Continental European before 1800 24 Further information sought on this image of Christ with the Instruments of the Passion

KT_MMB_22_022
Topic: Subject or sitter

This is part of a larger collection of icons donated to the museum by a previous curator, Grove.

There is another work on PCF with a similar iconography – though Catholic rather than Orthodox in origin (Greek School?) – see link. The title and description on that work more accurately reflect the subject here. The British Museum holds the national collection of icons so may be able to help further.

https://artuk.org/discover/artworks/christ-at-the-tomb-with-the-instruments-of-the-passion-221852/view_as/grid/search/works:christ-at-the-tomb-with-the-instruments-of-the-passion/page/1

24 comments

Christopher Foley,

The Greek inscription says Epitáphios Thrēnos, the "Lamentation upon the Grave" which is the main part of the service of the Matins of Holy Saturday. The two-letter ligatures at the top are of course I(esu)s CH(risto)s

Christopher Foley,

The inscription on the radiant halo seems to read IS - 'U - N, for Jesus of Nazareth Son (Huios) [of God] - the common formula.

Susanna Avery-Quash,

Just to add that in 2000 I was one of the authors of the National Gallery's 'Seeing Salvation; The Image of Christ' exhibition catalogue. In the show we displayed several related images, and you may find relevant general information on the theme in those entries and in the relevant introductory essay. The catalogue is widely available 18 years later including through the Gallery's online shop, I think.

Dr Susanna Avery-Quash
Senior Research Curator (History of Collecting)
The National Gallery

Kieran Owens,

There is something not correct about this icon. The image depicted is representative of the concept of 'The Extreme Humility' or 'The Extreme Humiliation' of Jesus Christ. It is also known as the 'Man of Sorrows' and the 'Imago Pietatis' A Google Images search of any of these specific phrases will return similar images from many different eras, from both Orthodox Greek and Orthodox Russian traditions. As one source explains - "In the icon of the Extreme Humility, the nakedness of the body, the closed eyes, the open sarcophagus, the Cross, the instruments of the Passion, the wounds in the hands and the ribs and the hair down, consist the inclusion of the Holy Passion and forewarn the Resurrection. The Cross comprises the symbol of triumph of the Extreme Humility, the victory of immortality and life, and hope and salvation for the orthodox Christian." The Greek icon of the Extreme Humility usually contains the phrase 'Η Ακρα Ταπεινωσις / He Akra Tapeinosis'.

The phrase Ο ΕΠΙΤΑΦΙΟΣ ΘΡΗΝΟΣ — Ho Epitaphios Threnos — 'The Lament [threnos] Over [epi-] the Tomb [-taphios/taphos].', which is included in this discussion work, is usually found on a completely different icon, one that very specifically depicts Christ's removal from the cross and his burial, and always contains a cast of many characters who were present at that moment in the Biblical story.

The following links lead to articles that very clearly differentiate between these two important Holy Week images:

https://bit.ly/2uvJ9u7

https://bit.ly/2NMmaDX

As this discussion's subject has the Lamentation icon script attached to the Man of Sorrows icon image, the question must be asked if there is a case here of a purchase having been made by Grove of something that was not authentic work of art.

Additionally, the icon cannot truly be titled 'Christ on the Cross' as it shows him in his sarcophagus. In truth it should be titled, as mentioned above, 'The Extreme Humility' or 'The Man of Sorrows'.

Kieran Owens,

It might also be worth suggesting to Campion Hall, University of Oxford, there their icon should be similarly named as 'Extreme Humility', 'Man of Sorrows' or 'Imago Pietatis', depending on their preference.

https://bit.ly/2KV0J5P

Kieran Owens,

It might also be worth noting that in most cases of the Lamentation script - O ΕΠΙΤΑΦΙΟΣ ΘΡΗΝΟΣ / Ο Επιτάφιος Θρήνος / Epitaphios Threnos - the third letter of the second Greek word in an Iota and the third letter of the third word is an Eta, whereas in this discussion's icon both third letters are painted as an Eta. The English translation would be the word Epetaph as opposed to the correct Epitaph. This poses another interesting possibility that the painter was not familiar with the Greek language.

David Coomler,

In Greek icon inscriptions it is common to find the letters eta (Η/η) and iota (Ι/ι) used interchangeably. In medieval and later Greek (as in modern Greek), both were pronounced as "ee" in English "see," and it was common for painters to write phonetically. Consequently, there is nothing unusual in finding Επιτάφιος/Epitaphios written as Επητάφιος/Epetaphios. The pronunciation was identical. Thus, rather than being a sign of unfamiliarity with Greek, it is just the opposite.

Kieran Owens,

Thank you for that correction. Would such an inscription have been commonly found on an unrelated icon image, as in this case?

Kieran Owens,

And are you familiar with the three circles that appear on the bottom of this icon. Have you seen such images before or have an explanation as to what they might be?

David Coomler,

Kieran Owens asked these questions:

1. Would such an inscription have been commonly found on an unrelated icon image, as in this case?"
2. Are you familiar with the three circles that appear on the bottom of this icon?

It is not unusual to find incorrect title inscriptions on old icons. Painters occasionally made errors. In this case, the standard title for the type depicted is Ἡ Άκρα Ταπείνωσις/He Akra Tapeinosis -- generally rendered as "Extreme Humility." Though the Epitaphios Threnos (Ὁ Επιτάφιος Θρήνος/Ho Epitaphios Threnos/ "The Lamentation at the Tomb") is a different icon type, the two are thematically related, both being "Passion" images.

The three circles at the base of the example are not part of this type, and without hands-on examination, one can only speculate. In the photo, they appear to be circular depressions carved into the icon panel. A circular, carved depression in an icon panel may indicate that a relic has since been removed, or that an ex voto object was once attached to the panel (such a coin, etc.).

Kieran Owens,

David, for the purposes of comparison and contextualisation, please be so kind as to send a reference or a link to any other examples of an icon representing the 'Extreme Humility' that carries the 'Lamentation' script. Given the veneration that many of these icons are supposed to attract, it seems odd to me that items of such deep religious importance should be confused with one another by any artists entrusted with their creation. Or are icons such localised creations that they are vulnerable to such a confusing mix of image and title?

Al Brown,

With reference to Kieran's last comment, I did wonder whether there was anything in the piece which could point to its origin more specifically. For example, could it be pinned down to being Cretan in origin rather than, more generally, Greek?

Kieran Owens,

David, once again, you state 'It is not unusual to find incorrect title inscriptions on old icons'. Could you please furnish this discussion with any single good example of such practice?

Kieran Owens,

David, it would still be deeply appreciated if you could you please furnish this discussion with any single good example of a legitimate icon representing the 'Extreme Humility' that carries the 'Lamentation' script. That way, the nagging feeling, that this discussion's work is in some way just a stylistic mash-up for unsuspecting foreign travellers or poorly-informed icon collectors, still prompts the possibility, as posted above, if there is a case here of a purchase having been made by Grove of something that was not an authentic work of genuine icon art.

Jacinto Regalado,

Kieran, as I'm sure you know, even if a (genuine) example were to be provided, that would not prove the piece under discussion is genuine.

Kieran Owens,

Jacinto, the point of the request is to ascertain if, as David has said there does, such examples exists. If one does not, it makes more likely the possibility of this discussion's work being not genuine, as it would suggest that the artist who created it did not know that the 'Lamentation' script should not appear on an icon depicting the 'Extreme Humility'. It would be akin to seeing the wrong text appearing under any one of the twelve Stations of the Cross in a Catholic Church. No such mistake would be tolerated by those for whom such images are important.

David Coomler,

Sorry to be so late in replying. I did not realize this discussion had continued.

It would have been rather easy for an icon painter to have used the Epitaphios Threnos title for this icon instead of the one we might expect, because there are several thematically-related icon types that tend to blend into one another in iconography of the Greek-speaking regions. This type -- He Akra Tapeinosis -- is in fact often titled He Apokathelosis -- "The Removal [from the Cross]" in Greek, though there is a more complex icon with multiple figures using that same title -- and that more complex image often blends into the Epitaphios Threnos type. It is a mistake to look at old iconography with modern expectations of neat and tidy nomenclature. And of course painters sometimes simply made mistakes.

Jacinto Regalado,

I expect this is no earlier than 19th century and quite possibly twentieth. When was it donated? Given the Greek inscription, plus the fact that Russian icons of the Extreme Humility type tend to include Mary as Mater Dolorosa, this should be listed under Greek School. It is not by a first-rate icon painter, certainly, but it may have been made for a relatively modest market by a lesser hand, and thus need not be a forgery meant to deceive.

Jacinto Regalado,

Also, the Art UK entry title should reflect the iconographic type and be preceded by "Icon with," in keeping with Art UK practice as recommended by icon expert Professor Robin Cormack. For search purposes, I would suggest "Icon with the Extreme Humility (Christ in the Tomb)" as the title. The current title is inaccurate, as the image does not show the crucified Christ but is subsequent to that.

Jacinto Regalado,

And by the way, why is this in the Continental European category?

Jacinto Regalado,

Actually, Professor Cormack should be consulted about this work, as Marion has done for various icons on Art UK--he could no doubt give a highly informed opinion about the various issues under discussion, including dating. I highly recommend doing so.

Jacinto Regalado,

I shall save others the trouble of pointing out, to my embarrassment, that Greece is in Europe. As for my theory about the date of this icon, that matter is much better left to Professor Cormack.

Jacinto Regalado,

Marcie, those semicircular shapes are probably the tops of the haloed heads of saints to either side of the Virgin Mary.

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