On the Princes’ Islands of Istanbul, a masterpiece and treasure of Byzantium was waiting to be discovered.
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It was a unique bilaterally post-Byzantine icon of Panagia Eleousa, which had the peculiarity that on its reverse side it featured another painted icon of the same time period, “hidden” for over a century in a heavy metal box, kept in the Church of Panagia Eleousa on Büyükada/Pringipos.
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Venizelos G. Gavrilakis and Vaia A. Karagianni, founders of VENIS STUDIOS were asked to remove the silver revetment that covered the icon of the Panagia, in order to conserve it, by the Senior Metropolitan Mr. Dimitrios Kommata. The removal of the silver revetment, which dated back to 1750, revealed a unique 16th-century icon of Panagia Eleousa (Virgin Mary Eleousa),
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while the removal of the old bronze box on its back revealed a second unique Byzantine-period icon, The Descent into Hades. Since 14TH century
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icon, particularly affected by the passage of centuries, wars, and human negligence, was submitted with respect and special attention to phases of physico-chemical work carried out in collaboration with the Greek foundation “Ormylia” and its scientific director Mr. Georgios Karagiannis in order to study its stratigraphy, and identify the pigments, the gold leaf, and the other construction materials.
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The goal was the study of the technique, the pigments, and the verification of the exact dating of the icon. In addition, phases of special photography and special conservation tests were made by the conservation team, in order initially to carry out the urgent conservation treatment, and secondly the proper conservation and restoration treatment for saving the icon.
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The conclusions reached by the Scientific Director of “ORMILIA foundation Mr. Georgios Karagiannis, Professor of Byzantine Archeology and Art Dr. Athanasios Semoglou, and President of “VENIS STUDIOS” Venizelos Gavrilakis led to the seemingly paradoxical conclusion that it is an artifact from two different time periods: the 14th and 16th centuries. In particular, as confirmed by the scientific team, it was a two-sided procession icon (litany icon) which was originally made and painted on both sides in the 14th century.
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However, due to possible disasters, the icon was apparently dismembered, the front side was destroyed and the right side of the back side of The Descent into Hades, was completely lost,” emphasizes Venizelos Gavrilakis. Thus, in the 16th century, the early preservation work of the icon took place, during which the other half of the missing wooden support was added to the surviving part, and the Virgin Mary Eleousa and the right part of The Descent into Hades, which had been lost, were painted. Therefore, it was concluded by the scientific team that this was a unique two-sided Byzantine icon from two distinct time periods.
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Some of the most important findings regarding the icon are listed below:
1st, the icon was a two-sided procession icon that was used during holy ceremonies such as Easter or the celebration days of the Virgin Mary. This is deduced from the wooden part, a remnant of the traveling pole that has been preserved to this day and is a rare and unique find.
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2md after the removal of the silver revetment, coins and silver votive offerings were found that were deposited by the faithful and pilgrims who prayed to the icon for, among others, their health and the health their loved ones. Among the coins, a gold coin of Sultan Mahmud II (r. 1808-1839) was found.
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3rd Mr. Athanasios Semoglou points out that the iconographic combination of the Panagia Eleousa and The Descent into Hades, The Resurrection of Christ, is a unique case
4th in the lower left painting zone the donor of the icon is depicted, kneeling in front of the resurrected Christ for the salvation of his soul. Mr. Athanasios Semoglou confirms that from his clothing and facial style we can surmise that he was an aristocrat of the late Byzantine period of the 13th and 14th centuries.
5th the interventions present in the icon offer important evidence about its restoration in the 16th century. And finally, every detail in the painting of the icon, the iconographic type of Christ and the Virgin Mary, the prophets and all their faces, the colors, the gold background, clothing, scenes, etc. contain symbolic references.
Through to the interesting and call of the Senior Metropolitan Mr.Dimitrio Kommata and the church committee of Panagia Eleousa at Buyukada in Prince island in Istanbul this unique master piece had been saved. We thank him for his generous all-time support and contribution to all face of conservation and restoration process.
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A masterpiece – a Byzantine Mona Liza, that has survived through the centuries from Byzantium to our day and that conveys a multitude of messages, historical, social, and artistic, with the scalpel of the conservator, who tends to it as an art doctor, has been saved for future generations. This magnificent, rare, and unique artifact is kept at the Church of Panagia Eleousa in Büyükada/Pringipos of Istanbul.
I want to learn more:
by Venizelos G. Gavrilakis
VENIS STUDIOS would like to thank its associates and assistants :
Konstantinos P. Politis, Athanasios Semoglou, George Karagiannis
Konstantinos Stoupathis, Rawan Nassar Al Rabadi, Baher Nassar Eid Al-Rabadi, , Alp Deniz Kaygin
Edited Athina Gkouma
About the author:
Venizelos G. Gavrilakis, a renowned expert in the art conservation and restoration of Byzantine and post-Byzantine icons, historical oil paintings, and Ottoman-era artwork, has been working as a senior expert conservator and restorer since 1994. He has worked with various institutions and has been involved in international conservation meetings and conferences. Gavrilakis is the president of the art conservation and restoration company VENIS STUDIOS, based in Istanbul, Turkey, and has collaborated with galleries, antique dealers, and private collectors.
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