DOI Page / Citation link:
https://doi.org/10.11588/diglit.27365#0076
64
/COJVOG/MFWC TROGRxtAfAfF
in Akhtala. In addition, however, there are aiso two angeis bending towards the throne
who are painted on the jambs of the south and north windows. They reach out hands
covered with a doth towards the ThhobnaVa, thereby repeating the liturgical gesture in
the sanctuary. The composer of the iconographic programme was recalling the mystic
unity of the altar and the 77efohna3/a. It is noteworthy that the south of these two
angels heads the procession of the righteous which begins on the southern wall of the
west arm and continues in the window jamb. It is as if the resurrected faithful become
participants in the last liturgical ceremony.
A no less interesting liturgical aspect has been added to the Deesis. Behind the
Mother of God and John the Baptist are shown the full-length figures of the
archangels Michael and Gabriel in imperial garments with spheres and sceptres in
their hands. A most uncommon detail is the inscription on both spheres: they carry
the Greek abbreviations "PKAff' and each letter of which set around a cross. We
know of similar cryptograms around crosses in Byzantine art^i. They accompany
depictions of the Leaved Cross and are often to be found on the omophorions of
bishops. It is much less common for them to appear on spheres. A rare example is the
depiction of the "Virgin and Child on the Throne between Two Archangels" in the
conch of the altar apse at the church of Panagia Mavriotissa in Kastoria. We do not
know of analogies to such inscriptions in the Deesis compositions of the "Last
Judgement".
In this case the letters are an abbreviation of the concluding and audible words of
liturgical prayers. The first inscription from Akhtala has not yet been identified. The
second can be deciphered as xpuoiou tpacvsc naouv The light of Christ enligh-
tens all of you" .122
This phrase is very frequently met in cryptograms and is pronounced by the
priest in the liturgy of the presanctified, when he turns to the faithful from the altar
with the censer and a lighted candle in his hands. The sphere in the hands of the
archangel is a symbolic analogue of the candle held by the priest since it creates the
image of divine light. This is the primary and chief significance of the sphere as
described in Byzantine theological commentaries: 123
77? e c/ottb-hhe sphere that the a?;gch' ho/h ?'?? then ha/?h.s* he/:ofe3 the
?7h?????'??ah'on o/* the .spt'rh ... Yet this' .sphere 6 a7so a .sy?7?hot o/"theo/ogy,
???can?'??g that ?/ Christ h;<7eeJ beca/ne A7a/? as Gob he has no beginning
nor enb a??b that 77e hcMs the nniverse anti the entire worth in his hanb
The inscription on the sphere recalls the participation of the archangels in the celestial
liturgy and stresses the liturgical meaning of the Deesis where Christ is not just the
emperor and lord of the universe but also a great High Priest. This was made more
121 See G. Babic, "Les croix a cryptogrammes, peintes dans ]es egdses serbes des XHIe et XtVe
siectes", Byzance e? tar rfaver Metanger Awn Da/cev, Pars, 1979, pp. 1-13.
122 This deciphering was proposed by B. Fiusen who spotted a minor misspeiting on the sphere
inscription: the ietter Q was used instead of See Thierry, Te Jagen:ent dern;er, p. 16S.
123 Migne,PG, Vol 133, cot. 869.
/COJVOG/MFWC TROGRxtAfAfF
in Akhtala. In addition, however, there are aiso two angeis bending towards the throne
who are painted on the jambs of the south and north windows. They reach out hands
covered with a doth towards the ThhobnaVa, thereby repeating the liturgical gesture in
the sanctuary. The composer of the iconographic programme was recalling the mystic
unity of the altar and the 77efohna3/a. It is noteworthy that the south of these two
angels heads the procession of the righteous which begins on the southern wall of the
west arm and continues in the window jamb. It is as if the resurrected faithful become
participants in the last liturgical ceremony.
A no less interesting liturgical aspect has been added to the Deesis. Behind the
Mother of God and John the Baptist are shown the full-length figures of the
archangels Michael and Gabriel in imperial garments with spheres and sceptres in
their hands. A most uncommon detail is the inscription on both spheres: they carry
the Greek abbreviations "PKAff' and each letter of which set around a cross. We
know of similar cryptograms around crosses in Byzantine art^i. They accompany
depictions of the Leaved Cross and are often to be found on the omophorions of
bishops. It is much less common for them to appear on spheres. A rare example is the
depiction of the "Virgin and Child on the Throne between Two Archangels" in the
conch of the altar apse at the church of Panagia Mavriotissa in Kastoria. We do not
know of analogies to such inscriptions in the Deesis compositions of the "Last
Judgement".
In this case the letters are an abbreviation of the concluding and audible words of
liturgical prayers. The first inscription from Akhtala has not yet been identified. The
second can be deciphered as xpuoiou tpacvsc naouv The light of Christ enligh-
tens all of you" .122
This phrase is very frequently met in cryptograms and is pronounced by the
priest in the liturgy of the presanctified, when he turns to the faithful from the altar
with the censer and a lighted candle in his hands. The sphere in the hands of the
archangel is a symbolic analogue of the candle held by the priest since it creates the
image of divine light. This is the primary and chief significance of the sphere as
described in Byzantine theological commentaries: 123
77? e c/ottb-hhe sphere that the a?;gch' ho/h ?'?? then ha/?h.s* he/:ofe3 the
?7h?????'??ah'on o/* the .spt'rh ... Yet this' .sphere 6 a7so a .sy?7?hot o/"theo/ogy,
???can?'??g that ?/ Christ h;<7eeJ beca/ne A7a/? as Gob he has no beginning
nor enb a??b that 77e hcMs the nniverse anti the entire worth in his hanb
The inscription on the sphere recalls the participation of the archangels in the celestial
liturgy and stresses the liturgical meaning of the Deesis where Christ is not just the
emperor and lord of the universe but also a great High Priest. This was made more
121 See G. Babic, "Les croix a cryptogrammes, peintes dans ]es egdses serbes des XHIe et XtVe
siectes", Byzance e? tar rfaver Metanger Awn Da/cev, Pars, 1979, pp. 1-13.
122 This deciphering was proposed by B. Fiusen who spotted a minor misspeiting on the sphere
inscription: the ietter Q was used instead of See Thierry, Te Jagen:ent dern;er, p. 16S.
123 Migne,PG, Vol 133, cot. 869.