Modus: Prace z historii sztuki (19.2019)

of this publication, it will be translated into Polish as ikony kompozytowe, the first
proposed Polish term for this type of works. The inserted element can be a mosaic
icon or a relief icon, however, the larger icon must be madę in the tempera technique
on wood, therefore this term cannot be used for paintings with a metal frame.5 In
the following considerations, the Vlatadon icon will be compared to other icons
of this type, to reach a better understanding of the phenomenon of reusing an
older representation in a new one, and to seek the answer to the ąuestion about
the motives behind it.



Figurę 3. The icon of Vlata-
don, inserted fourteenth-
-century icon, Monastery of
Vlatadon (Sacristy). Photo
by Dorota Zaprzalska
-> see p. 6
Figurę 4. Frontispiece to the
Hamilton Psalter, Cyprus (?)
ca. 1300, Staatliche Museen
Berlin (Ms 78 A.9.). Photo
from Byzantium: Faith and
Power, p. 153, no. 77
-> see p. 8
Figurę 5- Icon with Triumph
ofOrthodoxy, Constantino-
ple, ca.1400, British Museum.
Photo from Byzantium: Faith
and Power, p. 154, no. 78
-> see p. 8

The first mention of the icon appears in the monastery records from 1899.6 The
literaturę on the subject thereof is quite modest - there are only two monographic
studies - first, a short article by Andreas Xyngopoulos from 19487 devoted almost
entirely to the older icon, and the second, Anastasia Tourtas work on the newer
icon.8 The latter author returned to the subject in her 1992 publication, which was
a discussion of selected paintings in the monastery.9 Xynopoulos and Tourta are
also the authors of catalogue notes from numerous exhibitions at which the icon
was presented10 - for the first time in 1964 as part of “Byzantine Art: An Euro-
pean Art” at the Zappeion Hall in Athens, in the years 1985-1986 at the exhibition
“Byzantine and Post-Byzantine Art” at the Old University in Athens, in 1986 at
“Affreschi e icone dalia Grecia” in Palazzo Strozzi in Florence, in 1987 at “From
Byzantium to El Greco: Greek Frescoes and Icons” at the Royal Academy of Arts
in Eondon, and a year later, the “Holy Image, Holy Space: Icons and Frescoes
from Greece” at the Walters Art Gallery in Baltimore. In 2004, the icon featured
at the exhibition “Byzantium: Faith and Power” at the Metropolitan Museum
of Art in New York.11 Ali the above publications focused on determining the time
of creation of both icons. The inserted image dates to the mid-fourteenth cen-
tury.12 Xyngopoulos initially claimed that the obverse of the larger icon was
p. 5; n.A. BokotótoiAoc;, XvvOeTEę siKÓvsę. Mta Ttpcbrr] Karaypacpf), in: Typa MeveXócov HapXapd,
HpćiKA.810 2002, p. 299.
5 Ibidem.
6 r.A. Zroyióykou, H sv 0£ooaXoviKri narptapymf povrj rcov BXaTa8a>v (AvńAEKTa BAarctbow 12),
0E<7craXoviKr| 1971, pp. 130-131.
7 A. Xyngopoulos, Une icone byzantine d Thessaloniąue, “Cahiers Archeologiques”, 3, 1948,
pp. 114-128.
8 A. Toupra, Apcpinpómonr] EiKÓva ort] povrj BXaTa8cov, “KXr|povopia”, 9,1977, pp. 133-153.
9 Eadem, Eikóvec, ano to OKEVo(pvXdKio rpę Ispac; Movpę BXaTÓ.8a)v, in: XpicrTtavtKr]
0EOoaXoviKr]: ano rpc, enoyfc, ra>v Kopvr]va>v peypt Kat rrję AXa)asa)ę Ttję 0saaaXovlKr]ę vnó
rcov O9a)pavd)v (1430), 0eooaXoviKq 1992, pp. 176-178.
10 A. Xyngopoulos is the author of the notę in the catalogue of the first exhibition: Byzantine Art:
An European Art, edited by M. Chatzidakis, Athens 1964, p. 253, no. 199; whereas A. Tourta is
the author of the remaining ones: Byzantine and Post-Byzantine Art, edited by M. Acheimastou-
-Potamianou, Athens 1985, p. 82, no. 83; Affreschi e icone dalia Grecia (x-xvn secolo), Athene 1986,
p. 75, no. 36; From Byzantium to El Greco: Greek Frescoes and Icons, edited by M. Acheimastou-
Potamianou, Athens 1987, p. 160, no. 21; Holy Image, Holy Space: Icons and Frescoes from Greece,
edited by M. Acheimastou-Potamianou, Athens 1988, pp. 186-187, no. 23; Byzantium: Faith and
Power, edited by H.C. Evans, New York 2004, pp. 160-161, no. 82.
11 While this article was being prepared for printing, the icon was also presented in the exhibition
“To qpŚTEpov KĆtAAoę Bv(uvtivec; elkóyec; anó rq 0EonaXoviKq” at the Vlatadon monastery
(01 October 2018-31 March 2019), and then in the Byzantine Museum in Athens (18 July
2019-31 October 2019), see exhibition catalogue: To rjpŚTspoy KÓ.XXoę BvfavTtvśę siKÓvsę anó
Tp 0E(j<jaXoviKt], edited by <I>. Kapayićiwp, 0EOoaXoviKq 2018.
12 A. Xyngopoulos, Une icone, pp. 118-119.

24 ARTICLES

Dorota Zaprzalska