E. H. Minns, Scythians and Greeks, p. 538, quoting Kondakov, Russian Hoards, pp. 33 sqq.
16
Ch. Diehl, Manuel d’Art Byzantin, Paris, 1925, p. 85, f. 28.
17
I write the word icon as the accepted transliteration of íIkúv: the genitive ííkóvos has in modern Greek produced an ordinary feminine nominative, and this form passed into Russian as ikóna: Russian has also translated it as óbraz, which we can only render by ‘image’, but this in English does not readily suggest a flat.
18
W. Grüneisen, ‘The Illusionist Portrait’, Sofia (a Russian Art magazine), No. 4, 1914; Graul, Die antike Porträt-gemälde aus den Grabstätten des Fajum, Leipzig, 1888; G. Ebers, Eine Gallerie antiker Porträts, Berlin, 1889; U. Wilcken, ‘Die Hellenistische Porträts aus El Fajum’, Arch. Anzeiger., iv, 1889; Girard, Peinture Antique, Paris, 1892, pp. 249 sqq.; Th. Graf, Collection de Portraits Antiques de l’Époque Grecque en Égypte, Vienna, n. d.; P. Buberl,Gr.-Äg. Mumienbildnisse, ib. 1922.
19
By ‘Byzantine’ the author generally means ‘Constantinopolitan’, or at least truly Greek, but sometimes he falls into the ordinary vague use of the term.
20
See the controversy between S. Jerome and the Gaulish pilgrim Vigilantius who vainly tried to protest against the veneration of relics and icons, all-night watchings in martyria, and suchlike. Migne, P. L. xxii, Ep. Hieronymi, lxi, ad Vigilantium; xxiii, p. 337, Liber contra Vigilantium, A. D. 406.
21
Kondakov, Iconography B. V. M., i (1914), pp. 131-5, 153-8.
22
Latin mantele, ‘napkin’. Strictly speaking the Vernicle is the imprint of Christ’s features on the way to crucifixion, while the Greek napkin shows them yet unmarred.
23
Russian Museum, No. 1810, from the collection of N. P. Likhachëv.
24
For a summary of the whole controversy see A. I. Dobroklonski, S. Theodore, Confessor and Abbot of the Studium, i, pp. 34–47, P. 1913. The orthodox finally laid down that icons were not to receive ‘adoration in the proper sense’.
25
Dalton, Byz. Art, p. 318, f. 193, after Ph. Lauer, Mon Piot, 1906.
26
Recent cleaning is giving new material.
27
Grabar'-Muratov, p. 149; Alpátoff and Lásareff (Lázarev), Jahrb. d. Preusz. Kunstsamml., LXIV. ii, p. 146, f. 3.
28
Kondakov, Macedonia, 1909, pp. 249 sqq., Pl. V–XII.
29
The more general explanation of the term is that the mêstnÿya ikóny are ‘the icons of the locally revered Festivals and Saints’: so Anisimov defines them in his Guide to the Exhibition of Monuments of Old-Russian Icon-painting, held in the Historical Museum, Moscow, in 1926.
30
A.Popov, Survey of the Ancient Russian eleventh to sixteenth Centuries, P. 1875, Works of Controversy against the Latins, pp. 56 sqq.
31
G. D. Filimónov, The Church of St. Nicholas na Lipnê ‘On the Shape of Iconostases’, 1859; I. A. Speróvski, ‘Early Russian Iconostases’, Khristiánskoe Chténie, 1891-2. I use the Russian form iconostás, not ‘iconostasis’ which is neither Greek nor Russian. The Greek tlnovooráa-íov means an oratory or icon-shrine. The Russian iconostas is called in Greek from the Latin templum in the sense of ‘purlin, horizontal beam’. pronounced temblo it gave in Russian tyabló (cf. kolyáda from kalendae), used for the tiers of icons on the high iconostases. See Golubinski, Hist. Russ. Ch.2 I. ii, pp. 206-8, 214.
32
Chin means ‘order, rank’, used of different orders of Angels or Saints; but it has an idea of completeness which accounts for its use for the ‘ Complete Deesis’. A chin with the Deesis, two Archangels and two Saints was called a Sed’mítsa, a hebdomas, which might be expected to mean a week.
33
Yet the Greeks sometimes apply it to the great doors at the west end of a church, and call the screen doors ‘Holy’.
34
Kiot; one or more icons may be set in a frame or cupboard generally adorned with a pediment above and glazed in front: this makes a kind of shrine and is called a kiot. Or it may form a kind of triptych, often with many small iconic scenes painted upon the doors, pediment, and surround.
35
Christ giving the Eucharist in both kinds to the Apostles.
36
The three Angels that appeared to Abraham.
37
The type of Our Lady of Blachernae bearing Emmanuel in a round medallion, vide infra.
38
N. P. Kondakov, Les Émaux Byzantins pp. 385-8; Rússkiye Kiddy (Russian de la Collection Zvenigorodskoi, 1892, Pl. 28, Hoards), 1896, i, Pl. viil. to hang along the forehead; such a string is called ryásno. An icon was swathed in an embroidered silk towel (poloténtse, plat) to keep off dust, and below it hung an embroidered pall (pelená).
39
I think the word must be Slavonic, but our author connects it with some sort of adornment of Imperial clothes, Codinus, de Offic. iii. 3. E.H. M.
40
I hear that a similar stripping of rizy has gone on since the revolution and has exposed much interesting work. E. H. M
41
Risúnok, ‘drawing’, answers in meaning to the French dessin, both ‘drawing’ and ‘design’; the verb risovát’ comes through the Polish from the German reissen, which besides its ordinary sense ‘to tear’ means ‘to score, to draw with a sharp point, to draw in outline’, being connected with ritzen and the same word as our write: scribo, show the same original meaning. The uses of the Slavonic pisát’, originally ‘to paint or decorate’ (pingo may be allied), means ‘write’ as well as ‘paint’, and ‘paint’ both of walls, tsérkov’ podpísana, ‘a church was frescoed’, and of icons, ikonostás napísan, ‘a screen was furnished with icons’. Mr. N. B. Jopson, Reader in Slavonic Philology at King’s College, London, allows me these etymologies. The ‘stylus’ with which icon-painters draw contours upon the gesso ground. From pisát’ comes pis’mó, the ordinary word for a ‘letter’, but specially used of the ‘style or school’ of icons. Less important varieties are called poshib (lit. ‘stroke’) = ‘local or personal manners’. The equivalent western words stil, shkóla, manera, came into Russian with western painting but are often used of icons. E. H. M.
42
In particular, let me recommend both for exactness of observation and fullness of illustrations that admirable work of Gabriel Millet, Recherches sur l’Iconographie de l’Évangile aux XIVe, XVe et XVIe siècles, 670 gravures, Paris, 1916. N. P. K.
