscript painting
has resulted in the standard corpus of dated illuminated Greek
manuscripts, and an important survey of the history of the portrait
in Byzantine manuscripts. His numerous papers published over the
last twenty years have dealt with illuminated manuscripts from the
era of Iconoclasm and the Macedonian Renaissance in the eighth and
ninth centuries to the productions of the Palaeologan period in the
fourteenth and fifteenth centuries. These are reproduced here,
along with a number of papers on iconographical themes, and
unpublished studies of wall paintings in Crete. One paper is
translated from Greek, and a number of others are published here
for the first time.
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