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The royal door was made of tempera paint and wood. The work of art features a superlative decorative motif reminiscent of the Rococo style. The angel's flesh tone compared to Jesus's distinguishes the two figures. The pale dead martyr's body rests in the arms of the sullen angel. The work of art
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continued to evolve since its inception during the middle part of the 17 century. The style adopted by
Kallergis became an integral part of the artistic advancement of the period. Many artists of the Heptanese School painted similar works. The work is part of the collection of the Zakinthos Museum
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was represented with careful detail. His work resembled realistic anatomical models. The holy shroud features striations to suggest folds of fabric. The artist employed an advanced light and shadow method. Both figures are statuesque. The poses of the figures suggest a grieving event wrought
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with sorrow and horror. The postures and gestures of both divine beings emit melancholy and sadness. The artist clearly pictorially relays the emotion of the grieving event. The angel gazes at the heavens awaiting instructions.
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can have three or more doors. The royal doors are closed during important parts of the service. The priest is the only individual allowed to enter the sacred doors. They lead to the sanctuary or holy table. The area behind the
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were completed by
Kallergis. An angel carrying a column was painted on one of the doors. The column symbolized the pole Jesus was flogged on during the passion series. On another door, he painted an angel carrying
172:'s work. Venetian engraver Giuseppe Scolari also printed his own version of the theme. Kallergi's work is a mixture of the different works. Flemish engravings and paintings heavily influenced artists of the
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The theme Angel holding the body of Christ has been reproduced by countless Greek, Italian and
Flemish painters. It is part of the passion sequence. Notable versions were completed by Flemish artists
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128:. His family owned a church on the island of Zakynthos and a massive library. The family was educated. According to the Institute of Neohellenic Research, thirty-two of his painting’s survived.
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featured musculature and advanced anatomical interpretation in art. Many artists began to feature more refined subjects with more detail. The human body was realistically presented.
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124:. Kallergis was born in Zakynthos. His family was originally from Crete. His father was a painter. Nikolaos was active from 1715–1747. He was a representative of the
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symbolized the instruments used to whip Jesus before the crucifixion during the passion series. The third royal door contained the
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176:. Kallergis created several works emulating engravings. Kallergis produced several works representing the passion series.
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Greek
Painters after the Fall of Constantinople (1450–1830). Volume 2: Kavallaros – Psathopoulos
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495:"Sanctuary gate with a representation of an Angel who holds up the dead body of Christ"
445:"Sanctuary gate with a representation of an Angel who holds up the dead body of Christ"
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152:. The royal doors were remnants of the destroyed Church of Panagia Tsourouflis.
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553:]. Athens: Center for Modern Greek Studies, National Research Foundation.
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546:Έλληνες Ζωγράφοι μετά την Άλωση (1450–1830). Τόμος 2: Καβαλλάρος – Ψαθόπουλος
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95:) with a representation of an Angel who holds up the dead body of Christ
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El Greco: The Cretan Years Center for
Hellenic Studies King's College
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149:
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Saint
Spyridon, John the Baptist, Saint Peter, and Saint George
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in Greece. Many of
Kallergi's works are at this location.
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was a notable Dutch engraver that adopted a version of
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is the secret place where the priest prepares the holy
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357:
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543:Hatzidakis, Manolis; Drakopoulou, Evgenia (1997).
468:"Hendrick Goltzius, after Bartholomaeus Spranger
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218:'s masterpieces. The artwork mostly resembles
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399:. London UK: Ashgate Publishing. p. 29.
470:The Body of Christ Supported by Angels, 1587
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120:was a work of art created by Greek painter
895:Virgin Glykofilousa with the Akathist Hymn
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272:Dead Christ Supported by an Angel, Scolari
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230:painted Jesus's biceps and triceps. His
975:A Scene from the Life of John Chrysostom
447:. Omnia Institute of Historical Research
422:"The Dead Christ Supported by an Angel"
336:Angel Carry Symbol of Passion (Column)
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518:"The Passion in the Art of Zakynthos"
493:Eugenia Drakopoulou (June 23, 2022).
370:Eugenia Drakopoulou (June 23, 2022).
321:Angel Carry Symbol of Passion (Whip)
29:Άγγελος Που Κρατά το Σώμα του Χριστού
497:. Institute for Neohellenic Research
374:. Institute for Neohellenic Research
372:"Kalergis (Kallergis) Nikolaos (2)"
284:Dead Christ Supported by an Angel,
257:Dead Christ Supported by an Angel,
103:Zakynthos Museum, Zakynthos, Greece
35:Angelo Che Tiene il Corpo di Cristo
13:
299:Angel Holding the Body of Christ,
14:
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1050:Paintings of the Heptanese school
1019:Institute of Neohellenic Research
358:Hatzidakis & Drakopoulou 1997
919:Angel Holding the Body of Christ
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194:Angel Holding the Body of Christ
118:Angel Holding the Body of Christ
22:Angel Holding the Body of Christ
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466:Staff Writers (June 23, 2022).
443:Staff Writers (June 23, 2022).
420:Staff Writers (June 23, 2022).
393:Panagiōtakēs, Nikolaos (2009).
967:Entry of Christ into Jerusalem
516:Staff Writers (July 1, 2012).
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16:Painting by Nikolaos Kallergis
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951:The Deposition from the Cross
474:. The National Gallery of Art
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863:The Miracle of the Holy Belt
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607:Heptanese school (painting)
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887:Adoration of the Shepherds
871:Virgin and Child on Bronze
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1009:Hellenic Institute Venice
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131:An integral part of the
938:(N. Doxaras, 1725–1775)
697:Konstantinos Kontarinis
179:Three similar parts of
1040:18th-century paintings
994:(Kantounis, 1790–1834)
991:Lamentation of Christ
986:(Koutouzis, 1750–1813)
954:(Stavrakis, 1729-1786)
946:(Stavrakis, 1750–1800)
930:(Stavarkis, 1729–1786)
874:(E. Moskos, 1650–1687)
866:(Poulakis, 1640–1692))
858:(E. Moskos, 1664–1666)
834:(Poulakis, 1640–1692))
826:(I. Moskos, 1665–1721)
793:Christodoulos Kalergis
768:Georgios Kastrofylakas
741:Outside Ionian Islands
927:Vision of Constantine
882:(Poulakis, 1660–1692)
823:Constantine and Helen
818:(Poulakis, 1640–1692)
815:The Archangel Michael
707:Stephanos Tzangarolas
158:Bartholomeus Spranger
672:Gerasimos Pitsamanos
614:Principal proponents
1045:Paintings in Greece
911:Virgin Glykofilousa
898:(Tzangarolas, 1700)
758:Dionysios of Fourna
692:Demetrios Stavrakis
687:Stylianos Stavrakis
677:Spyridon Sperantzas
651:Efstathios Karousos
222:'s engraving. The
1014:Manolis Hatzidakis
935:Assumption of Mary
914:(Karantinos, 1723)
906:(P. Doxaras, 1700)
850:(E. Tzanes, 1662))
842:(E. Tzanes, 1659))
798:Defterevon Sifnios
788:Antonios Skordilis
783:Emmanuel Skordilis
667:Andreas Karantinos
646:Spyridon Ventouras
641:Nikolaos Kallergis
636:Nikolaos Koutouzis
631:Nikolaos Kantounis
621:Panagiotis Doxaras
139:. Sometimes the
122:Nikolaos Kallergis
54:Nikolaos Kallergis
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978:(Ventouras, 1797)
943:The Prophet Jonah
922:(Kallergis, 1732)
727:Theodore Poulakis
717:Demetrios Nomikos
682:Stylianos Devaris
360:, pp. 56–57.
220:Hendrick Goltzius
166:Hendrick Goltzius
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970:(Karousos, 1780)
959:The Holy Trinity
847:Saint Onuphrius
778:Ioannis Kornaros
773:Michael Prevelis
626:Nikolaos Doxaras
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224:Heptanese School
210:is a mixture of
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111:Zakynthos Museum
91:Sanctuary gate (
82:Heptanese School
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520:. Parathemata
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244:Notable works
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712:Ioanni Korai
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537:Bibliography
522:. Retrieved
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807:Major works
559:10442/14088
308:Royal Doors
205:Description
181:royal doors
146:iconostasis
141:iconostasis
137:royal doors
133:iconostasis
93:royal doors
1034:Categories
879:Noah's Ark
345:References
338:Kallergis
323:Kallergis
228:Kallergis
150:eucharist
33:Italian:
763:Makarios
524:June 23,
501:June 23,
478:June 23,
451:June 23,
428:June 23,
378:June 23,
286:Spranger
259:Goltzius
212:Spranger
170:Spranger
135:are the
100:Location
77:Movement
1002:Related
239:Gallery
196:. The
188:. The
88:Subject
27:Greek:
565:
403:
301:Backer
216:Backer
68:Medium
50:Artist
549:[
190:whips
186:whips
108:Owner
563:ISBN
526:2022
503:2022
480:2022
453:2022
430:2022
401:ISBN
380:2022
214:and
160:and
63:1732
60:Year
555:hdl
164:.
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561:.
31:,
599:e
592:t
585:v
571:.
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482:.
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409:.
382:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
