**2.2. Apostles**

**2.1. Angels**

20 Perception of Beauty

as stylish impression.

As inhabitants of the celestial heights and messengers of God, the angels occupy a special place in the visual gallery of saintly characters due to their heavenly origin, as well as their supernal nature. Sensual and light-weighted, vibrant and graceful, the supernatural angelic individuals are marked by the features of superiority, charity, compassion, benefaction, and kindness. As intermediaries between heaven and earth and representatives of the superb power of godly intentions for the faithful, the angels are blessed with the virtues of purity and grace, physical seductiveness, and spiritual intensity. As the most exotic of all saintly characters, the angelic creatures can float and hang in the air, balance in the imaginary horizons, as well as be stable and earthbound as much as any other member of the "pantheon" of Christian saints. Originated in the heavenly spheres of the eternal Kingdom, the angels emanate facial features of perfect harmony, composed of round shapes and oval contours with almond-like eyes, rosy cheeks, and juicy lips, and ornamented with luxuriant locks of long, curly hair. Their facial expression is gentle and calm, illuminative, tender, and radiant. Tall and skinny, long-legged, and attractive are the basic features of angels' corporal appearance which, encompassing their appealing bodies, as well as their elegance, refer to the most desirable form of beauty in the world of saintly characters. The postures of the represented angels are noble and elegant, classy and glamorous, radiating with superior lightness and aerial exuberance. With energetic charge composed of celestial sparkles that permeate the figures with ceremonial motions, the angels look like cosmic voyagers who have come down to earth from the most exotic spheres of the universe. Dressed in white garments made of light fabrics, or, occasionally, in exclusively ornamented costumes with militant or aristocratic insignia, the heavenly messengers, warriors, and landlords astonish with their graceful appearance, imposing elegance, as well

From the dignified stances of the pretentiously handsome angels in the Basilica of Sant' Apollinare Nuovo in Ravenna (executed in the period between 556 and 569) [9] to the powerful and vigorous angelic figures from the Kariye djami in Istanbul (1321) [10], the angels have gone a long way through the horizons of physical beauty in Byzantine painting. In that regard, one should mention the suggestively portrayed and aristocratically dressed angels from the church of Dormition in Nicaea (Turkey) represented with vivid, almost humanlike facial expression [11], as well as the womanly elegant figure of the archangel from the decorative program of the church of St. Sophia in Constantinople [12], both from the second half of the ninth century. Among the many beautiful angelic representations from the mid-Byzantine period, the one decorating the eastern wall of the church of St. George at Kurbinovo in Macedonia (1191) is, by all means, the most attractive (**Figure 1**). Tall and slender, sophisticated and weightless, with long extremities and a feminine portrait, the archangel Gabriel from the Kurbinovo temple is one of the most alluring saintly characters of the twelfth century. The energetic pose of the angel, the temperament gesture full of inner self-confidence, the rhythmically conducted pace, and the dynamic unrest of the light draperies, as secondary traits of the Kurbinovo angelic depiction, are characteristic enough of a jubilant "top model" in the world of saintly characters. The thirteenth century introduces more manly traits in the representation of angels in regard to the corpulence of their figures, as well as the accentuated attention to the design of their costumes, as shown

Being among those who accompanied Jesus on His mission of salvation, the apostles gained a particular place in Christian religion as closest collaborators of the Messiah. Witnesses of Christ's ministry and members of his personal entourage, the 12 disciples have become his direct successors in the aftermath of His Passion and Resurrection. Marked by the physical features of sturdiness and vigor, as well as the spiritual traits of unwavering determination, the holy apostles have become members of the saintly gallery as early as the beginnings of painterly decoration of the Christian temples. Immovable and unbreakable, dedicated and proactive, the 12 devoted associates of Jesus gained visual traits of imposing physical strength and firmly modeled psychological characters. In that regard, their facial features are constructed in a manner that displays voluminous forms and accentuated secondary traits appropriate to the different age of each individual. Peaceful and dignified, serious and full of personal integrity, the facial expression of the apostles match their internal affection for humanity, as well as the solemn dimension of their kindhearted nature. In regard to their

**Figure 2.** The church of the Virgin Peribleptos in Ohrid, Archangel Gabriel.

corporal appearance, one should notice the firm musculature of their bodies which reflects the power of endurance, the intensity of the physical activities, as well as the magnitude of their missionary performances. Since the bodies are strong and vigorous, the postures of the apostles are stable and resolute, powerful and proud, emanating potency and determination, carnal steadiness, and physical well-being. Permeated with energetic charge of a kinetic nature, yet represented with moderate motion and dignified movements, the apostles look like monumental celestial heroes descended from the horizons of supreme spiritual power. Dressed in characteristic apostolic costumes, depicted with diverse hair styles and inventively configured facial "supplements," the 12 disciples of Christ are the most "iconic" of all members of the saintly elite.

Making their entry into the painterly world of saintly characters even in the times of the Roman catacombs [15, 16], the apostles have earned their permanent place among the most representative individuals of Christendom. In the Byzantine period, the apostles Peter and Paul became the true representatives of the apostolic community in the sphere of painterly depictions as the two monumental pillars of perseverance and religious determination. This duo took the role of the leaders of saintly processions in the sixth century [17] and later Peter and Paul appear as symbols of the apostolic group and guardians of Christ's testament and His missionary legacy. That is the case with the monumental and physically powerful figures of the apostles in the church of St. Demetrius at Vladimir from the end of the twelfth century [18], as well as with the suggestive and authoritative portraits of Sts Peter and Paul in the church of saint Achilleos in Arilje (Serbia) from the end of the thirteenth century [19]. The massive corporal appearance of Sts Peter and Paul from the fresco ensemble of the church of the Holy Virgin at Matejče in Macedonia (1384–1352) are consistent with their role of safeguards of the north entrance to the temple [20], while the elegant and graceful figure of St. Peter depicted within the painterly decoration of the Kalenić monastery in Serbia (third decade of the fifteenth century) corresponds to the poetic stylistic nature of the fresco ensemble in the church [21]. One of the most presentable apostolic images from the fourteenth century fresco painting is the strong, muscular, and powerful figure of St. Paul, represented within the fresco arrangement of the church of St. Nichetas at Banjani near Skopje (1323–1324) (**Figure 3**). Manly and dominant, courageous and superior, with a resolute step and a decisive motion, as well as full of sparkling energy, the image of St. Paul from the Banjani temple is one of the most impressive pictures of apostolic predisposition and fervent determination.

**Figure 3.** The church of St. Nichetas at Banjani, Apostle Paul.

corporal appearance, one should notice the firm musculature of their bodies which reflects the power of endurance, the intensity of the physical activities, as well as the magnitude of their missionary performances. Since the bodies are strong and vigorous, the postures of the apostles are stable and resolute, powerful and proud, emanating potency and determination, carnal steadiness, and physical well-being. Permeated with energetic charge of a kinetic nature, yet represented with moderate motion and dignified movements, the apostles look like monumental celestial heroes descended from the horizons of supreme spiritual power. Dressed in characteristic apostolic costumes, depicted with diverse hair styles and inventively configured facial "supplements," the 12 disciples of Christ are the most "iconic" of all

**Figure 2.** The church of the Virgin Peribleptos in Ohrid, Archangel Gabriel.

Making their entry into the painterly world of saintly characters even in the times of the Roman catacombs [15, 16], the apostles have earned their permanent place among the most representative individuals of Christendom. In the Byzantine period, the apostles Peter and Paul became the true representatives of the apostolic community in the sphere of painterly depictions as the two monumental pillars of perseverance and religious determination. This duo took the role of the leaders of saintly processions in the sixth century [17] and later

members of the saintly elite.

22 Perception of Beauty

#### **2.3. Bishops**

The category of bishops encompasses the respected individuals that, at certain times, occupied the Episcopal centers of the orthodox world as the most renowned representatives of the Christian faith. Intellectuals and scholars, preachers and orators, the bishops were represented as noble, experienced and erudite leaders of the congregation. Well-educated and ennobled with essential wisdom, passionately devoted to theological disputes, and highly creative in the sphere of religious thought and scripts, the bishops were marked by visual traits of devoted missionaries, enduring teachers, and honorable advisers of the faithful. Venerated and admired, esteemed and followed by the believers, the great church fathers of the Orthodoxy were represented in a manner that reflected their exclusive religious status as the most respected leaders of the Christian institution, as well as members of the highest ecclesiastic entourage. In that regard, their facial features are composed with an enhanced anatomic approach that encompasses the wrinkles and ridges to display the golden age of their sophisticated spiritual wisdom. Elderly and mature, solemn and suggestive, aged and bearded, the bishops' images glow with the warm sparkles of religious experience. Their facial expression is calm, yet inviting, strict yet consolatory; the suggestive gaze of the eyes as a primary feature of their facial articulation matches the fervent and ever-watchful nature of their religious devotion. Noble and generous, convincing, serene, and compassionate, the bishops' images radiate with inner composure and soothing energy. Similarly, their corporal appearance is imposing and monumental, elegant and dignified, thus they look as colossal pillars of the architectural structure of the church institution. Represented in postures of full frontal stature when depicted as portraits or in three-quarter processional poses when shown as members of the Officiating liturgical service, their figures are imposingly ceremonial in motion, delicately vibrant, and ritualistic, determined by the harmonious and well-balanced rhythm of their movements. Charged with the sophisticated power of their inner spiritual energy, the bishops move slowly and gracefully, blessing the faithful from the walls of the edifice or performing the church rituals in the sanctuary. Depicted with voluminous facial shapes and saturated in colors, the bishops' images are permeated with the energetic expression of deep emotional charge. In regard to the colors, the respectable leaders of the church communities have the following nuances of the spectrum: pale ochre for the tan, warm brown for the wrinkles, auburn for the ridges, greenish for the shades, and snowy white for their hairs and beards.

From the rigorous and almost remorseless facial outlook of Ravenna's archbishop Maximianus (548) depicted as a member of Emperor Justinian's retinue in San Vitale [22] to the formally configured peacefulness on the images of Serbian archpriests (second half of the sixteenth century) represented in the narthex of the Patriarchate in Peć [23], there is a vast palette of facial expressions that can be seen within bishops' portraiture. It is of course due to the different approach of the painters to the artistic currents of different time periods, as well as the intention of the authors to depict the church individuals in regard to their historical status and ecclesiastic privileges. However, the physical look of the bishops has always reflected a type of beauty compulsorily related to maturity and generosity, as primary aspect of their spiritual personality. In that regard, we can point to the imposing serenity of the countenances and the mild configuration of the facial patina of St. Basil the Great and St. Nicholas (second half of the tenth century) in the painted ensemble of Agioi Anargyroi in Kastoria [24], as well as to the noble composure of the graphically wrinkled face of St. Niphon in the fresco painting of the Holy Mother of God church in Veljusa, Macedonia (ca. 1085) [25]. The solemn postures of the bishops' figures officiating in the sanctuary of the Serbian church of the Holy Trinity in Sopoćani (1272–1276), the festive stances of their ceremonial bow, the delicate composure of their facial mimicry, and the harmonious coloristic spectrum of their chromatic definition saturated with golden ochre and hazel shades are another example of unrestrained attentiveness, prudence, and devotion. Somewhat more energized is the portrait of St. Clement from the painted arrangement of the Holy Mother of God church in Ohrid (Virgin Peribleptos) from 1295, executed with accentuated voluminous configuration of the facial anatomy, vivid shapes, and pictorial colors, with a purpose to picture the highly authoritative role of the bishop as the first archpriest in the influential Episcopal see of Ohrid. The dynamic facial architecture that ridges around the suggestively contoured eyes, the multistructured facial constitution, the muscular figure, as well as the colorful resonance of optically diversified shades and hues glowing in his inflamed facial expression make this image of St. Clement one of the most remarkable creations in saintly portraiture in the history of the Byzantine painting (**Figure 4**).
