DOI Page / Citation link:
https://doi.org/10.11588/diglit.55208#0032
AN HISTORICAL SURVEY
THE ICONOGRAPHY
The iconographical composition of the Deesis appears in Byzantine Art from
the seventh century [21]. The first description of such a representation which
has reached us is given by Sophronios, Patriarch of Jerusalem [J’63 8] [22], and
the earliest picture preserved of this subject is in Santa Maria Antiqua, in Rome,
dated at the end of the seventh century or the beginning of the eighth. This
fresco represents Christ between the Mother of God and St. John the Baptist.
But only the Virgin here is in an attitude of prayer; St. John draws attention
to our Lord with his forefinger as he does when he is represented showing the
Lamb of God [23].
The accepted composition of the Deesis as it appears in Haghia Sophia is
known from the tenth century. Several variants, however, are to be noted in
respect to the position of the personages which are sometimes represented full
length, sometimes half-length. Occasionally the personages themselves vary:
St. John the Evangelist or St. Peter or still another Saint takes the place of the
Baptist [24], exceptionally, the Mother of God is replaced by a holy woman,
as St. Martha, the sister of Lazarus [25]. Finally, on certain Russian icons, the
Theotokos and the Prodromos pray not before Christ but before an enthroned
Angel symbolizing the Wisdom of God [26].
In the earliest examples of the Deesis, Christ is surrounded by Angels [27].
Later other Saints appear until the procession reaches an ever-increasing multi-
tude. Thus, from the thirteenth century onwards, long files of holy per-
sonages joining the intercession encircle entire walls of churches and find their
way to the iconostasis [28]. Most frequently the Deesis is a nucleus of the Last
Judgement where the Tribunal formed by the Judge and the intercessors towers
above the saints and the sinners [29].
Various opinions have been expressed in regard to the origin of the image
of the Deesis. The hypothesis, according to which the painters were inspired
by a ceremony of the imperial court when the basileus received the requests of
dignitaries standing on both sides of the throne [30], may be questioned, as
there are no texts proving that a ritual of this nature took place [31]. According
to another, the Deesis is derived from the early Christian composition of the
‘Adoration of Christ’, where the Saviour is shown enthroned blessing two
Apostles or two Saints who are praying on either side before Him. This more
ancient representation may be derived in antecedence, it is thought by some,
from the images of emperors or consuls receiving the homage of warriors or
allegorical figures [32]. This supposition would indeed be convincing were it
THE ICONOGRAPHY
The iconographical composition of the Deesis appears in Byzantine Art from
the seventh century [21]. The first description of such a representation which
has reached us is given by Sophronios, Patriarch of Jerusalem [J’63 8] [22], and
the earliest picture preserved of this subject is in Santa Maria Antiqua, in Rome,
dated at the end of the seventh century or the beginning of the eighth. This
fresco represents Christ between the Mother of God and St. John the Baptist.
But only the Virgin here is in an attitude of prayer; St. John draws attention
to our Lord with his forefinger as he does when he is represented showing the
Lamb of God [23].
The accepted composition of the Deesis as it appears in Haghia Sophia is
known from the tenth century. Several variants, however, are to be noted in
respect to the position of the personages which are sometimes represented full
length, sometimes half-length. Occasionally the personages themselves vary:
St. John the Evangelist or St. Peter or still another Saint takes the place of the
Baptist [24], exceptionally, the Mother of God is replaced by a holy woman,
as St. Martha, the sister of Lazarus [25]. Finally, on certain Russian icons, the
Theotokos and the Prodromos pray not before Christ but before an enthroned
Angel symbolizing the Wisdom of God [26].
In the earliest examples of the Deesis, Christ is surrounded by Angels [27].
Later other Saints appear until the procession reaches an ever-increasing multi-
tude. Thus, from the thirteenth century onwards, long files of holy per-
sonages joining the intercession encircle entire walls of churches and find their
way to the iconostasis [28]. Most frequently the Deesis is a nucleus of the Last
Judgement where the Tribunal formed by the Judge and the intercessors towers
above the saints and the sinners [29].
Various opinions have been expressed in regard to the origin of the image
of the Deesis. The hypothesis, according to which the painters were inspired
by a ceremony of the imperial court when the basileus received the requests of
dignitaries standing on both sides of the throne [30], may be questioned, as
there are no texts proving that a ritual of this nature took place [31]. According
to another, the Deesis is derived from the early Christian composition of the
‘Adoration of Christ’, where the Saviour is shown enthroned blessing two
Apostles or two Saints who are praying on either side before Him. This more
ancient representation may be derived in antecedence, it is thought by some,
from the images of emperors or consuls receiving the homage of warriors or
allegorical figures [32]. This supposition would indeed be convincing were it