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In the Footsteps of Byzantium
Legacy
Our Inspiration Has Roots
Ancient Models
The Ascension scene is one of the most ancient iconographical programs for the domes of the Byzantine era. The depiction includes at its apex a full stature Christ Pantokrator, seated on a throne of light in a a mandorla supported by angels. As the Byzantine Empire shrunk, however, the domes became smaller and smaller, and its central motif, Christ Ascending in full stature, gave way to the more reduced bust Pantokrator icon. (See Otto Demus, Byzantine Mosaic Decoration Aspects of Monumental Art in Byzantium, 1955).
In a large dome, however, as is the case of our church, the full Ascension dome concept, is both possible as it is vital. With its dual designation as the Second Coming of Christ (see Acts 1:11), it adds an essential element to the dome iconography: that is the final transformation of the faithful upon the Savior’s return. The scene’s dynamism conveys both Christ’s full involvement in the unfolding divine economy and attracts the faithful to participate in it. It is an illustration of the final goal of our Christian faith, theosis, union with God, and the maturing of the faithful into the “full stature of Christ” (Ephesians 4:13).
The examples below, all realized by Greek iconographers, trace the original concept of the Ascension cupola to its oldest remaining examples: Hagia Sophia of Thessaloniki, St. Mark in Venice, and Mirozhsky Monastery in Pskov. We hope you enjoy this iconographic journey.
The Church of Hagia Sophia Thessaloniki
Hagia Sophia, the Great Church, which served as the metropolitan church of Thessaloniki throughout much of its history, was built on the remains of the episcopal Basilica of Saint Mark following its destruction in the early 7th century.
The central Dome of Hagia Sophia features an ancient post-iconoclastic mosaic with the icon of the Ascensoin with a central Christ in His full stature.
An interesting detail is the inscription from Acts 1:11 , which confers the scene a dual designation of both Ascension and the Second coming
Acts 1:11 – Ἄνδρες Γαλιλαῖοι, τί ἑστήκατε βλέποντες εἰς τὸν οὐρανόν; οὗτος ὁ Ἰησοῦς ὁ ἀναλημφθεὶς ἀφ’ ὑμῶν εἰς τὸν οὐρανὸν οὕτως ἐλεύσεται ὃν τρόπον ἐθεάσασθε αὐτὸν πορευόμενον εἰς τὸν οὐρανόν.
Ye men of Galilee, why stand ye gazing up into heaven? this same Jesus, which is taken up from you into heaven, shall so come in like manner as ye have seen him go into heaven.
San Marco Cathedral, Venice
San Marco Basilica in Venice, built in 1063, showcases Byzantine artistry and highlights Venice’s connection to the East. Inspired by the Church of the Holy Apostles in Constantinople, the basilica was constructed to honor St. Mark, whose relics were brought to the city in the 9th century, reflecting Venice’s cultural and religious ties to Byzantine Christianity.
The central dome of this important cathedral, portrays the Ascension of Christ into heaven, with a full stature enthroned Christ at the apex, encircled by a starry mandorla, while the Theotokos, flanked by two angels, stands below in a circular band that includes the twelve apostles, bearing witness to His glorification.
The inscription circling the central image reflects again the theological connection between Ascension and the Second Coming of Christ. The Latin text is Dicite quid statis quid in æthere consideratis · filius iste dei iesus cives galilei sumptus ut a vobis abiit et sic arbiter orbis judicii cura veniet dare debita jura. This is a loose adaptation of Acts 1:11. Ruskin translated it as “Ye men of Galilee, why stand ye at gaze? This Son of God, Jesus, so taken from you, departs that He may be the arbiter of the earth: in charge of judgment He comes, and to give the laws that ought to be”. (Ruskin, John. The Works of John Ruskin. London: Longmans, Green, 1906.)
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Mirozhsky Monastery, Pskov
The Transfiguration Cathedral of the Mirozhsky Monastery in Pskov is one of those few churches that survived the Mongol invasion and the only one that keeps the treasure of pre-Mongol frescos. The unique 12th-century frescos strike with their bright colors and stunning images
The central dome features the icon of the Ascension. the iconographers used the blue color made of Afghan lazurite and the green made of malachite, Chinese cinnabar, and golden ochre brought from the East.
St. John, Euless
The planned Dome iconography at St. John, will be an iconic representation of the Ascension of Christ. Christ will be depicted in His full stature, ascending in glory, surrounded by the Theotokos, the angels, and the twelve Apostles, all witnessing and participating in this divine event. This central image will serve as a visual of Christ’s Ascension to the right hand of the Father, as well as a reminder of His glorious Second Coming. This will be emphasized by the text of Acts 1:11, which will appear in an inscription.
Note: This image is not final, but only a sketch of the iconographic concept.