Manual of Christian Iconography

is well-known. In the year 1546, he painted parts of the communal church at the Monastery of Stavronikita 1; in the year 1535, the katholikon main church of the Great Lavra 2; and in the year 1563, the dense frescoes in the narthex of the church of the Monastery of Xenophontos 3. Manuel Panselinos, who was a contemporary of this Theophanes, painted—as Porphyrius has demonstrated 4—the frescoes in the church of the Protaton between the years 1535 and 1536, those of Molyvokklisia between the years 1537 and 1538, and those of Chilandari after the year 1571. It is not improbable that Panselinos himself painted a large part of the main church of the Monastery of Xenophontos in the year 1544, as the inscription within it hints at two different anonymous painters and explicitly testifies that the second anonymous painter executed the frescoes of the two apses (or choirs) 5. It is known that this church is dedicated in the name of the great martyr Saint George. The father of Panselinos, a man of little education, is noted as the year of construction (perhaps intended as renovation) of a certain church of the...

The following text is a fragmentary marginal notation or insert regarding the Holy Lavra of Saint Athanasius on Athos, composed by Makarios Kydonieus of the Chania region, also known as Trigonis, the sacristan of the same monastery, now published in print for the first time through the care and expense of the most holy Lord Sergios, a hieromonk from this Holy Lavra. Venice 1792, p. 23.

1) Archimandrite Antonin, Notes of a Pilgrim to the Holy Mountain, Kiev 1864, p. 132. Porphyrius Uspensky, First Journey to the Athonite Monasteries and Sketes, Part II, Second Section, 1846, Moscow 1880, pp. 176 and 183. G. Smyrnakis, The Holy Mountain, Athens 1903, p. 613.
2) Duchesne-Bayet, Mémoire sur une mission au mont Athos, pp. 306-307. Porphyrius Uspensky, Letters on the Notorious Painter Panselinos, p. 9. Cf. Works of the Kiev Theological Academy 1867, vol. 4, p. 130.
3) Duchesne-Bayet, ibid., p. 309. Porphyrius Uspensky, Second Journey to the Holy Mountain of Athos, Moscow 1880, p. 36. G. Smyrnakis, The Holy Mountain, p. 622.
4) P. Uspensky, Letters on the Notorious Painter Panselinos, p. 37 ff. Works of the Kiev Theological Academy 1867, vol. 4, pp. 120-164 and 270 ff. Cf. N. P. Kondakov, Monuments of Christian Art on Athos, Constantinople 1902, p. 53. There, between pages 61-71, is the discussion regarding the artistic style of the painting art of Panselinos and its relationship to Italian painting.
5) Duchesne-Bayet, Mémoire, p. 307. G. Smyrnakis, The Holy Mountain, p. 621. L. Nikolsky posits that the Lesbian note refers to a church of Saint George located outside the Holy Mountain. See Iconographic Collection I, p. 29.