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Hodegetria

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from Palestine, was a large circular icon only of her head. When the icon arrived in Constantinople, it was fitted in as the head in a very large rectangular icon of Mary holding the Christ child; it is this composite icon that became the one historically known as the Hodegetria. Another tradition
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Another account says the bearers staggered around the crowd, the icon seeming to lurch towards onlookers, who were then considered blessed by the Virgin. Clergy touched pieces of cotton-wool to the icon and handed them out to the crowd. A wall-painting in a church near Arta in Greece shows a great
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Every Tuesday twenty men come to the church of Maria Hodegetria; they wear long red linen garments, covering up their heads like stalking clothes there is a great procession and the men clad in red go one by one up to the icon; the one with whom the icon is pleased is able to take it up as if it
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The original icon has probably now been lost, although various traditions claim that it was carried to Russia or Italy. There are a great number of copies of the image, including many of the most venerated of Russian icons, which have themselves acquired their own status and tradition of copying.
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at her side while pointing to him as the source of salvation for humankind. The Virgin's head usually inclines towards the child, who raises his hand in a blessing gesture. Metals are often used to draw attention to young Christ, reflecting light and shining in a way to embody divinity. In the
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weighed almost nothing. He places it on his shoulder and they go chanting out of the church to a great square, where the bearer of the icon walks with it from one side to the other, going fifty times around the square. When he sets it down then others take it up in turn.
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There are a number of images showing the icon in its shrine and in the course of being displayed publicly, which happened every Tuesday, and was one of the great sights of Constantinople for visitors. After the
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picture of the shrine in the monastery appears to show the icon behind a golden screen of large mesh, mounted on brackets rising from a four-sided pyramidal base, like many large medieval
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was determined to be a very exact, but reverse mirror image of the original circular icon that was made in the 5th century and brought to Rome, where it has remained until the present.
2126: 220:, this image became more widely used, possibly developing from an earlier type where the Virgin's right hand was on Christ's knee. An example of this earlier type is the 358:, who likewise had it inserted into a larger image of Mary and the Christ child, which is presently enshrined above the high altar of the Benedictine Abbey church of 91:, which was built specially to contain it. Unlike most later copies it showed the Theotokos standing full-length. It was said to have been brought back from the 254:(Virgin of Tender Mercy), where Mary still indicates Christ, but he is nuzzling her cheek, which she slightly inclines towards him; famous versions include the 407: 463: 151:, and since none of the illustrations of the shrine at the Hodegetria Monastery predate this interlude, the shrine may have been created after its return. 1167: 980: 1728: 1597: 1466: 2121: 1706: 1062: 983:(in Polish, English, and Hungarian). Łódź-Pelplin: Wydawnictwo Konserwatorów Dzieł Sztuki, Wydawnictwo Bernardinum. p. 302. Archived from 451: 1304: 2009: 1955: 1718: 903: 1456: 1037:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains many examples of Hodegetria 2116: 1947: 1901: 1008: 849: 810: 723: 31: 1691: 381: 354:, fled Constantinople in 1261, he took this original circular portion of the icon with him. It remained in the possession of the 291: 485: 1982: 548: 439: 2082: 2055: 1527: 1032: 1615: 514: 499: 1092: 1055: 351: 2136: 1413: 1353: 388: 1637: 942: 423: 1723: 1684: 1117: 491: 1879: 1806: 1446: 1297: 1182: 314: 259: 542: 1761: 1632: 1605: 1544: 1107: 313:
This icon, dated by art historians to the 11th century, is believed to have been destroyed by fire during the
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crowd watching such a display, whilst a street-market for unconcerned locals continues in the foreground.
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An Italian tradition relates that the original icon of Mary attributed to Luke, sent by Eudocia to
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in 1941. A number of churches all over Russia are dedicated to the Smolensk Hodegetria, e.g., the
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There are a number of accounts of the weekly display, the two most detailed by Spaniards:
1811: 1738: 1177: 1071: 643: 534: 322: 129: 108: 88: 69: 2110: 2094: 2003: 1960: 1938: 1896: 1874: 1751: 1655: 1137: 1082: 217: 175:. The heads of the red-robed attendants are level with the bottom frame of the icon. 144: 133: 100: 96: 16:
Type of depiction of the Virgin Mary in iconography, especially of the Eastern Church
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on the other side, and was "perhaps the most prominent cult object in Byzantium".
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An Italian "original" icon of the Hodegetria in Rome features in the crime novel
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Warren Treadgold, A History of the Byzantine State and Society, Stanford, 1997
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The Italian tradition spread also to Malta in the sixteenth century and the
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Some Russians, however, believe that after the fall of Constantinople,
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of the Hodegetria type, regarded as the original, was displayed in the
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Images of the Mother of God: Perceptions of the Theotokos in Byzantium
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Full-length versions, both probably made by Greek artists, appear in
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Perhaps a lay confraternity – they are shown inside the shrine in a
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states that when the last Latin Emperor of Constantinople,
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Cormack:61 for display, 58 and illustration 9 for shrine
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Pentcheva, Bissera V. (2006). "The Performative Icon".
290:'s icon surfaced in Russia, where it was placed in the 663: 310:
was built in her honour. Her feast day is August 10.
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It may have been cut into four pieces. 132:, from 1204 to 1261, it was moved to the 30: 23:Version of the Theotokos of Smolensk by 688: 593: 481: 403: 103:(408–450), and to have been painted by 1034:Byzantium: Faith and Power (1261–1557) 630: 445:The Theotokos of Perivleptos (c. 1350) 72:this type of icon is sometimes called 671: 642: 413:Full-length mosaic by Greek artists, 182:in 1453 when it was deposited at the 7: 906:. vultus.stblogs.org. Archived from 862:"Image: madonna.jpg, (300 × 556 px)" 844:, p.126, 1983, John Murray, London, 111:. The icon was double-sided, with a 85:Monastery of the Panaghia Hodegetria 718:, p.91, 1983, John Murray, London, 380:It gives its name to the church of 778:Cormack:59-61 – Pero Tafur in 1437 250:From the Hodegetria developed the 14: 929:The Primacy of the Church of Rome 623:'She who points the Way' 2088: 2077: 2076: 1367: 1255: 1241: 541: 527: 513: 498: 484: 462: 450: 438: 422: 406: 391:is dedicated to the Hodegetria. 382:Santa Maria Odigitria al Tritone 274:The shrine of the Hodegetria in 178:The icon disappeared during the 2056:Saint Luke painting the Virgin 1477:Miracle at the Wedding at Cana 1472:Finding of Jesus in the Temple 632:[(h)o.d̪e̝ˈɡˠe̝.tri.a] 1: 813:. Four pieces from Cormack:59 315:German occupation of Smolensk 35:12th-century plaque found in 2122:Black Madonna of Częstochowa 612: 549:Black Madonna of Częstochowa 134:Monastery of the Pantocrator 734:Vasilakē; op & page cit 704:(4): 633 – via JSTOR. 673:[ɐ.dʲɪˈɡʲi.trʲɪ.jə] 664: 389:Chapel of Our Lady of Itria 337:as "Our Lady of Smolensk." 2155: 981:"Częstochowska Hodegetria" 787:Cormack: illustration p.60 604: 2072: 1675: 1523:Bilocation to Saint James 1365: 1250: 1239: 1078: 1072:Titles of the Virgin Mary 979:Kurpik, Wojciech (2008). 974:. London: Reaktion Books. 831:Vasilakē; op and page cit 653: 260:Theotokos of St. Theodore 2117:5th-century Christianity 1575:Protoevangelium of James 999:Vasilakē, Maria (2004). 644:[o̞.ðiˈʝi.tri.ɐ] 492:Mother of Perpetual Help 333:. 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Index


Dionisius

Torcello Cathedral
iconographic
Theotokos
Virgin Mary
Child Jesus
Western Church
icon
Monastery of the Panaghia Hodegetria
Constantinople
Holy Land
Eudocia
Theodosius II
Saint Luke
Gospel of Luke
crucifixion
Fourth Crusade
Monastery of the Pantocrator
cathedral
Venetian
see
Frankish rule
Hamilton Psalter
lecterns
Fall of Constantinople
Chora Church

Italo-Byzantine

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