Canons
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- Canons: 74
Hodegetria
Hodegetria is one of the most frequent representations of the iconographic theme “The Virgin and Child”.
Hodegetria is one of the most frequent representations of the iconographic theme “The Virgin and Child”.
The Holy Spirit
In the Christian iconography, both Catholic and Orthodox, the Holy Spirit is represented as a flying white dove with the wings wide apart...
In the Christian iconography, both Catholic and Orthodox, the Holy Spirit is represented as a flying white dove with the wings wide apart...
The Holy Trinity
Byzantine and Post-Byzantine art tried to find solutions in order to avoid the antropomorhic representation of God the Father
Byzantine and Post-Byzantine art tried to find solutions in order to avoid the antropomorhic representation of God the Father
Jesus Emmanuel
The significance of the the names is a reference to Matthew 1:20-23, where in the scene of Annunciation, Archangel Gabriel told the Virgin Mary that she would conceive and give birth to a son whose name will be Iisus (Hebrew Yehoshua, meaning “Saviour”) a
The significance of the the names is a reference to Matthew 1:20-23, where in the scene of Annunciation, Archangel Gabriel told the Virgin Mary that she would conceive and give birth to a son whose name will be Iisus (Hebrew Yehoshua, meaning “Saviour”) a
John the Baptist
Usually represented alone, the figure of John the Baptist may appear also together with that of the Virgin Mary in dedication or votive icons.
Usually represented alone, the figure of John the Baptist may appear also together with that of the Virgin Mary in dedication or votive icons.
John the Baptist, Angel of the Wilderness
Still represented against a rocky background, suggesting the wilderness, or a neutral one, John the Baptist as Angel of the Wilderness is represented as an emaciated, ascetic barefooted character in a frontal posture, either standing or torso.
Still represented against a rocky background, suggesting the wilderness, or a neutral one, John the Baptist as Angel of the Wilderness is represented as an emaciated, ascetic barefooted character in a frontal posture, either standing or torso.
John the Evangelist Writing the Gospel - studio
The background of early illuminations is generally of a neuter character, an opaque golden pigment or a decorative pattern being used. Surrounding architectural elements will appear later, most of them depicting a scholar’s studio.
The background of early illuminations is generally of a neuter character, an opaque golden pigment or a decorative pattern being used. Surrounding architectural elements will appear later, most of them depicting a scholar’s studio.
John the Evangelist Writing the Gospel – landscape
A schematically rocky landscape is represented against a more or less neutral background, usually the sky. The Evangelist, in the foreground, could be accompanied by his symbol – the Eagle.
A schematically rocky landscape is represented against a more or less neutral background, usually the sky. The Evangelist, in the foreground, could be accompanied by his symbol – the Eagle.
John the Evangelist – as Saint of the Heavenly Court
Depicted together with all the other saints (in iconographic subjects such as the Doomsday), or in less numerous groups, even represented alone, as in patron or votive icons, St. John the Evangelist is generally presented in a frontal posture...
Depicted together with all the other saints (in iconographic subjects such as the Doomsday), or in less numerous groups, even represented alone, as in patron or votive icons, St. John the Evangelist is generally presented in a frontal posture...
Joseph and Potiphar's Wife
The story of Patriarch Joseph’s youth has often been a source in Christian literature, allegorically foretelling Jesus’ life.
The story of Patriarch Joseph’s youth has often been a source in Christian literature, allegorically foretelling Jesus’ life.
Joseph Interpreting the Dreams of the Cupbearer and the Baker
The story of Patriarch Joseph’s youth has often been a source in Christian literature, allegorically foretelling Jesus’ life.
The story of Patriarch Joseph’s youth has often been a source in Christian literature, allegorically foretelling Jesus’ life.
Joseph sold by his brothers
The story of Patriarch Joseph’s youth has often been a source in Christian literature, allegorically foretelling Jesus’ life.
The story of Patriarch Joseph’s youth has often been a source in Christian literature, allegorically foretelling Jesus’ life.
Journey of the Magi
In Byzantine and Post-Byzantine art the theme “The Magi’s Journey” is usually included in the “Birth of Jesus” canon, but it may also appear by itself.
In Byzantine and Post-Byzantine art the theme “The Magi’s Journey” is usually included in the “Birth of Jesus” canon, but it may also appear by itself.
Luke the Evangelist as Saint of the Heavenly Court
Depicted together with all the saints (in iconographic subjects as the Doomsday) or in less numerous groups and even represented alone, as in patron or votive icons, St. Luke is generally presented in a frontal position, clad, according to the Ancient tr
Depicted together with all the saints (in iconographic subjects as the Doomsday) or in less numerous groups and even represented alone, as in patron or votive icons, St. Luke is generally presented in a frontal position, clad, according to the Ancient tr
Luke the Evangelist Writing the Gospel
The background of early illuminations is generally of a neuter character, an opaque golden pigment or a decorative pattern being used. Surrounding architectural elements will appear later, most of them depicting a scholar’s studio.
The background of early illuminations is generally of a neuter character, an opaque golden pigment or a decorative pattern being used. Surrounding architectural elements will appear later, most of them depicting a scholar’s studio.
Mark the Evangelist Writing the Gospel
The background of early illuminations is generally of a neuter character, an opaque golden pigment or a decorative pattern being used. Surrounding architectural elements will appear later, most of them depicting a scholar’s studio.
The background of early illuminations is generally of a neuter character, an opaque golden pigment or a decorative pattern being used. Surrounding architectural elements will appear later, most of them depicting a scholar’s studio.
Mark the Evangelist – as Saint of the Heavenly Court
Depicted together with all the other saints (in iconographic subjects such as the Doomsday), or in less numerous groups, even represented alone, as in patron or votive icons, St. Mark is generally presented in a frontal position, clad, according to the An
Depicted together with all the other saints (in iconographic subjects such as the Doomsday), or in less numerous groups, even represented alone, as in patron or votive icons, St. Mark is generally presented in a frontal position, clad, according to the An
Matthew the Evangelist - as Saint of the Heavenly Court
The character is seen either together with all the other saints (in subjects such as The Doomsday) or in less numerous groups, even alone (as in patron or votive icons). St. Mathew is generally presented in a frontal position, clad, according to the ancie
The character is seen either together with all the other saints (in subjects such as The Doomsday) or in less numerous groups, even alone (as in patron or votive icons). St. Mathew is generally presented in a frontal position, clad, according to the ancie
Matthew the Evangelist Writing the Gospel
The character, dressed in a tunica and chiton, is deeply concentrated on the act of writing.
The character, dressed in a tunica and chiton, is deeply concentrated on the act of writing.
Meeting of the Lord in the Temple
The iconographical image of “The Meeting of the Lord in the Temple”, known by the Catholic Church as “The Presentation of Jesus at the Temple”, is based on the Gospel text, namely Luke 2: 21-38.
The iconographical image of “The Meeting of the Lord in the Temple”, known by the Catholic Church as “The Presentation of Jesus at the Temple”, is based on the Gospel text, namely Luke 2: 21-38.
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