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Amidst the enchanting Bosporus Strait, on the grounds where an ancient temple dedicated to the Goddess Demeter—or possibly, as historical records suggest, the Mother of Gods, Isis—once stood, we encountered a remarkable religious and historical artifact. This rare icon, preserved with reverence within a Byzantine church dedicated to Saint Demetrius, lies in Kuruçeşme, one of the most picturesque suburbs on the European side of Istanbul. Originally built in the 15th century atop a lush, green hill and later reconstructed at its base in the 18th century, the church remains surrounded by the constant melody of its holy spring. This site of profound historical and spiritual significance brought us face-to-face with a unique piece of cultural heritage.
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This masterpiece, an “Ierosolimitika” or “Proskynitaria” icon, is a type of religious artwork traditionally brought back by pilgrims to the Holy Land since the 17th century. These icons, laden with intricate miniatures, depict scenes from the lives of Jesus Christ, the Virgin Mary, saints, and prophets, as well as the Church of the Resurrection and the walls of Jerusalem. Historical research traces these artifacts to illustrated “manuscript icon stands” dating back to the 10th century and earlier, which served as illuminated guides and travel aids for those visiting the Holy Land. The earliest known mapping of the Holy Land, the famed Madaba Map mosaic, dates from approximately 560–565 CE, and it stands as a foundational reference for later representations.
Initially, icons like the “Ierosolimitika” and “Proskynitaria” served as both visual and spiritual maps for pilgrims in Jerusalem, gradually evolving into complex, symbolic images commemorating the experience of pilgrimage. These icons typically centre on the walled city of Jerusalem and the Church of the Holy Sepulchre, featuring architectural elements such as the rotunda and catholicon. Their conceptual representation of Jerusalem captures not just the physical city but also its profound spiritual significance. Greek inscriptions often identify the icons’ owners, underscoring their role as both souvenirs and symbols of spiritual identity.
From simple cartographic tools to intricate religious icons, the “Ierosolimitika” and “Proskynitaria” trace a significant path in Christian iconography. Created in Jerusalem, these works evolved from practical aids to richly symbolic artifacts, intertwining geography with spiritual meaning.
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The Conservation and Restoration of the “Agiotafitiko”
The conservation and restoration treatments have been done insitu inside the church of St. Demetrius, we set up a portable scientific conservation laboratory. The “Agiotafitiko” icon, a revered artifact of deep historical and spiritual significance, had suffered extensive deterioration from time, environmental conditions, and multiple unauthorized restoration attempts. The painting, along with its original canvas, showed significant wear, including surface damage, fading, loss of elasticity, and patching from previous interventions. Using comprehensive scientific research and meticulous restoration techniques, we undertook the delicate process of diagnosing, conserving, and restoring the icon to honour its historical authenticity and cultural integrity.
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Diagnostic Techniques and Initial Observations
We began with a detailed examination of the icon to document and analyze its condition, using various advanced optical methods to identify the extent and morphology of damage. By employing ultraviolet (UV) and infrared (IR) spectroscopy, along with Reflectance Transformation Imaging (RTI), we created a three-dimensional depiction of the painting’s surface. RTI, a specialized photographic technique, allowed precise identification of the wear on the icon, categorized by type, size, and depth. This approach produced a comprehensive map of the surface damage, revealing extensive oxidation, dirt build-up, and past overpainting that obscured the original design. Additionally, the creation of a linear damage depiction offered insights into the damage morphology, providing a robust foundation for selecting the most accurate conservation techniques.
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Surface Cleaning and Varnish Removal
The artifact’s painting surface was darkened by layers of oxidized varnish and pollutants, which had rendered the iconography nearly illegible. Additionally, arbitrary overpainting covered sections of the original artwork. After close examination under a stereomicroscope, we tested various cleaning methods to determine the most effective solution while minimizing damage to the original colours. In areas covered with shellac-varnished silver, used to simulate gold, we identified that a careful combination of organic solvents and mechanical tools, including micro-scalpels, was necessary.
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This method enabled us to gently remove the oxidized varnish and other contaminants, revealing the icon’s vibrant original colours and intricate details. The controlled use of magnifying lenses throughout the process ensured precision and allowed us to maintain the integrity of the underlying paint.
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Canvas Conservation and Lining
The original canvas presented serious challenges. It had been trimmed along the edges, was highly fragile, and bore numerous tears, all of which compromised its elasticity. Furthermore, a previous lining attempt had adhered the canvas to a newer, incompatible fabric that was poorly attached, resulting in wrinkling and lifting. These issues required immediate intervention to stabilize and preserve the canvas for the long term.
To protect the painted surface, we covered it temporarily with specialized Japanese paper before cautiously removing the newer canvas. We then cleaned the original canvas of any remaining glue and dirt, using a heated spatula and steam to flatten it and prepare it for proper relining. Through a thorough analysis of the original canvas’s composition, texture, and density, we selected a new support fabric of similar quality and prepared it with a special adhesive that would reinforce the original material’s cohesion without compromising its elasticity.
Using a traditional organic glue formula, we bonded the new lining to the original canvas with a heated spatula, adhering to historic techniques and materials for optimal compatibility and durability. This approach not only preserved authenticity but also ensured a lasting bond, supporting the artwork’s longevity. The restructured canvas was then carefully stretched over a custom, traditional chestnut wood frame equipped with specialized keys, allowing precise tension adjustments for a stable, even stretch across the entire surface. The choice of chestnut wood, known for its resilience, contributes additional support to the frame of the canvas of the icon, preserving both its aesthetic and structural integrity.
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Retouching and Restoration
With the structural conservation of the canvas and the initial restoration of the painting completed, we turned to the meticulous process of paint retouching to restore the icon’s original iconography. In alignment with the rigorous standards set by the national preservation of cultural heritage organization and the National conservation and Restoration Charters, we adhered to principles of minimal intervention and authenticity. Retouching was limited exclusively to areas where the image was severely deteriorated, preserving the integrity of the original.
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To reconstruct missing preparation layers, we applied the traditional gesso as a stable foundation for the paint restoration. For sections with considerable loss or insufficient detail to accurately recreate the original, we employed the “rigatino” technique, or “Tratteggio.” This approach, using thin, vertical lines of pure color, allows for a seamless visual integration from a distance while remaining discernible upon close examination. The result is a harmonious restoration that respects both the authenticity of the piece and the viewer’s experience.
This selective restoration technique respects the original iconography, as it visually integrates into the artwork without overwriting its historical character, ensuring that the restored elements complement rather than replace the authentic design.
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Final Varnishing and Preservation Display
After completing the retouching, we applied a protective layer of a specialized, thin varnish designed to shield the surface from UV exposure. This final varnish not only protected the paint from environmental factors but also revived the icon’s vibrancy, enhancing the depth and richness of its intricate iconography.
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The restored “Agiotafitiko” icon now resides in a custom-crafted wooden display case, a blend of preservation and reverence that protects its sanctity while allowing for appreciation and veneration.
A Legacy Preserved for Eternity
The conservation and restoration of the “Agiotafitiko” painting icon embody the enduring bond between art, faith, and historical memory. By reviving this precious relic, we honor the pilgrim who once brought it from the Holy Land and preserved it through time. Through painstaking preservation, the icon now stands as a living testament to Christian devotion, linking the past with the present and ensuring its story will inspire future generations. The restoration journey symbolizes a sacred continuity, one where the icon’s journey from Jerusalem to Istanbul unites tradition, spirituality, and cultural heritage on the canvas of eternity ratives they embody.
I want to learn more:
by Venizelos G. Gavrilakis
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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Articles: World Art News articles
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