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Moving eyes
Surface and shadow in the Byzantine mixed-media relief icon
BISSERA V. PENTCHEVA
Visitazione a Treviso
post-Byzantine date.4
This is a hybrid icon-relic (figs. 1-5). It consists of
two boards, bound together on one side with hinges.
The upper displays the carved bas-reliefs of the Mother
and Child. Its backside is gently hollowed out, forming
a cavity (fig. 3). This repository is closed by a second
board,5 whose interior is lined with ninth- or tenth
Further confirmation for the earlier date is given by the position of the
hands of Mary, which wrap the body of the Child, unlike the later post
Iconoclast iconography of one hand lifted in prayer. See Pentcheva,
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Figure 2. The Icon of the Virgin and Child, ninth-fourteenth centuries. View of the painted
surfaces after the removal of the metal revetments. Monastery of the Visitation, Treviso.
dell a essenza legnosa," in l'icona della "Madre di Dio" (note 3), pp.
63-69.
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object?aesthesis in Greek.
7-46.
(2002):47-70.
1998):261-279.
13. Pentcheva, Icons and Power (see note 3), pp. 30-31, 35.
14. Venturini, "La Madonna 'di Costantinopoli'" (see note 9), pp.
25-29.
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the even and steady electric lights, the face is bland and
inanimate (fig. 1). By contrast, seen under the unsteady
flicker of a candle or oil lamps, this face acquires life.
Something miraculous happens with her gaze changing
directions and giving expressions of emotion. As one
moves a candle towards her face, the shadow in her
God are painted on the surface of the wood (fig. 2). The
irises, colored brown, appear closer to the upper lid. In
normal, unfocused light, Mary's gaze is thus always ever
so-slightly drifting upward, towards heaven. Seen under
animation of the icon, see Pentcheva, The Sensual Icon (note 1), chaps.
5 and 6.
expanded field).
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Figure 6. The Icon of the Virgin and Child, ninth-fourteenth centuries. A close-up of the face of the Mother
of God; the shadows conveying the impression of her gazing straight on. Monastery of the Visitation, Treviso.
Photo by the author.
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Figure 7. The Icon of the Virgin and Child, ninth-fourteenth centuries. A close-up of the face of the Mother of
God, the shadows suggesting she is gazing upward. Monastery of the Visitation, Treviso. Photo by the author.
26. TTdaav uev ouv EopTrjv, Asyco Tfjs 0sourj-ropos nap' oAov
Eviauxov. . . . TEoadpcov AauTTaScov uspi toO vaou to UEaafxaTov Kai
OKTa())cbTcov uavouaAfcov 5uo uspi tqs 5uo TTpoaKuvrjaeis icrrauevcov,
pp. 23-24.
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Figure 8. The Icon of the Virgin and Child, ninth-fourteenth centuries. A close-up of the face of the Mother of
God, the shadows creating an impression as if she is gazing to the right and up. Monastery of the Visitation,
Treviso. Photo by the author.
27. Later on, the typikon specified that the proskynesis icon of
the Virgin is full-length and memouseiomene (sect. 89, vv. 26-28),
meaning it was either made of mosaic or enamel. Similarly, the second
Marian icon at the tomb of the founder is said to be a bas-relief in silver
(ca. 1152); section 89 vv. 22-23, p. 63, in Petit (see note 25).
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^^^^^H^^^^^^^^^^^^Blll ^^^^
Figure 9. The Icon of the Virgin and Child, ninth-fourteenth centuries. A close-up of the face of the Mother
of God, the shadows creating an impression as if she is gazing to the left and up. Monastery of the Visitation,
Treviso. Photo by the author.
goldsmithing.
Publishing, 1997).
31. This human sacrifice for the sake of artistic beauty dominates
a series of myths from the Balkans, narrating how the stonemason
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(2008):401-403.
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presence in space.
Row, 1971).
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