LJILJANASTOITheRepresentationof Christ asKingof KingswithaTripleCrownThe representation ofChristasGreatArchpriest occurs in Byzantine pain-tingas earlyas theXIVthcenturyinthecontext of twocompositions TheCommunionof ApostlesandTheHeavenlyLiturgy. ThePantocratorintheDee-sisscenegraduallycomestoberepresentedwiththeattributesof bothChurchandsovereignpower,assumingacombinedimageofGreatArchpriestandKingof Kings (Xristoj Megaj /Arxiereyj kai Basileyj twn Basileyontwn).1ThecreationofthenewiconographictypeofChristhasbeenbroughtinconnec-tionwiththegeneral political circumstancesintheByzantineEmpire, andparti-cularlywiththenewlyestablishedpowerbalancebetweentheByzantinebasileusandthePatriarchofConstantinopleinthetimeofJohnVPalaeologus.2InSer-bianwall painting, Christ the Great Archpriest acquires the imperial dalmaticandthecrownwhichcoincideswiththemilitaryconquestsofKingDuan.3Sce-nesofthistypecommonlyoccuredafterDuanhadbeencrownedEmperorandtheSerbianArchbishopricwaselevatedtotherankof Patriarchate(1346).TheXVIthcenturyistheperiodwhenthereligiousandartisticinfluencesfromtheWestarepowerfullyexertedupontheOrthodoxEastalongwiththese-cularizationof programmesinpainting. Thesubjectsandmotifswhichusedtobe out of sight and reach are now to be transferred to the central part of the tem-pletotheiconostasissothat duringtheliturgytheycancontinuouslybe1671M. Tati-Djuri, Icne signe de Constantinos Zgouros, avec lareprsentationduChristgrandarchevque, Praktik2, A/ divnoyjsynedroypeloponnhsikwnspoyd%n, tom. II, n-typon, Sparth714. 9. 1975('Au0na1976), 213, 215.2T. Papamastorakhj, =HmorctoXristo-Megalo'Arxiera, Deltontjxristia-nikjrxaiologikjtareia, per. D/, tom. IZ/ 19931994('Au0na1994), 73, 77.3InSerbianmedieval paintingChrist theGreat Archpriest wearingtheimperial dalmaticandcrownwasfirstrepresentedinthenorthwesterncupolaoftheexonarthexinthemonasteryofTreska-vac near Prilep (c. 1340) see P. Mijovi, Carska ikonografija u srpskoj sredwovekovnojumetnosti, StarinarH 1967(Beograd1968), 107109. ThesceneswithChrist theKingandMotherof GodasQueenasdirect illustrationofDavid's45thPsalmarecommonintheXIVthcenturyandbesidesTreskavactheyappearintheMunichPsalterandinthewall paintingofZaum,theMonasteryofStMark(Macedonia)andinthemonasteryofStAtanasiusinKostur(Greece). seeC. Grozdanov, Studiizaohridskotivopis, Skopje1990, 132.beforetheveryeyesof theworshippers. Therepresentationof Christ asGreatArchpriest and the King of Kings is at the head of a series of compositionswhich the theologians and painters of the post-Byzantine period modified for ico-nographic purposes: the wall painting from the portal lunette or the altar diakoni-kon,4becamesthecentralthroneicontogetherwiththeMotherofGodasQueenwith the little Christ, entroned. On the day of his Second Coming, the moment ofhisvictoryover theDevil, Christ isdepictedupontheclouds, onhisheavenlyimperial throne, tothe right side of the HolyFather andhis throne, withthesceptreofjusticeinhishand, hisvesturedippedinbloodandhisnamewrittenonhisthigh: Kingof KingsandLordof Lords. Asasignof thisrecentlywonvictory over the foe, Christ is usually shown seated on his luxurious golden thro-ne, theshapeofitsbackandbaserepresentinglions, orsomeotherfantasticorhybridcreatures.TheiconsrepresentingChristastheheadofChurchandtheKingofGloryalludetotheLord'sSecondComingforetoldbytheProphetsoftheOldTesta-ment (Isaiah, David, Micah, Ezekiel andZechariah), announcedbytheApostlePaul (I Tim. VI, 1415), andmorethoroughlydescribedbySaint Johninhisapocalypticvision(RevelationXVII, 14andXIX, 1316). AppointedbyGodtheFather, Christ becomeshisgreat heirfortimeimmemorial"aftertheorderofMelchizedek,sittingtohisrightwithhisdefeatedenemiesathisfeet(JewsI,13; V, 6; VI, 20). Christ's divine service as Great Judge with the sceptre of justi-ceinhishandsishigherthanthatoftheOldTestamentpriestsandconsequentlyhisthroneisnotfoundintheOldTestamentTabernacle(HolyofHolies)butintheperfect, NewTestamentonewhichisnotofthisworld, whichmeansitisinheaven itself, before God's face. Having passed through heavens, Christ becomeseternal HighPriest aftermakingacovenant withhisdeathandbeingconfirmedbydeathhebecamethemediatortotheNewTestament. CalledbyGod, ChristbecomeshissonapartakerintheHolySpirit"andthereforeheishigherthanMosesandAaronandthepriest of Levi'ssons, regardlessof thefact that theyalsoissuedfromtheloinsof Abraham(Jews, III, V, VII andIX).ThepreachingofSaintPaulisanticipatedbyDavid's110thPsalminwhichChrist is described as the Eternal Emperor and Priest after the order of Melchize-dek,totherightsideoftheLordinZion,withprostrateenemiesashisfootstooland the sceptre of power in his hands. The double mention of Melchizedek in theOldandNewTestamentisnotaccidentalbutservestoemphasizeChrist'sprero-gativesasaRulerandEmperor. MelchizedekwasapriestandtheKingofJeru-salemwhowithAbraham'sblessingbecametheKingofJusticeandtheKingofPeacewithoutbeginningorend,therefore,thehighpriestforever".Itisacaseof honour and power which are not inherited, because then they would be limitedbydeath;itisacaseoftheunlimiteddurationofthepriesthoodsinceitdidnotarisebythelawoffleshbutbytheforceofeternallife". Thechangeinpriest-LJILJANASTOI*1684M. Tati-Djuri, op. cit., 214.hood from Aaron's order to Melchizedek's order opened the road to Jesus Christ,the Eternal High Priest. When Christ is represented as Great Archpriest and Kingof Kings, theinsigniaof his earthly, as well as heavenlyrank, arehis sakkos,omophorion, hypogonation, sceptreandmitre.5Allofthis, exceptthehypogona-tion, areofsovereignoriginandareemblemsofthesupremeroyal dignity(in-signiaregia), andwereoriginalypresentedbytheEmperor himself.Thearchpriest'souterrobeintheformofatunic, sakkos, wasoriginallyafestiverobeoftheGreekEmperorsdesignedforexceptionaloccasionsonly,liketheir Church'svisits. ThiswhitesurplicedecoratedwiththegoldenandpurpleembroiderywasintroducedintoChurchusagebythePatriarchsasasignoftheruler'sextraordinarykindness, mercyanddistinction. Withtime, bishopsstartedwearingthesakkosaswell. Thefront slit inthemiddle, decoratedwithgoldenbells, resembledtheclothesoftheOldTestament archpriests(2MosesXXVIII,3236). Since, accordingtoSimeonfromThessaloniki, Christ was wearingarobe similar tosakkos while the crowd maked a mock of him, this archiepiscopalvestment acquiredthe symbolical meaningof the Saviour's sufferings andthesacrificeof thejust.Theomophorion, acloakintheshapeofawideribbon, stole, isagarmentofanarchbishopandwornontopoftheotherliturgical vestments, overshoul-derssothatitsendsfallatthefrontandtheback,downtothelowerhemofthesakkos.Itisalsoadistinctionofroyaloriginbecauseitoriginatesfromtheloros(lat. lorum)oftheByzantineEmperorswhoworeitonlyonfestiveoccasionsorgave it as a present to their noblemen as a sign of imperial mercy. In the Church,originallyonlyPatriarchsusedtowearit, andlaterarchbishopsaswell but alsoonlywhileperformingthemost important part of divineservice. Thisliturgicalcloakis anobvious signof Jesus Christ's humannatureandit symbolizes thehumankindredeemedbyhissacrifice.Whenanarchbishopdonsanomophorion,hethenbecomestheGoodShepherdwhoputsthelost sheep(omofor)overhisshoulders and carries it to his Holy Father to reunite it with the heavenly forces.Afour-corneredpiece of cloth, the hypogonationis drapedover the leftshoulderonecornerisfixedtothewaist sothat it fallstotheright thighofthearchbishop; it is thesignof aspecial spiritual strengthandpower andit is asymbolical representation of the spiritual sword or God's word itself. By wearingit thechurchhighdignitariesacquireitsstrengthinthebattleagainst religiousenemiesandheretical illusions. AccordingtoSimeonofThessaloniki, thehypo-gonationalsomeansvictoryoverdeath,Christ'sresurrectionandeternallife.Aswitheveryothervestmentfordivineserviceconnectedwiththewaistandloins,andwiththedonningofawaistband, thehypogonationindicatesthesymbolicalacquisitionofstrength, force, power, helpandprotectioncomingfromGod, but,atthesametimeitalsospeaksofaconsciousnessofpersonalpurityasacondi-tionof readinessfor Christ'sSecondComingor TheKingdomof God.*THEREPRESENTATIONOFCHRISTASKINGOFKINGS1695L. Mirkovi, Pravoslavna liturgika ili nauka o bogosluewu pravoslavne istonecrkve, , Beograd1965, 129135.The shepherd's crook, crosier or the ruler's rod or sceptre (lat. baculus;gr. pateriza) is the signof archiepiscopal power, the preacher's dignityandfatherly care over Christ's flock (congregation). The miracle of Aaron's flo-weringstaff wasGod'sconfirmationof hisselectionasanarchpriest (4MosesXVII).ChristasaGoodShepherdinearlyChristianartwasoftenshownwithacrook in his hand. The most luxurious, metropolitan and patriarchic crosiers havetheirupperpart decoratedwithpatternsintheshapeofsnakeheadsfacingeachother as symbols of God's wisdom which suggest the high moral qualities of tho-se they are entrusted to. As a rule, they were also part of imperial gifts toChurchdignitaries, asignof their mercyandsymbolical recognitionof thesu-preme(spiritual) power. Asamarkof miraculouspower (Moses') whichinspi-res, conveys or takes awaytheenergyof life, thesceptreis thesignof courtpowerandjustness;itistheattributeofGod'sMother,Christ(asKingofKings)andtheArchangel Michael.InearlyChristiantimes, thehighestChurchdignitariesreceivedacrownintheshapeofmitrestraightfromtheEmperor'shandasagestureofimperialbe-nevolence, honour anddignity. Inthe beginningit lookedlike the ornate capwornbyarchpriestsfromtheOldTestamentanditwasmadeofthinmaterial(2Moses XXXIX, 28) with the golden decorations at front; it was called holycrownorkidarandithadallthesymbolismofconsecratedpowerwhichMosesreceivedfromtheLord(3MosesVIII, 9). ThecapistheaccoladewhichintheNewTestamentbecamethelaurelofglorywhichneverwilts(1PeterV, 4), thelaurel of lifeasarewardfortheofferedsacrificeandforthevictoryoverpesti-lencesandtemptations(Jac. I, 12) andthelaurel of justicewhichJesusChristtheJust Judgewill giveonthedayofhisSecondComing(2Tim. IV, 8)toallthosewhobelievedinhim.Amongthefirst,afterMoses'brotherAaron,towearthemitreweretheApostlesJohnandJacob(abrotheroftheLordandthefirstbishopofJerusalem). LaterthemitrewaswornonlybyAlexandrianPatriarchs,but thenall other Patriarchs without exemptionuntil theXVIIthcentury; fromthenononlymetropolitansandbishopshavebeenentitledtoit. AmongCatho-lics, sincetheXthcenturythemitrehasbeenwornbybishops, archbishops, Po-pesaswell asmitredabbotswiththespecial permissionofthesupremeChurchFather fromRome.Theshapeofthemitrehaschangedconsiderablythroughoutthehistoryandonceitsappearancewasnothingliketoday'sformofcrown-mitrewhichbecameestablishedinmid-XVIIthcenturyinRussia, andafterwards inother Orthodoxcountriesaswell. ConsideringitsundoubtedlyIndo-Persianorigin, at thebegin-ningthemitrewasprobablyintheshapeof aconical, socalledPhrygiancap;the phrygium is known as an attribute of the Phrygian, Persian and Greek-Romandeities, Attis and Cybele, Mithras and Ceres (Demeter).6Its connection with Mit-LJILJANASTOI*1706D. Srejovi, A. Cermanovi,Renikgrkeirimskemitologije, Beograd1979,64,303,270271, 494495; F. Revilla, Diccionariodeiconografa, Madrid1990, 358.hraic religion and Mazdean learning seems quite justifiable, since these werewidespreadintheantiqueworld, andparticularlyintheRomanEmpireinthemiddleof theIIIrdcentury. Asasolar deity, Mithraswasconsideredtobethemediator betweenGodandpeopleandhewas respectedas aprotector of thewhole humankind. The followers of this cult set themselves high moral goals andbelievedthatthroughpersonalsufferings,purity,chastityandasceticismtheyco-uldsecure themselves a newbirth, resurrectionandimmortalitywiththe helpandguidanceofMithras, theGreat andJust Judge. Mithraiccult legendwasatonestagethemost serious competitor totheChristianlearningwhicharoseinPalestineandstartedtopenetratethelandof RomanEmperorsandlegionaries.Something of its cosmological-astrological symbolism was taken over by the newsoteriologywhichtransferredtoChrist astheInvincibleSunandtheSunofJu-stice(Sol InvictusandSol Iustitie). Lateantiquesymbolismandmiddleeasterncosmologyrelatedthemonarch'sabsolutepowercomingfromGodwiththedi-vinepowerofgoverningwhichspreadsovereverythinginheaven, onearthandin the underworld. The headgear in the shape of a turban, a conical cap, so calledinfulaortiara(gr. tiara)thetriplecrownwastheclosestinshapetothecrownof oldAssyrianandPersianrulers.The tiara, a closed crown consisting of three coronets of unequal size whichlieuponeachother, isasignofthehighestimperialfavourtotheoneitispre-sentedto, sinceit shouldprovidehimmaximumprotectionandinvulnerability.This understandingis alsoconfirmedbythelegendof Saint Sylvester7(314335), the Roman Pope who was the first in history to be presented with the mitreintheshapeofawhitePhrygiancap8byEmperorConstantinetheGreat(306337). This was not only a gift of the highest level but also a serious and decisivepolitical stepgiventhecircumstances andconditions attached. Intheyear 330Constantine moved his residence (translatio imperii) fromRome to the townwhich would later be named after him (Constantinopolis or New Rome),9and thecrownwaspresentedtothePopeSylvestertowearit andhavepriorityoverallothergreat Patriarchs, onconditionthat fromthenonherecognizetheimperialpowerfromthenew, easterncapital.10Thefirst RomanPopeandhissuccessorswerealsograntedtemporaryruleover Romeandthewesternprovinces accor-dingtothedocument knownastheDonationof Constantine. Thiswrittenact,consideredvaliduntil theIXthcenturyevenbyanti-papistswhoquestionedit;wasnot pronouncedaforgeryuntil theXVIthcentury. Theamount ofattentionthat was given to this event is shown by the verses from Dante's Divine Comedy,morespecificallytheextract fromitsfirst part Hell (XIX, 116118) inwhichthepoet, whileharshlycriticizingthemoral vices of his time, alsotackles his*THEREPRESENTATIONOFCHRISTASKINGOFKINGS1717J. N. D. Kelly, TheOxfordDictionaryof Popes, OxfordNewYork1986, 28.8This is howit appears onthefrescoes of theRomanChurchSS. QuattroCoronati from1246. see Lexikon der christilchen Ikonographie, IV, RomFreiburgBasselWien 1972, 314.9S. Ransimen, Vizantijskacivilizacija, SuboticaBeograd1964, 10.10J. N. D. Kelly, op. cit.personal political opponents andrepresentatives sayingthat fromConstantine'sgifttothefirstRomanFather,PopeSylvesterwasagreaterevilthanhisconver-siontoChristianity:Ahi, Constantin, di quantomal fumatre,Nonlatuaconversion, maquelladoteChedatepreseil primoriccopadre!11"SincethethreetieredcrownwithacapandacrossatthetopasoneofthesignsofpontificalpowerandtriplerulingdignityoftheRomanPopesgotitsfi-nal shapeat thebeginningoftheXIVthcentury,12theartisticrepresentationsofthetiaraontheheadofwesternholyfathersstartingfromthistimerepresentedtheunityof their autocratic-theocraticspiritual, worldlyandsupremepower.13TheXXVsessionof Council of Trent (1563) wasof decisivesignificancefor theart of theCounter-Reformation. Preciseinstructions for theartisticex-pressionoftheholysecretsofRoman-CatholicismwereprescribedinthedecreeDesacris imaginibus.14Themilitant andtriumphant Churchof theHolyChairsoonreceivedacatalogueof strictlyprescribedpersonifications, themost com-mon of which has three attributes: the triple crown (papal tiara), papal cross(cruxpapalis) andthekeysof Saint Peter.15Inthepost-Byzantineart of theOrthodoxEast, whenit didnot appear ontheheadsofwesternChurchFathers(St.Sylvester),16thetriplecrownwasadis-LJILJANASTOI*17211L. Desanctis (prev. Lj. N. Vlai), Papa nije nasljednik svetog Petra, Sarajevo 1932, 6, 66.12J. Hall, Dictionaryof Subjects &Symbols inArt, N. YorkHagerstownS. FranciscoLondon 1979, 303. At the beginning it was called a ring (regnum), that is a circlet which in mid-XIthcenturychanges intoa diademdecoratedwithprecious stones whichwas wornaroundthe whitePhrygiancap. Threeof suchringsmadeupatiara(it. treregno).13OntheorderofthePopeJuliusII,around1503RafaelmadeafrescoononeofthewalloftheVaticanStanzedellaSegnaturaknownunder thenameDisputa(TheTriumphof theChristianChurchor The Exaltingof Eucharist). The scene represent animaginarycouncil-debate, a politi-cal-religiousmeetingofthemost outstandingdefendersofthedogmasoftheCatholicchurchunderthe auspices of chosenSaints andSt. Trinitywiththe intentionof give verification, legalityandvaliditytothereacheddecisions. Twoofthepresentholyfathers, JuliusIIandSixtIV, arewearingtriplemitre-tiara.14F. Checa, Pintura y escultura del Renacimiento en Espaa 14501600, Madrid 1983, 326.15Among the best known Jesuit anthologies of the militant wave, which take over andconvincinglypropagatethemost important itemsofthenewdogma, aretheemblematicanthologiesof S. de Covarrubias (Emblemas morales, 1610, emblems with the motos Imperium sine fine dedi andNulli suamansit imago)andPsalmodiaEucharistica(1622)ofM. Prieto. Assignsofimperial (sig-numimperii) and papal power (signumpontificii), the tiara together with the other symbols ofworldly glory and power found its place in the picture In ictu oculi (1672) by a famous painter of de-ath, theSpaniardH. deValdez-Leal. It isoneofthemost strikingrepresentationsofthetraditionaltheme mementomori. Onthis occasionSpanishmoralistic Baroque art includedthe papal crown,crossandthekeysofthefirstApostle(St.Peter)amongthesymbolsoftransienceandhumanvanitywhosemeaningcanbelost inonesinglemoment not loner thantheblinkof aneye.16A Museum in Zacynthus (the capital of the Ionian island of the same name near CephaloniaandoppositethePatrabay)looksafteraniconofthePopeSylvester(1711)producedbyalocalart-ist, Georgie Griparis. It is the earlier mentioned first pope of this name, and the first Roman holy fat-herSylvesterIthecontemporaryofemperorConstantinewhodiedveryyoung,beforetheageof 22. Onthisiconheisrepresentedintheusual appearanceof anorthodoxhermit inhismaturetinctiveitemof apparel for thePatriarchs fromConstantinople(St. GregoryofNazianzus).17ByconnectingthetriplecrownwithConstantinopleandnot onlywithRo-meandbyputtingitontheheadofthehighesteasternChurchdignitary,thetia-ranotonlyloosesthesymbolismofthesupremacyofpapalrulebutalsodeniesthat theRomanholyfatheristhemanifest headofthewholeChristianChurch.Byemphasizingthesignificant factsanddecisivehistorical events, theaimwastodenytheprimacyofSt. PeterandtheRomanPopesovertherightsoftheot-herApostlestorulership, andtostresstheequalityofallregionalChurchesandtocall for theunityof theecumenical Church.18Since the Florentine council (1439) failed, despite the intention of theByzantineEmperorJohnVIIIKantakusen, bothtoimposetheunionwithRomeonByzantiumandalsotosecurewesternhelpagainst theunstoppableOsmanlyinvasion, theEasternEmpireremainedOrthodoxinitsreligion, but it soonfellapart andcameundertheTurkishrule. Local ChurchesintheformerByzantineEmpire became national, autonomous and canonically unique while remaining fa-ithful to the democratic ideals of early Christianity".19After the Council of*THEREPRESENTATIONOFCHRISTASKINGOFKINGS173years:withalongbeard, inarchbishop'svestments, withomophorionandtriplecrown. Theendlet-tersoftheinscriptionwiththewordarchbishop"arestillvisibleabovethepope'sleftshoulder.Theinscriptiononthe other side is far less legible. see M. Xatzhdakhj, =Ellhnj zwgrcoi tjl3sh(14501830) me esagwgstnstoratjzwgracikjtjpoxj, tom. I, Auhna1987,234, ill. 93.17TheiconbytheCretan, MihailoDamaskinos, calledTheFirst Ecumenical Council, oneofhislast worksfrom1591, followstheiconictypeof thecycleof theecumenical andstatesynodsknownintraditionalByzantinewallpainting.ThreelinesofthehighestchurchdignitariesoftheEa-sternChurchhierarchyareledbyachurchruler(withatriplecrownortiara)andalayruler(withthe imperial crown on his head). It is the question of the council held in Constantinople in 381 (betterknownastheNicaean-ConstantinoplemeetingoftheEasternOrthodoxchurchfathers),andthereforethere are no doubts as to who the people represented as major protagonists are, according to the rulesvalidfortheillustrationofGodtheFather(emperor)andhissonJesusChrist(patriarch)whositsathisfather'srighthand.TheEmperorshowncanbenootherthanTheodosiusItheGreat(379395)andhis companionandthemainparticipant of this great andsignificant synodis thePatriarchofConstantinople, GregoryNazianzusbetter knownasGregoryTheTheologian(379381).BesidesofficiallyconfirmingthePatriarchofConstantinople, nominatedtwoyearspreviously,thissynodwascalledtoaddressmoreimportant religiousandpolitical affairs. Toreiteratethecon-demnation of Arianism made in Nicea and fractional schism over the human as opposed to the divinenatureof Christ andthustoimposeOrthodoxChristianlearninganditscreedonthewholeof theRomanEmpire.ThedecisionsreachedatNicaeaandConstantinoplewouldlaterbecomeastumblingblockandseedofcontentionbetweentheEasternandWesternChurchesbecauseofthedifferencesintheirunderstandingoftheoriginoftheHolySpirit. TheOrthodoxwould, believinginthesame-nessofGodtheFatherandGodtheSon,considertheHolySpiritcomesfromGodtheFatheralone,whereasCatholicsmaintainthat it originatesfrombothFather andSon(Filioque) thusrecognisingtheir essentiallydifferent natures. Seethesame251ill. 120; A. Embiricos, L' colecrtoise, Der-nirephasedelapeinturebyzantine, Paris1967, 164165ill. 80; Ch. Walter, Iconesof theFirstCouncil of Nicaea, Delton tj xristianikj rxaiologikj taireaj, per. D/, tom. IST/,19911992(Auhna1992), 210, fig. 3.18BygivingthetiaratothePatriarchofConstantinopleTheodosiuspronouncedhimequal totheRomanPontiffsinceConstantinoplewasNewRome.ThefactthatGregorytheTheologianissit-tingtotherightofEmperorTheodosiusissimplytheexpressionoftherealstatusquothesubju-gationof thePatriarchtotheEmperor. SeeS. Ransimen, op. cit., 109.19Ibidem, 125.Trent, Orthodox schismatics" were exposed to even more brutal and frequent at-tempts at unificationfromthePapal Janisseries"(Jesuits).20As themost lear-ned,thebestorganizedandthemostnumerousamongtheeasternbrothers,Rus-sianscholastictheologiansfelt invitedtomoreindefensethaninattackcollect, workout, systematize, confirmandreveal thesymbolicdogmasoftheirreligionrealizingthat theshortageof suchmaterialsonlyprovidedjustificationfor theCatholicpapal machinery'saccusationsof heresyandfacilitatethecon-versionof theOrthodoxtoCatholicism.The timely criticismof the Florentine Decree fromthe Moscowsynod(1441) andtheJerusalemsynod(1443)21was obviouslyinsufficient defenseofthetheologyof theEasterncatechism. AKievMetropolitanandthefounder oftheSpiritualacademyinKiev,PeterMogila(15961647)wroteaCatechismofOrthodoxReligiousPracticeorOrthodoxHomologiaapprovedbytheConstanti-nople synod of 1643 and published in Greek and Latin.22Together with TheConfessionoffaithbyaJerusalemPatriarchDositej(1672),betterknownasDo-sitej'sConfessionortheEpistleof EasternPatriarchs,23thetheologyoftheEa-sternChurchacquiredinthismanneranofficialphilosophy(innuce)andareal,clear andpuretheologyof theOrthodoxfaithwhichwas, albeit reluctantly, re-cognized by the western Church Fathers and the Roman Catholic Church as well.Both these books teach that Christ is the only head of the Church and there-foreitsmanifest headcannot bethePope, hisrepresentativeonearth. SincetheHolySpirit comes fromGodtheFather himself, Filioqueis adelusionfor theOrthodoxChurchwhichonlyconfirmstheconclusionsofthefirst VIIecumeni-cal councils.24Similar tothe unjust acquisitionof the primacyof the Romanhigh-priest overotherPatriarchs, theseofficial booksdenytheprimacyofSaintPeter over theother Apostles.25LJILJANASTOI*17420T. Ostoji,ZaharijaOrfelin,ivotiradmu, SKANU, Posebnaizdawa, kw. H,Naukefilosofskeifiloloke, kw. 12, Beograd1923, 105.21I. Markovi, Slaveni i Pape, I, Zagreb1903, 278, 287.22Thefirst translationof Mogila'sworkintoSlavonic"wasnot publisheduntil 1696whenPatriarchAdrianofMoscowauthorizedit forchurchuse, callingit adivinelyinspiredbook."Seeop. cit. 280andbythesameauthor, Cezarizami bizantinstvoupovesti iztonograzkola, I, Zagreb,1891, X.23The synod of Jerusalemmade official the second part of Dositej's Confessions, betterknownastheShieldofFaithorApologiain1720,seeI.Markovi, SlaveniiPape,I,279.Itisinte-restingthatayearearlier, ontheinterventionofPetertheGreat, theJesuitswere, forasecondtime,officiallyexpelledfromRussia. In1722and1725, todefendhimself fromaccusationsthat hewassecretly in league with the Pope, the Russian Czar organized street theaters, lampooning the ConclaveofcardinalsandtheselectionofanewPope.InadditiontheCzarwasreceivingProtestantandAna-baptistpublicationsfromEuropeandhavingthemtranslatedandpublishedweeklyindomesticjour-nals. SeeI. Markovi, Slaveni i Pape, II, Zagreb1904, 129131.24I. Markovi, Cezarizami bizantinstvoupovesti iztonograzkola, I, VIIIXXV.25TheprimeevidencecitedbytheLatinChurch,foritsGodgivenleadingroletheclassicplaceinSt Mathew'sGospel (XVI, 1819) isrefutedbythewordsof St Paul whoseeslocalarch-shepherds(rulers)aroundtheHolySpirit asChrist'srepresentatives(D. ap. XX, 28). Thefirstamong them is Christ (Colossians I, 18), the chief of the apostles" who would, at the time of his se-condcoming,receivetheneverwiltinglaurel"(IPetr.V,4).TheheadofthechurchasDivinecon-structioncanbenoother thantheonewhois appointed, whois Jesus Christ"(I Corinthians III,TheKieveditionof Mogila's catechismOrthodoxHomologiaonits fronthadanengravingwiththeimageof theHolyTrinityonwhichGodtheFatherwith a three tiered crown on his head, supports mundus (orbis) with his left handandblesseswithhisright hand, whileChrist issittingtohisright withacrownintheshapeof aepiscopatemitre, withhis left handonhis chest andwithasceptre in his right hand. The same composition was cut (1754) and printed(1758) byZaharijeOrfelininSremski Karlovci, dedicatingthebooktohispa-tron, ametropolitanPavleNenadovi26inrhymingcouplet onastencil:Father, SonandtheSpirit of theholyUnityturnyouheavenlyfacetothisunworthycreature"27GodtheFatherwiththepapaltiarahasbeenmostoftenshowninthecom-positionoftheHolyTrinityinDutchpaintings.28TofurtheremphasizetheideaofthesupremacyoftheChurchandgiveititsfullshape,besidestheFather,theSon, Christ wasalsointhehabit of wearingthethreetieredcrown. Protestantevangelism undoubtedly influenced Russian theological thought in before and du-ringthetimeofPetertheGreat, andsothephilosophicmethodsandargumentsof Protestant theological teachings reachedtheSpiritual AcademyinKievandpenetratedintotheRussianscholastictheology.29Ontheother hand, Calvinists,although they officially adopted Petar Mogila's apologetic catechism, or preciselybecauseofit,publiclyproclaimedthattherewerenoseriousdifferencesbetweentheirdogmaandthatoftheOrthodoxChurch.Accordingtotheoreticallyorienta-tedRomanCatholic Churchprelates, Dositej's Confession of Orthodox Creedwas indeed produced to clarify the basis of such arbitrary interpretation" of Cal-vinist heretics". Theagreement must, certainly, havebeenparticularlyobviousinthepart opposingthepapal systemthroughtheunderstandingthat theglorybelongsexclusivelytoGod(Soli DeoGloria). PetertheGreat acceptedtheideaofasecularrulerandtheseparationofthestatefromtheChurchthroughthein-dependenceof theCzar'spower fromtheChurch, possiblyafter hisjourneyto*THEREPRESENTATIONOFCHRISTASKINGOFKINGS175911), andall theotherApostlesareonlyservantsandhelpersbyGod'sorder(ColossiansI, 25),startingfromthefirst twoSaint Peter andSaint Paul.26Inhiscircularletterthemetropolitanexpresslyorderedthat catechismTheOrthodoxCon-fessionofFaithistobelearntbyheartbyallpriestandmonks;thosewhofailedtodosocouldex-pect anypunishment andmanyotherinconveniences. Thedocuments, however, tell that inmost ca-sestheConfessionwassoonerforgottenthanitwaslearnt.seeT. Ostoji,DositejObradoviuHopovu, Studijaizkulturneikwievneistorije, KwigeMaticesrpske, 19i20, NoviSad1907, 285286.27D. Davidov, SrpskagrafikaHveka, NoviSad1978, 163, 310i141.28J. Hall, Dictionary, 303.29No less interesting is the fact that the Serbs in Austria also resisted the theocratic rule of thechurchhierarchy. Thisresistanceshoweditself particularlyintheliteraryworkof ZaharijeOrfelin.HisinclinationtowardsProtestantismandProtestant writershasalreadybeennoted, theideologicalinfluenceof TeofanProkopovihasbeenobservedandexplained, andtheanachronisticfascinationwiththeideal ofgreat RussianCzarwassostrongthat it hadtobepaidfordearly. seeM. Bo-kov, ZaharijaOrfelini knjievnost ruskogprosvetiteljstva, ZbornikzaslavistikuMaticesrpske, 7,Odeljenjezaknjievnost i jezik(Novi Sad1974), 69.Europe where he got himself acquainted with anti-papal and Protestant litera-ture.30In1704, theSerbianzographosKozmaDamjanovipaintedthreeiconsre-presentingtheHolyTrinityoftheso-calledangelictypeforthevillageorthodoxchurches in Slavonia. It is the well-known composition of Christ as King ofKings,but,insteadofone,threeSaviour'sheadsarerepresented.Theiconograp-hicconcept oftheHolyTrinitywiththethreeheadsoftheyoungandbeardlessChrist (triceps, trimurti)31wasnot unknowntotheBalkanpaintersofByzantineand post-Byzantine period (Matei, Ohrid, Mostai near Trebinje, tip, BijeloPolje, Shelcan in Albania, Chilandari, Deani, Studenica).32What is newanduniqueabouttheiconsofzographosKozma,isthetriplecrownwhosewidesidewreathesthethreeheadsinthusschemedvisual concept of consubstantialityofthethreepersonsoftheHolyTrinity.33Thethreeiconsrepresentingthethree-he-aded Christ, were painted in the north of Croatia, the territory where the majoritypopulation was Catholic, served the idea of national homogenization and thestrugglefor religious survival of theSerbianOrthodoxpopulation. Contrarytothe Western Christian learning about the Holy Spirit proceeding from both Fatherand the Son (et Filio, Filioque), the Nicaean-Constantinopolitan Creed recognizedbyall theEcumenical Councils, firmlystatesthat theSpirit doesproceedfromtheFather, but not fromtheSon. Theperfect equalityofFather, SonandHolySpiritintheEasternCreedacceptsoneandonlyCatholicandApostolicChurch,whichisinoppositiontotheRomanCatholicdiarchal learningabout Filioque.34Seeninthelight of suchdiscrepanciesconcerningtheconcept of HolyTrinity,theappearanceofouriconsatthebeginningoftheXVIIIthcenturyshowingthethree crowns on the three heads of the divine persons, is an evident expression ofconsistent confessionandtheapologyof Easterntheological dogmas.Inthe representationof the three-headedHoly Trinity as aniconographictypedisappearedfromearly-ByzantineSerbianpaintingafterthezographosKo-zmaassuddenlyandunexpectedlyasithadappearedtheimageofChrist asLJILJANASTOI*17630In1721PetertheGreat dismissedtheRussianPatriarchate, foundingtheHolySynodwithhimself asitshead.31R. M. Gruji, Ikonografski motivslianinduskomtrimurtiuustaroj srpskoj likovnoj umet-nosti, Tkalievzbornik, I(Zagreb, 1955)103, fig. 15aand15b; S. Duani,Muzej srpskepravo-slavne crkve, Beograd1969, XVII andtableincolor I; D. Medakovi, Osrpskoj umetnostiuoblastimastare Slavonije iHrvatske, Starinar (Beograd 1953), reprintedinPutevisrpskogbaroka, Beograd1971, 341; S. Mileusni,IkonopisacKozmaDamjanoviodKostajni-ce, GlassvetihravnoapostolairilaiMetodija, , 104(Zagreb, januarapril1980), 12;Idem, Muzej Srpskepravoslavnecrkve, catalogue, Beograd1989, 21.32D. Medakovi, op. cit; A. Vasili, Riznica manastira Studenice, Saoptewa, (Beograd1957),53,sl. 23;Th.Popa,Piktortmesjetarshqiptar,Tiran1961,96,ill.29;S. Pet-kovi, ZidnoslikarstvonapodrujuPekepatrijarije15571614, NoviSad1965, 7375;V. J. uri,VizantijskefreskeuJugoslaviji,Beograd1975,7071;M. akota,Deanskari-znica, BeogradPritina1984, 101, 125(sign. I-50), sl. 58.33Thedebatesontheissueofthreefacesendedintheconclusionthatitwasthecaseofthreefaces(trinitasnumerica) of thesamenautre(unitasspecifica). seeA. V. Kartaov, Vaselenskisabori, , Beograd1995, 7576.34Ibidem, I, 93.Kingof Kingswithtriplecrownappearedindifferent variantsat theendoftheXVIIthandinthefirst decadesof theXVIIIthcentury, inareasfar awayfromone another, the areas inhabited by Serbs from Krajina, the territories on the bor-dersof twoempires, theAustrianandTurkishEmpire.TheearliesticonofthistypeistheworkofaSerbianpainterSavatijeKra-bule in 169735for the monastery of Orahovica in Slavonia (present-day Croatia).ThetriplecrownonChrist'sheadwasoriginalypainted, thenwrought insilverretaining36the shape of the crown and only later on to be decorated withjewels.37Around 1720 an anonymous artist painted Christ as King of Kings without athronefortheSerbianchurchinVillny(Baranja). Christ isinastandingposi-tion, inhislongsovereignrobedecoratedwithgoldwithonehandblessing,andtheotherholdingasceptre.38Christ isshowninthelight mandorla, thesunraysbeingemittedinall directions. Heiswearingatall triplecrown, itspointsdistinctlyseparated. Thisiconisanillustrationof themagnificent visionof theGloryof Godfromthesecondlineof David'sPsalm104.The icon ofChristasKingofKings from Srpski Mileti (Baka) is dated tothefirst quarter of theXVIIIthcentury, andis believedtohavebeenbroughtfrom somewhere in Baranja.39If it were not for the triple crown on Christ's headandtheopenGospel inhisleft hand, aswell asthechitonandhimationheiswearing, the representationwouldbe suggestingthe Pantocrator seatedonhisimperial throne.The fourth icon of this type comes fromMohovo (Western Srem, pre-sent-dayCroatia).40Therearetwosix-wingedSeraphimnext tothethronefromwhereChristismakingthegestureofbenedictionwithonehandandholdingthesceptreintheother. Thethroneitselfisrichinhighlystylizedfloralornamenta-tion. As it becomes the imperial andsovereignmajesty, Christ is representedwearing a purple robe and shoes of the Byzantine basileus. There is a triple*THEREPRESENTATIONOFCHRISTASKINGOFKINGS17735V. Bori, ZbirkaikonaOdjelaSrbauHrvatskoj, Zagreb1974, 78; D. Medakovi, Ba-rokne teme srpske umetnosti, in Tragom srpskog baroka, Novi Sad 1976, 252253; Idem,Istorijskeosnoveikonografijesv. SaveuHveku, inBarokkodSrba, Zagreb1988, 136.36It isinterestingthat theiconBogorodicaOdigitriabyanunknownpainterfromDubrovnikalso had the silver ornament in the shape of a three-tiered crown. The icon is in the possession of theparishchurchontheislandofLastovo. Itissocalledlithianiconpaintedonbothsides, acopyofafamousoriginal fromthethirdorfourthdecadeoftheXVIthcenturyfromConstantinople. It isnotknownwhentheiconreceiveditssilver ornament: threecoronetsareplacedabovethelittleChristandnext totheVirgin'shead, onher right side. Thankstotheknownoriginal, it canbesaidwithcertaintythatallsixpartsoftheaddedcrownsweretheresultoflaterideasandtheinterventionsofdonators fromamongthewealthier orthodoxcitizens. see V. J. uri, Dubrovakaslikarskakola, PosebnaizdawaSANU, kw. SSSH, Odeqewedrutvenihnauka, kw. 45, Beograd1963, 215216, 135.37R. M. Gruji, StarinemanastiraOrahovice, Beograd1939, 38.38D.Davidov, Ikone srpskih crkava u Maarskoj,NoviSad1973,164,T.HH, cat. 31.39D. Davidov, L. elmi, IkonesrpskihzografaHveka, exhibitioncatalogue, Beo-grad1977, 29, 4950, cat. no. 15.40Ibidem, 60, cat. no. 35.crownwithitspointswide-spreadapartonhishead,withacross-shapedtopgo-ingbeyondtheframeof theicon.The last and the most recent icon ofChristasKingofKings is painted abo-ut1730. fortheSerbianchurchinFenj(Foeni), inpresent-dayRomanianBanat,nearYugoslav-Romanianborder.41TheonlyiconographicchangesincomparisontothepreviousiconfromMohovoisthat theSeraphimshavebeenreplacedbytheHolyArchangelsMichael andGabriel.In Serbian Baroque painting not until the fourth decade of the XVIIIthcentury was the enthroned Christ represented as theGreatArchpriest but asKingof Kings. AsasymbolicalimageoftheveryendofSaintJohn'sapocalypticvi-sion, Christ asVictorinthebattlewagedinHeaven, iswearingtheappropriateinsigniaonhisheadatriplecrownwhichnobodybut himself isentitledto.TheVictor, triumphant over theconqueredone, takesandputsonthebest wartrophy.ThetriplecrownontheheadofChristrepresentedastheByzantinebasi-leussymbolizesthevictoryof Orthodoxfaithover theRomanCatholicChurchanditsmisconceptionthatitsroleoftheleaderonearthisbeyondquestion.ThePopes under the pretext of the primacyof the Apostle Peter trytousurpanddeny the supreme power of Christ, and thus they have become the greatestenemyofhis, thefalseprophet, theAnti-Christs. TheheadofChurch, beingthecreationofGod, canbenobodybutJesusChristhimself, andallofhisApostlesandEmissariesonearthcanbenothingbut hisGod-ordainedassistantsandser-vantsbeginningwiththefirstones, SaintPeterandSaintPaul. SincethePo-pes, bywearingthe triple crown, have triedtousurpthe God-grantedpowerwhichbelongsexclusivelytoChrist,thispartofregaliaisanobviouswarningtotheOrthodoxagainst theproselytingefforts toconvert themtotheunionwithRome.Apart from religious reasons for the representation of the triple crown, moreserious,politicalreasonsshouldbesoughtaswell.Thebestevidencetobackupthisstatementsisthisgroupofsmall Serbianiconspaintedat thecrossroadsofthetwocenturies,tworeligions,twoempiresandthetwoglobalspheresofinte-rest.QiqanaStoiPREDSTAVAHRISTAKAOCARANADCAREVIMASATROSTRUKOMKRUNOMRezimeesnaestivekjedobaprodirawasnanijihverskihiumetnikihuticajasaZapada na pravoslavnisvet Istoka uz istovremenu laicizaciju slikarskih pro-grama. PredstavaHristakaoVelikogArhijerejaiCaranadCarevimanaelujeni-LJILJANASTOI*17841M. Jovanovi, L. elmi, N. Kusovac, UmetnikoblagoSrbauRumuniji, exhibitioncatalogue, BeogradNoviSad1991, 2627, cat. no. 3.zaonihkompozicijakojesubogosloviislikaripostvizantijskogperiodaikono-grafskipreradili: odzidneslikesaportalskeluneteiliizoltarskogakoni-konaonapostajecentralnaprestonaikonazajednosaBogorodicomkaoCaricomsamalimHristomnaprestolu.IkonesalikomHristakaosvetenikimpoglavaromiCaromSlavealudi-rajunaDrugidolazakGospodakojisupredskazalistarozavetniproroci, nagove-stiosvetiPavle,asvetiJovanpodrobnijeopisaousvojoj apokaliptikoj viziji.HristossenadansvogDrugogdolaskakojijeiaswegovepobedenadavo-lom, prikazujenanebeskom, carskomprestolunaoblacima, postavqenimsadesnestraneodtronaBogaOca, saskiptrompravdeuruci, obuenuhaqinucrvenuodkrvi,sasvojimimenomispisanimnastegnu:CarnadCarevimaiGospodarnadGo-spodarima. Spoqnaodlijawegovogzemaqskoginebeskogstareinstvajesusakos,omofor, nabedrenik, skiptarimitra. Sva, semnabedrenika, vladarskog supore-klai, kaoodlikenajviegcarskogdostojanstva(insigniaregia), prvobitnosupri-maneiz rukusamog imperatora.Ugrkomikonopisu postvizantijskog perioda trostruka kruna se, osimnaglavama zapadnih crkvenih otaca (svetiSilvestar), predstavqala ikaoodlijecarigradskih patrijaraha (sveti Grigorije Nazijanski). Prikazivawemna glavinajviegistonogcrkvenogvelikodostojnikaivezivawemzaKonstantinopoqkaoNovi(Drugi)Rim,tijarajenegiralarimskogsvetogocakaovidqivuglavusveop-tehrianskecrkve.Kadabisepapskatijara, kaotojetobiosluaj uruskoj baroknoj umetno-sti, nalanaglaviBogaOcauokvirukompozicijeSveteTrojice, onajepostaja-lainosilacidejeosvetovnomvladaruirazdvajawuulogadraveicrkve.AkojepredstavatroglaveSveteTrojiceposleikonazografaKozmeDamjano-via(1704) iezlakaoikonografskitipizsrpskogslikarstvaranogbarokaistoonakonagloineoekivanokaotojeuwegaiulalikHristakaoCaranadCarevimasatrostrukomkrunomjavqaesekrajemXVIIiprvihdecenijaXVIIIvekaurazliitimvarijantamaumeusobnoudaqenimkrajevimakojesunastawi-valiSrbiizKrajine(manastirOrahovicauSlavoniji, 1697, VilawiuBarawioko1720,SrpskiMiletiuBakoj uprvoj etvrtiniXVIIIveka,Mohovouzapad-nomSremu, danawaHrvatska, poetkomXVIII vekaiFewurumunskomBanatu,oko1730).Usrpskombaroknomikonopisusve doetvrte decenijeXVIII vekaHristosnaprestoluseneprikazujekaoVelikiArhijerej negokaoCarnadCarevima. Kaosimbolina slika same zavrnice apokaliptike vizije svetog Jovana, Hristoskaopobednikratakojisevodionanebu, naglavinosidolinoobelejetro-strukukrununakojunikosemweganemapravo.Kakopobednikuvek,trijumfuju-inadpobeenim, uzima istavqa na sebe najboqe odzaplewenog ratnog plena,trostrukakrunanaglaviHristaprikazanogkaovizantijskivasilevs, znakjeiz-vojevanepobedepravoslavneverenadzabludomrimokatolikecrkveowenoj bo-gomdanoj predvodnikoj ulozina zemqi. Upokuaju da preko primata apostolaPetraprisvojeiporeknuHristovuneprikosnovenuvlast, papesupostaliHri-stovi najvei protivnici i lani proroci Antihristi. Poto su rimskicrkveniocinoewemtijarepokualidauzurpirajuvlastkojajeodBoga(Oca)i pripada jedino Hristu, ovo carsko znamewe na glavi Spasiteqa vidqivo je*THEREPRESENTATIONOFCHRISTASKINGOFKINGS179upozorewe pravoslavnima za uvawe od prozelitistikih pokuaja prevoewa uunijusaRimom.Za predstavqawe trostruke krune u likovnoj umetnostiuvek isvuda treba,osimverskih, traitiidubqe, politike razloge. Najboqidokaz za tojeste igrupamalihsrpskihikonanastalihnarazmeudvajuvekova,dvevere,dvejuimpe-rijaidveglobalnesvetskeinteresnesfere.LJILJANASTOI*180A. Drer, HolyTrinity(1511), woodcut, detailS. deCovarrubias, Emblemasmorales(1610), emblemwithmotoImperiumsinefinededi, engravingM. Prieto, PsalmodiaEucharistica(1622),ThePersonificationof theCatholicChurch, engraving, detailG. Griparis, PopeSylvester(1711), icon, MuseuminZacynthusG. Damaskinos, TheFirst Ecumenical Council (1591), icon,St. CatherineinHeraklion, detailP. Mogila(1643) Z. Orfelin(1758), OrthodoxHomologia, HolyTrinity,engravingS. Krabule, Christ asKingof Kings(1697), iconfromtheSerbianmonasteryof Orahovica, SlavoniaUnknownpainter fromDubrovnik, BogorodicaOdigitriaiconwithsilver ornament intheshapeof triplecrowns(thefirst half of theXVIthcentury), Lastovo, detailKozmaDamjanovi, HolyTrinity(1704), theicons, propertyof theMuseumof SerbianOrthodoxChurch, BeogradZagreb, detailsKozmaDamjanovi, HolyTrinity(1704), theicons, propertyof theMuseumof SerbianOrthodoxChurch, BeogradZagreb, detailsKozmaDamjanovi, HolyTrinity(1704), theicons, propertyof theMuseumof SerbianOrthodoxChurch, BeogradZagreb, detailsUnknownpainter, Christ asKingof Kings(c. 1720),iconfromVillny, Szentendre, detailUnknownpainter, Christ asKingof Kings(thefirst quarter of theXVIIIthcentury),iconfromSrpski Mileti, Galleryof Maticasrpska, Novi Sad, detailUnknownpainter, Christ asKingof Kings(beginningof theXVIIIthcentury),iconfomMohovo, Galleryof Maticasrpska, Novi Sad, detailUnknownpainter, Christ asKingof Kings(c. 1730), iconfromFoeni,Temisoara, detail