From Word to Image: The “Hesychastic type” of Mandorla
- Rostislava G. Todorova Konstantin Preslavsky University http://orcid.org/0000-0003-3908-4793
Abstract
Based on the complex interrelations between word and image, the present paper aims to elucidate the penetrating correlation of the theological thought of the time with the art of a specific epoch. The findings of this study emphasize on the Hesychasm and its influence over Byzantine iconography in the fourteenth century AD, especially in relation to the formation of a new, unusual form of mandorla, called “hesychastic type”. In order to explain its rise and further development in Byzantine and Post Byzantine iconography, the paper discusses the earliest extant patterns of the “hesychastic type” of mandorla from the very beginning of the century and compares them with several subsequent examples. The focal point of the research is to find out which one is the earliest known pattern of the “hesychastic type” of mandorla and the place where this type of the symbol has emerged. The generally shared view claims that the new form has been produced firstly in Thessaloniki and can be seen in the partially survived Transfiguration mosaics in the Holy Apostles Church there. However, this study proceeds from the assumption that the prime model originates from Constantinople, caused by the theological and artistic milieu in the metropolis and probably found its place first in the wall paintings of the Chora Church. In support of this hypothesis, we are going to pay particular attention to the evidences about the relationships between the first and the second city in the Empire, the obvious intervisuality between the iconographic models in both churches and to some data about the erroneous dating of the wall decorations of the Holy Apostles Church in Thessaloniki.
Riferimenti bibliografici
Alexander, Jonathan James Graham, “Dancing in the Streets”. The Journal of the Walters Art Gallery, Essays in Honor of Lilian M. C. Randall, 54 (1996): 147-162.
Alfaro, María Jesús Martínez, “Intertextuality: Origins and Development of the Concept”. Atlantis, 18, No. 1/2 (1996): 268-285.
Алпатов, Михаил, „Искусство Феофана Грека и учение исихастов”. Византийский временник, 33 (1972): 190-202.
Andreopoulos, Andreas, Art as Theology: From the Postmodern to the Medieval, London: Equinox, 2006.
Andreopoulos, Andreas, Gazing on God: Trinity, Church and Salvation in Orthodox Thought and Iconography, Cambridge: James Clarke & Co., 2013.
Andreopoulos, Andreas, Metamorphosis: The Transfiguration in Byzantine Theology and Iconography, Crestwood, NY: St. Vladimir's Seminary Press, 2005.
Auxentios, Bishop, “The Humanist Quest for a Unity of Knowledge and the Orthodox Metaphysics of Light: A Corrective to Father Meyendorff’s Misunderstanding of the Theology of St. Gregory Palamas”. Orthodox Tradition, Vol. XI (1994): 7-17.
Бакалова, Елка, „Ивановските стенописи и идеите на исихазма”. Изкуство, 9 (1976): 14-26.
Бакалова, Елка, „Към въпроса за отражението на исихазма върху изкуството”, в Търновска книжовна школа 1371-1971, София: БАН, 1974.
Bal, Mieke, Reading Rembrandt: Beyond the Word-Image Opposition, Cambridge: Cambridge University Press, 1991.
Барт, Ролан, Въображението на знака, София: Народна култура, 1991.
Beckwith, John, Early Christian and Byzantine Art, New York: Penguin Books, 1970.
Belting, Hans, Das illuminierte Buch in der spätbyzantinishen Gesellschaft, Heidelberg: Carl Winter Universitätsverlag, 1970.
Belting, Hans, Mango, Cyril, Mouriki, Doula, The Mosaics and Frescoes of St. Mary Pammakaristos (Fethiye Camii at Istanbul), Dumbarton Oaks Studies, Vol. 15, Dumbarton Oaks Center for Byzantine Studies, 1978.
Berkeley, George, An Essay Towards a New Theory of Vision, Dublin, 1907.
Bosch, Ursula Victoria, Kaiser Andronikos III. Palaiologos: Versuch einer Darstellung der byzantinischen Geschichte in den Jahren 1321-1341, Amsterdam: Adolf M. Hakkert, 1965.
Bromiley, Geoffrey William, (ed.) The International Standard Bible Encyclopedia, Vol. I-IV, Exater: Eerdmans, 1979-1988.
Bryer, Anthony, Herrin, Judith (ed.), Iconoclasm: Papers given at the ninth Spring Symposium of Byzantine Studies. University of Birmingham, March 1975, Birmingham: University of Birmingham, 1977.
Brubaker, Leslie, Haldon, John, Byzantium in the Iconoclast Era c. 680-850, Cambridge: Cambridge University Press, 2011.
Βελένης, Γεώργιος, „Οι Άγιοι Απόστολοι Θεσσαλονίκης και η Σχολή της Κωνσταντινούπολης”. XVI Internationaler Byzantinistenkongress, Akten II/4, JÖB, 32, 4 (1981): 457-467.
Camille, Michael, “Gothic Signs and the Surplus: The Kiss on the Cathedral”, in Poirion, Daniel, Regalado, Nancy 9eds.), Special issue Contexts: Style and Values in Medieval Art and Literature, New Heaven: Yale University Press, 1991, 151-170.
Carr, Annemarie Weyl, “Images: Expression of Faith and Power”, in Evans, Helen (ed.), Byzantium: Faith and Power (1261–1557), New York: The Met Museum & Yale University Press, 2004, 143-152.
Chadzidakis, Manolis, Grabar, Andre, Byzantine and Early Medieval Paintings, New York: Viking Press, 1965.
Chatzidaki, Nano, Byzantine Mosaics, Athens: Ekdotike Athenon, 1994.
Chrysostomos, Archbishop, Orthodox and Roman Catholic Relations from the Fourth Crusade to the Hesychastic Controversy, Etna CA: Center for Traditionalist Orthodox Studies, 2001.
Ćurčić, Slobodan, Gračanica: King Milutin's church and its place in late Byzantine architecture, University Park: Pennsylvania State University Press, 1979.
Del Alamo, Elizabeth Valdez, “Triumphal Visions and Monastic Devotion: The Annunciation Relief of Santo Domingo de Silos”. Gesta, 29, No. 2 (1990): 167-188.
Delvoye, Charles, “Chronique archéologique”. Byzantion, 34, 1 (1964): 135-266.
Demetracopoulos, John, “Palamas Transformed. Palamite Interpretations of the Distinction between God’s ‘Essence’ and ‘Energies’ in Late Byzantium”, in Hintergerger, Martin, Schabel, Christofer David (eds.), Greek, Latins and Intellectual Hustory 1204-1500. Bibliotheca 11, Leuven: Peeters, 2011, 263-372.
Demus, Otto, “The Style of the Kariye Djami and Its Place in the Development of Palaeologan Art”, in Underwood, Paul, The Kariye Djami. Vol. IV, Princeton: Princeton University Press, 1975, 107-160.
Djurić, Vojislav J., “La peinture murale de Resava. Ses origins et sa place dans La peinture byzantine”, in L’ecole de la Morava et son temps. Symposium de Resava 1968, Beograd: Filosofski Fakultet, 1972, 277-291.
Diehl, Charles, Le Tourneau, Marcel, Saladin, Henri, Les Monuments chrétiens de Salonique, Paris: E. Leroux, 1918.
Добрева, Елка, Савова, Ивелина, Текстолингвистика. Уводен курс, Шумен: УИ „Еп. Константин Преславски”, 2000.
Добрева, Елка, Савова, Ивелина, Текст & Дискурс. Терминологичен справочник, В. Търново: Фабер, 2009.
Drpić, Ivan, “Art, Hesychasm and Visual Exegesis: Parisinus Graecus 1242 Revisited”. DOP, 62 (2008): 217-247.
Dufrenne, Suzy, “La manifestation divine dans l’iconographie byzantine de la Transfiguration”, in Boespflug, Francois, Lossky, Nicolas (eds.) Nicée II: 787-1987, Paris: Le Cerf, 1987, 185-205.
Eastmond, Anthony, Art and Identity in Thirteenth-Century Byzantium: Hagia Sophia and the Empire of Trebizond, Aldershot: Ashgate Variorum, 2004.
Ferguson, George, Signs & Symbols in Christian Art, Oxford: Oxford University Press, 1973.
Forsyth, George, Weitzmann, Kurt, The Monastery of Saint Catherine at Mount Sinai: The Church and Fortress of Justinian, Ann Arbor: The Universiy of Michigan Press, 1965.
Galavaris, George, The Icon in the Life of the Church: Doctrine, Liturgy, Devotion, Leiden: BRILL, 1981.
Gerstel, Sharon, “Civic and Monastic Influences on Church Decoration in Late Byzantine Thessalonike”. DOP, 57 (2003): 225-239.
Giakalis, Ambrosios, Images of the Divine: The Theology of icons at the Seventh Ecumenical Council. Revised Edition, Leiden: BRILL, 2005.
Голейзовский, Никита, „Исихазм и русская живопись XIV-XV вв.”. Византийский временник, 29 (1968): 196-210.
Голейзовский, Никита, „Послание иконописцу” и отголоски исихазма в русской живописи на рубеже XV-XVI вв.”. Византийский временник, 26 (1965): 219-238.
Goodman, Nelson, The Language of Art: Аn Approach to a Theory of Symbols, Indianapolis: Hackett, 1976.
Gouma-Peterson, Thalia, “The Frescoes of the Parekklesion of St. Euthymios in Thessaloniki: Patrons, Workshops and Style”. in Ćurčić, Slobodan, Mourike, Doula (eds.) The Twilight of Byzantium: Aspects of Cultural and Religious History in the Late Byzantine Empire: Papers from the Colloquium held at Princeton University 8-9 May 1989, Princeton: Princeton University Press, 1991, 111-160.
Grabar, Andre, Christian Iconography: A Study of its Origins, Princeton: Princeton University Press, Bollingen Series 35.10., 1968.
Grabar, Andre, “The Artistic Climate in Byzantium during the Palaeologian Period”, in Underwood, Paul, The Kariye Djami, Vol. 4, Princeton: Princeton Universuty Press, 1975, 1-16.
Grabar, Andre, “Virgin in a Mandorla of Light”, in Weitzmann, Kurt (ed.), Late Classical and Medieval Studies in Honor of Albert Mathiaas Friend, Jr., Princeton: Princeton University Press, 1955, 305-311.
Hamburger, Jeffry, “The Place of Theology in Medieval Art History: Problems, Positions, Possibilities”, in Hamburger, Jeffry, Bouche, Anne-Marie (eds.), The Mind’s Eye: Art and Theological Argument in the Middle Ages, Princeton: Princeton Universuty Press, 2005, 11-31
Hjort, Øystein, “Oddities” and “Refinements”: Aspects of Architecture, Space and Narrative in the Mosaics of Kariye Camii”, in Rosenqvist, Jan Olof (ed.), Interaction and Isolation in Late Byzantine Culture, Stockholm: Swedish Research Institute in Istanbul, 2004, 27-43.
Hussey, Joan Mervyn, Orthodox Church and the Byzantine Empire, Oxford: Oxford University Press, 1990.
Karahan, Anne, Byzantine Holy Images – Transcendence and Immanence: The Theological Background of the Iconography and Aesthetics of the Chora Church, Leuven: Peeters, 2010.
Kazamia-Tsernou, Maria, “The ‘Proslepsis’ in the Bible in the Paleologean Monumental Painting of Thessaloniki”. Synthesis, Vol. 2, No. 2 (2013): 28-67.
Kissas, S. K., “La datation des fresques des Saints Apôtres a Thessalonique”. Zograf, 7 (1997): 52-57.
Klein, Holger, Ousterhout, Robert, Pitarakis, Brigitte (eds.), Karije from Theodore Metochites to Thomas Wittemore: One Monument Two Monumental Personalities, Istanbul: Pera Muzesi, 2007.
Klein, Holger, Ousterhout, Robert (eds.), Restorating Byzantium: The Karije Camii in Istanbul and the Byzantine Institute Restoration, New York: Miriam and Ira D. Wallach Art Gallery, Columbia University, 2004.
Kuniholm, Peter, Striker, Cecil, “Dendrochronological Investigations in the Aegean and Neighboring Regions, 1977-1982”. Journal of Field Archaeology, 10 (1983): 411-420.
Kuniholm, Peter, Striker, Cecil, “Dendrochronological Investigations in the Aegean and Neighboring Regions, 1983-1986”. Journal of Field Archaeology, 14 (1987): 385-398.
Kuniholm, Peter, Striker, Cecil, “Dendrochronology and the Architectural History of the Church of the Holy Apostles in Thessaloniki”. Architectura, 20 (1990): 1-26.
Лазарев, Виктор, История византийской живописи, Москва: Искусство, 1986.
Лазарев, Виктор, Феофан Грек и его школа, Москва: Искусство, 1961.
Louth, Andrew, “Light, vision and religious experience in Byzantium”, in Kapstein, Matthew (ed.), The Presence of Light: Divine Radiance and Religious Experience, Chicago: University of Chicago Press, 2004, 85-103.
Louth, Аndrew, The Origins of the Christian Mystical Tradition: From Plato to Denys, Oxford: Oxford University Press, 2007.
Мако, Владимир, „Геометриjски облици нимбова и мандорли у среднњовековноj уметности Византиjе, Србиjе, Русиjе и Бугарске”. Зограф, 21 (1990): 41-59.
Makseliene, Simona, The Glory of God and its Byzantine Iconography, M.A. Thesis in Medieval Studies. Budapest: Central European University, 1998.
Mango, Ciryl, The Art of the Byzantine Empire 312 – 1453: Sources and Documents, Toronto: University of Toronto Press, 1986.
Mansi, Giovanni Domenico, Sanctorum Conciliorum nova et amplissima collectio, vol. 1-53, Paris-Leipzig, 1901-1927.
Meyendorff, John, Byzantine Hesychasm: historical, theological and social problems, London: Variorum Reprints, 1974.
Meyendorff, John, Christ in Eastern Christian Thought, Crestwood, NY: St. Vladimir's Seminary Press, 1975.
Meyendorff, John, “Is ‘Hesychasm’ the Right Word? Remarks on Religious Ideology in the Fourteenth Century”. Harvard Ukrainian Studies, Okeanos: Essays Presented to Ihor Ševčenko on his Sixtieth Birthday by his Colleagues and Students, 7 (1983): 447-457.
Meyendorff, John, “Spiritual Trends in Byzantium in the Late Thirteenth and Early Fourteenth Centuries”, in Underwood, Paul, The Kariye Djami, Vol. 4, Princeton: Princeton Universuty Press, 1975, 93-106.
Mihajlovski, Robert, “A Sermon about Anti-Palamite Theologian Gregory Akyndinos of Prilep”. The Collection of Scientific Works Vol. VI, Nis: NKC, 2007, 149-156.
Millet, Gabriel, Monuments byzantins de Mistra: Matériaux pour l'étude de l'architecture et de la peinture en Grèce aux XIVème et XVème siècles, recueillis et publiés, Paris: E. Leroux, 1910.
Millet, Gabriel, Recherches sur l’iconographie de l’évangile aux XIVe, XVe et XVIe siècles d’après les monuments de Mistra, de la Mácedoine et du Mont Athos. Paris: Éditions E. de Boccard, 1968.
Mitchell, William John Thomas, Iconology: Image, Text, Ideology, Chicago: University Of Chicago Press, 1987.
Mitchell, William John Thomas, Picture Theory: Essays on Verbal and Visual Representation, Chicago: University of Chicago Press, 1994.
Mitchell, William John Thomas, “Word and Image”, in Nelson, Robert S., Shiff, Richard (eds.), Critical Terms for Art History, Chicago: University of Chicago Press, 1996, 51-61.
Nelson, Robert S., “Chora and Great Church: Intervisuality in Fourteenth-Century Constantinople”. Byzantine and Modern Greek Studies, 23 (1999): 67-101.
Nelson, Robert S., “Tales of Two Cities: The Patronage of Early Palaeologan Art and Architecture in Constantinople and Thessaloniki”, in Mavrommatis, Lenos, Nikolaou, Katerina, (eds.) Manuel Panselinos and His Age. Proceedings of International Symposium, Athens: Institute of Historical Research, 1999, 127-140.
Nelson, Robert S., “Taxation with Representation. Visual Narrative and the Political Field of the Kariye Camii”. Art History, 22, No. 1 (1999): 56-82.
Nikonanos, Nikos, The Church of the Holy Apostles in Thessaloniki, Thessaloniki: Institute for Balkan Studies Thessaloniki, 1998.
Ouspensky, Leonid, Losski, Vladimir, The Meaning of Icons, Crestwood, NY: St. Vladimir's Seminary Press, 1982.
Ousterhout, Robert, The Architecture of the Kariye Camii in Istanbul, Dumbarton Oaks: Dumbarton Oaks Research Library and Collection, 1988.
Ousterhout, Robert, The Art of the Karije Camii, London – Istanbul: Scala Publishers, 2002.
Panayotidi, Maria, “Les tendances de la peinture de Thessalonique en comparaison avec celles de Constantinople, comme expression de la situation politico-économique de ces villes pendant le XIVe siècle”, in Papadopoulou, Eutychia, Dialeti, Dora (eds.), Byzantium and Serbia in the 14th Century, Athens: Institute of Historical Research, 1996, 351-362.
Panofsky, Erwin, “Iconography and Iconology: An Introduction to the Study of Renaissance Art”, in Panofsky, Erwin, Meaning in the Visual Arts: Papers in and on Art History, Garden City: Doubleday Anchor Books, 1955, 26-54
Παπαγεωργίου, Πέτρος, „Θεσσαλονίκης Βυζαντιανοί ναοί και επιγράμματα. I. Ο ναός Δώδεκα Αποστόλων”. Byzantinische Zeitschrift, 10, 1 (1901): 23-39.
Parani, Maria, Reconstructing the Reality of Images: Byzantine Material Culture and Religious Iconography (11th -15th Centuries), Leiden, Boston: Brill, 2003.
Patterson, Joby, “Hesychastic Thought as Revealed in Byzantine, Greek and Romanian Church Frescoes: A Theory of Origin and Diffusion”. Rev Etud Sud Est Eur, XVI, 4 (1978): 663-670.
Pelikan, Jaroslav, Imago Dei: The Byzantine Apologia for Icons, Princeton: Princeton University Press, 2011.
Pelikan, Jaroslav, The Spirit of Eastern Christendom, Chicago: University of Chicago Press, 1974.
Popova, Olga, “Medieval Russian Painting and Byzantium”, in Grierson, Roderick (ed.), Gates of Mystery: The art of Holy Russia, Forth Worth: Inter-Cultura & the State Russian Museum, 1993, 45-59.
Popovich, Ljubica, “A Study of the Standing Figures in the Five Domes of the Virgin Ljeviška in Prizren”. Зборник радова Византолошког Института, 41 (2004): 319-339.
Radojčić, Svetozar, „Die Meister der altserbischen Malerei vom Ende des XII bis zur Mitte des XV Jahrhunderts”, in Κυριακίδης Στίλπων (ed.), Πεπραγμένα του Θ' Διεθνοΰς Βυζαντινολογικοΰ Συνεδρίου (Θεσσαλονίκη, 12-19. απριλιου 1953)., 'Αθήναι: Έκδοσις Εταιρείας Μακεδονικών Σπουδών, 1955. Τομος Α, 433-439.
Rautman, Marcus Louis, “Aspects of Monastic Patronage in Palaeologan Macedonia”, in Ćurčić, Slobodan, Mourike, Doula (eds.) The Twilight of Byzantium: Aspects of Cultural and Religious History in the Late Byzantine Empire: Papers from the Colloquium held at Princeton University 8-9 May 1989, Princeton: Princeton University Press, 1991, 53-74.
Rautman, Marcus Louis, “Patrons and Buildings in Late Byzantine Thessaloniki”, JÖB, 39 (1989): 295-315.
Rautman, Marcus Louis, The Church of the Holy Apostles in Thessaloniki: a Study in Early Palaeologan Architecture, PhD Thesis, Indiana University, School of Fine Arts. Ann Arbor, 1984.
Semoglou, Athanasios, “Le portrait de saint Lazare le Galésiote aux Saints-Apôtres de Thessalonique: un nouveau témoignage sur la datation des peintures murales de l'église”. Βυζαντινά, 21, 1 (2000): 617-628.
Смядовски, Стефан, Светци, свитъци, книги, София: Агата-А, 2003.
Strezova, Anita, Hesychasm and Art: The Appearance of New Iconographic Trends in Byzantine and Slavic Lands in the 14th and 15th Centuries, Canberra: ANU Press, 2014.
Tachiaos, Antonie Emil, “Hesychasm as a Creative Force in the Fields of Art and Literature”, in Davidov, Dinko (ed.), L’art de Thessalonique et des pays balkaniques et les courants spirituels au XIVe siècle, Belgrade: GRO “Kultura”, 1987, 117-123.
Talbot Rice, David, Byzantine Painting: The Last Phase, New York: Dial Press, 1968.
Thomas F.X., Images, Iconoclasm, and the Carolingians, Philadelphia: University of Pennsylvania Press, 2009.
Тодорова, Ростислава, „От слово към образ: коя е първата исихастка мандорла?”, в Преславска книжовна школа, том XV. Шумен: УИ „Епископ Константин Преславски”, 2015, с. 427-446.
Todorova, Rostislava, “New Religion – New Symbolism: Adoption of Mandorla in the Christian Iconography”. The Collection of Scientific Works Vol. IX, Nis: NKC, 2011, 47-64.
Torp, Hjalmar, “A Consideration of the Wall-Paintings of the Metropolis at Mistra”, in Rosenqvist, Jan Olof (ed.), Interaction and Isolation in Late Byzantine Culture. Stockholm: Swedish Research Institute in Istanbul, 2004, 70-88.
Tsakiridou, Cornelia, Icons in Time, Persons in Eternity: Orthodox Theology and the Aesthetics of the Christian Image, London & New York: Routledge, 2016.
Tsitouridou, Anna, „La peinture monumentale à Salonique pendant la première moitié du XIVe siècle”, in Davidov, Dinko (ed.), L’art de Thessalonique et des pays balkaniques et les courants spirituels au XIVe siècle, Belgrade: GRO “Kultura”, 1987, 9-20.
Underwood, Paul, “First Preliminary Report on the Restoration of the Frescoes in the Kariye Camii at Istanbul by the Byzantine Institute, 1952-1954”. Dumbarton Oaks Papers, vol. 9/10 (1956): 253-290.
Underwood, Paul, “Fourth Preliminary Report on the Restoration of the Frescoes in the Kariye Camii at Istanbul by the Byzantine Institute, 1957-1958”. Dumbarton Oaks Papers, vol. 13 (1959): 185 + 187-214.
Underwood, Paul, “Manuel Panselinos: a Review Article”. Archeology, 10, No. 3 (1957): 215-216.
Underwood, Paul, “Second Preliminary Report on the Restoration of the Frescoes in the Kariye Camii at Istanbul by the Byzantine Institute, 1955”. Dumbarton Oaks Papers, vol. 11 (1957): 173 + 175-222.
Underwood, Paul, The Kariye Djami. Vol. I, II and III, London: Routledge & Kegan Paul Ltd., 1967 and Vol. IV, Princeton: Princeton University Press, 1975.
Underwood, Paul, “Third Preliminary Report on the Restoration of the Frescoes in the Kariye Camii at Istanbul by the Byzantine Institute, 1956”. Dumbarton Oaks Papers, vol. 12 (1958): 235 + 237-266.
Успенски, Леонид, Богословие на иконата, София: Омофор, 2001.
Velmans, Tania, “Le Rôle de l’Hésychasme dans la Peinture Murale Byzantine du XIVe et XVe Siècles”, in Armstrong, Pamela (ed.) Ritual and Art: Byzantine Essays for Christopher Walter, London: Pindar Press, 2006, 182-226.
Von Balthasar, Hans Urs, The Glory of the Lord: A Theological Aesthetics. Vol. 7: Theology: The New Covenant, Edinburg: T&T Clark, 1989.
Weitzmann, Kurt, “Thirteenth Century Crusader Icons on Mount Sinai”. The Art Bulletin, 45, No. 3 (1963): 179-203.
Whittemore, Thomas, “Report of the Byzantine Institute”. Annual report (Fog Art Museum), No. 1948/1949 (1948-1949): 24.
Ξυγγόπουλος, Ανδρέας, Η ψηφιδωτή διακόσμησις του ναού των Αγίων Αποστόλων Θεσσαλονίκης, Θεσσαλονίκη: Εταιρία Μακεδονικών Σπουδών, 1953.
Ξυγγόπουλος, Ανδρέας, „Μονή των Αγ. Αποστόλων ή μονή της Θεοτόκου”. Προσφορά εις Στίλπωνα Κυριακίδην, Παράρτημα 4, Θεσσαλονίκη: Εταιρεία Μακεδονικών Σπουδών, 1953, 726-735.
Ξυγγόπουλος, Ανδρέας, “Τα ψηφιδωτά του ναού των Αγίων Αποστόλων εν Θεσσαλονίκη”. ΑΕ, (1932): 133-156.
Xyngopoulos, Andre, Thessalonique et la peinture macédonienne, Athens: M. Myrtidis, 1955.
Ξυγγόπουλος, Ανδρέας, Η ψηφιδωτή διακόσμησις του ναού των Αγίων Αποστόλων Θεσσαλονίκης, Θεσσαλονίκη: Εταιρία Μακεδονικών Σπουδών, 1953