An intriguing discovery in Thessaloniki, Greece, may have uncovered the real identity of an influential figure in Byzantine art. A recent investigation into a medieval manuscript in Paris has potential ties to a painter known as Manuel Panselinos, who played a significant role in transforming Orthodox religious art.
Panselinos, whose works were produced during the late 13th and early 14th centuries, is often compared to Giotto, the father of Western painting. However, the specifics of Panselinos’ life had remained a mystery until now. Scholars suggest that Panselinos may have been a nickname and that his actual name was Ioannis Astrapas, hailing from Thessaloniki.
The art from the Byzantine Empire is characterized by its distinctive forms, including elongated figures and serene faces of saints, which are prevalent in churches across Greece and other Orthodox countries. The paintings attributed to Panselinos are particularly celebrated and represent some of the finest artwork of the era that lasted until the fall of Constantinople in 1453.
Recent studies led by a Greek monk and a handwriting expert have drawn a connection between the name Panselinos and Astrapas. Evidence has surfaced suggesting that the two may be the same person, as certain letters from a manuscript linked to Astrapas closely resemble those found in a notable church painting in northern Greece attributed to Panselinos.
Father Cosmas Simonopetritis, who has studied the Protato church where the painting resides, believes that these findings confirm Panselinos was indeed a real individual and that Astrapas was the name he is better known by. Despite differing views in the academic community about the authorship of some pieces, there is a consensus that further research is essential to fully understand the contributions of Astrapas.
Panselinos is credited with enriching Orthodox art, introducing greater humanity and expression into a tradition that often emphasized formality. His approach blended classical techniques with Byzantine spirituality, resulting in artwork that stands out globally.
Though artists of that time rarely left signatures, researchers have excitedly revisited previous findings that linked Astrapas to various art projects and manuscripts. One particularly telling aspect of this investigation involved matching the style of handwriting from the manuscripts with that on the church paintings, a task complicated by the strict access rules of Mount Athos, where the church is located.
One major breakthrough in the research came from identifying consistent characteristics in the Greek lettering used by both Astrapas and in the Protato paintings. These findings have generated optimism among experts regarding the resolution of this long-standing artistic puzzle.
Not only does this research connect a significant artist to a deeper narrative in history, it also emphasizes the lasting impact of Byzantine art on cultural and spiritual expression. The journey to uncover the identity of Panselinos showcases the importance of preserving and understanding our artistic heritage.
