International congress of byzantine studies belgrade, 22 27 august 2016

Jenny Albani
Hellenic Ministry of Culture and Sports, Athens, Greece; 
[e-mail]
“Ὁ υἱὸς τοῦ ἀνθρώπου ἔρχεται” (Matthew 24: 44). 
An Icon of the Last Judgment from the Church of Virgin Faneromeni, Nicosia
This paper deals with an icon of the Last Judgment, egg tempera on wood, 83 X 119 cm. It 
originates in the Church of Virgin Faneromeni, in Nicosia, and belongs nowadays to the collection 
of the Byzantine Museum in Nicosia (inv. no BM100). The icon’s condition is good, except for some 
missing parts of the painting layer on its central part and along its upper edge.
In terms of stylistic criteria the icon in question has been dated to the 16
th
century. Since the 
depiction of the Last Judgment was very popular both in the Post-Byzantine East and the Latin 
West, it is interesting to examine the iconography of this work painted on a cultural crossroads.
As is usually the case in depictions of the Last Judgment, the icon’s composition is plethoric 
and comprises a lot of secondary themes, which are placed to the left and right of a main vertical 
axis. On the upper part of this axis Christ the Judge, surrounded by a round mandorla, dominates 
the composition. Archangels Michael and Gabriel in military garb stand on either side of the Lord, 
as well as the Virgin and St. John the Baptist interceding for the salvation of mankind. Stretching his 
right hand Christ invites the Righteous, while he dismisses the sinners with his left. On either side 

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of Christ the Apostles are seated on luxurious thrones, holding open books which are inscribed with 
their names. Twelve angels in imperial garments stand behind them, whilst two more angels stand 
behind Christ’s mandorla.
From Christ’s mandorla the flaming river streams parallel to the main axis of the icon flooding 
the Hell on the bottom right part. Below Christ the Hetoimasia of the Throne is depicted, flanked by 
two flying angels in prayer. Lower down Adam and Eve kneel on either side of the throne on which 
the cross stands, flanked by the symbols of the Passion. On the lowest part of the axis the Weighing 
of Souls is depicted.
Below the Apostles’ group on the left, inside clouds, six groups of Righteous, nuns, holy men 
and women, monks and prophets, pray to the Lord. Outside the clouds one more choir of aged 
Righteous is also praying to Christ. On the bottom left part of the icon the Paradise is depicted as a 
luminous garden inside which the Virgin is enthroned between two adoring angels, while Abraham 
is sitting further to the right.
Below the Apostles’ group on the right an angel unrolls the Heaven’s scroll. Further down, 
inside a grayish landscape the personification of Earth is riding a monster, while a flying angel 
blowing a trumpet gives the signal for the resurrection of the Dead. On the bottom right corner 
is the Hell, flooded by the river of fire. Inside the river five Sinners ask for mercy, and two angels 
push violently two more Sinners to Hell, where a black demonic figure with open arms, riding a 
black monster, is waiting to grab them. Inside the fiery chaos of Hell black figures of Damned are 
tormented by black demons around a black fortification wall with towers and a railed arched gate.
This icon, with its abundant narrative and traditional composition, gives an insight into the 
iconographic and stylistic approach of Christ’s Second Coming in Latin Cyprus and offers a visual 
testimony to its society’s eschatological concerns.