Glossary

Aureole: The whole-body image of radiance is sometimes called the “aureole” or glory; it is shown radiating from all round the body, most often of Christ or Mary, occasionally of saints (especially those reported to have been seen surrounded by one). Such an aureola is often a “mandorla” ("almond-shaped" vesica piscis ), especially around Christ in Glory, who may well have a halo as well.

arriccio: An underlying coat of plaster applied directly to the wall, consisting of one part slaked lime to two parts of sand; some fresco techniques use several layers of arriccio.

buono: Paint with dry pigments on wet lime plaster. As the plaster hardens, a layer of crystal forms over the pigment, locking it into the surface.

Byzantine art is the term commonly used to describe the artistic products of the Byzantine Empire from about the 4th century until the Fall of Constantinople in 1453.
The term also be used for the art of Eastern Orthodox states which were contemporary with the Byzantine Empire and were culturally influenced by it, without actually being part of it (the "Byzantine commonwealth"), such as Bulgaria, Serbia, or Rus and also for the art of the Republic of Venice and Kingdom of Sicily, which had close ties to the Byzantine Empire despite being in other respects part of western European culture. Art produced by Eastern Orthodox Christians living in the Ottoman Empire is often called "post-Byzantine." Certain artistic traditions that originated in the Byzantine Empire, particularly in regard to icon painting and church architecture, are maintained in Greece, Bulgaria, Russia and other Eastern Orthodox countries to the present day.

Crucifix - (from Latin cruci fixus meaning "(one) fixed to a cross") is a Cross with a representation of Jesus' body. It is a principal symbol of the Christianity. It is especially important in thе Roman Catholic Orthodox and Byzantine Catholic Churches, as well as Anglican and Lutheran churches, (though less often in other Protestant churches), and it emphasizes Jesus' sacrifice — his death by Crucifixion , which Christians believe brought about the redemption of mankind.

Cruciform - means having the shape of a Cross or Christian Cross.

Engolpion/Panagia 
Engolpion (Greek ἐγκόλπιον) is a general term for something worn upon the bosom; here, it refers to a medallion with an icon in the center. A Panagia(Greek Παναγία, All-holy, one of the titles of the Theotokos) is an engolpion with Mary as the subject of the icon; this is worn by all bishops. All primates and some bishops below primatial rank have the dignity of a second engolpion, which usually depicts Christ.

Epitrachelion (Greek ἐπιτραχήλιον, "over the neck") 
This stole is worn by priests and bishops as the symbol of their priesthood. It is worn around the neck with the two adjacent sides sewn or buttoned together, leaving enough space through which to place the head. It corresponds to the Western stole (see above).

Epimanikia (Greek ἐπιμανίκια) 
Cuffs bound with laces. The deacon wears them beneath the sticharion, priests and bishops above. They are not used by any lower rank.

Epigonation/Palitsa (Greek ἐπιγονάτιον "over the knee"; Slavonic палица, "club") 
A stiff diamond-shaped cloth that hangs on the right side of the body; it is suspended by one corner from a strap drawn over the left shoulder. It is worn by all bishops and as an award for priests.

fresco: Italian for "fresh;" painting with dry pigments into a fresh, still wet intonaco layer of plaster. Also a term used for wall painting on dry surfaces, but more correctly called secco.

giornata: One day’s work on a fresco, usually 3–5 square meters in size.

Halo: ( Greek: ἅλως; also known as a nimbus, aureole, glory, or gloriole) is a ring of light that surrounds a person in art. They have been used in the Iconography of many religions to indicate holy or sacred figures, and have at various periods also been used in images of rulers or heroes.
A cross within ( Cruciform ), or extending beyond, a halo is used to represent the persons of the Holy Trinity, especially Jesus, and especially in medieval art. In Byzantine and Orthodox images, inside each of the bars of the cross in Christ's halo is one of the Greek letters ώ Ό Ν making up I AM—literally, "the Existing One" — indicating the divinity of Jesus. At least in later Orthodox images, each bar of this cross is composed of three lines, symbolising the dogmas of the Trinity, the oneness of God and the Two natures of Christ.

icon - (from Greek - εἰκών eikōn "image") is a religious work of art, most commonly a painting, from Eastern Orthodox Christianity and Catholicism.

Iconography - The word iconography literally means "image writing", and comes from the Greek εἰκών "image" and γράφειν "to write". A secondary meaning is the painting of Icons in the Byzantine and Orthodox Christian tradition. 

iconographer - in Orthodox Christianity is a practitioner of iconography, the art of icon painting. The word iconographer means "image writer", and comes from the Greek εικον (image) and γραφειν (to write).
Iconographers translate revealed scripture and divine truths into visual images, writing/painting the Icon with consecrated brushes, paints, and materials. Ideally, they should be pious individuals trained by holy fathers. Monks and nuns therefore, have traditionally been the primary source of icons.
Iconographers traditionally pray, fast and avoid worldly excitement during their work. Individual interpretation is ideally be kept to a minimum as the task is to pass on tradition by replicating previous icons within prescribed limits. Throughout most of Church history, icons have remained anonymous, but in recent decades some iconographers have begun to sign their work with "Through the hand of [name]."

An iconoclast is someone who performs Iconoclasm — destruction of religious symbols, or, by extension, established dogma or conventions.

Iconoclasm is the deliberate destruction within a culture of the culture's own religious Icons and other symbols or monuments, usually for religious or political motives.

Iconology - The branch of art history that deals with the description, analysis, and interpretation of icons or iconic representations.

Iconostasis - In Eastern Orthodox Christianity an iconostasis (plural: iconostases) is a wall of icons and religious paintings, separating the nave from the sanctuary in a church. Iconostasis also refers to a portable icon stand that can be placed anywhere within a church. The iconostasis evolved from the Byzantine templon, a process complete by the fifteenth century.
The word comes from the Greek εἰκονοστάσι(-ον) (eikonostási(-on), still in common use in Greece and Cyprus), which means "icon stand".

intonaco: The last coat of plaster applied the day of painting, the intonaco (0.5-1 cm thick) contains less sand than the underlying arricciolayer(s). In large fresco paintings, the artist applies the intonaco plaster to complete in a short time.

Mantle (Greek μανδύας) 
This is a sleeveless cape that fastens at the neck and the feet, worn by all monks. The usual monastic mantle is black; that worn by the bishop as he enters the church for a service but before he is vested is more elaborately colored and decorated. This is, strictly speaking, an item of street wear, not a vestment; however, in modern usage it is worn only in church.

Mitre (Greek Μίτρα) 
The Byzantine Orthodox mitre is modeled on the ancient Byzantine imperial crown; it is worn by all bishops and in some Slavic traditions also awarded to some high-ranking priests. The bishop's mitre is surmounted by a cross, but the priest's is not; both are bulbous and adorned with icons. Coptic Orthodox & Ethiopian Orthodox bishops also wear the Byzantine mitre. Armenian Orthodox, on the other hand, have the Byzantine mitre as part of the normal vestments worn by priests of all ranks, and their bishops are distinguished by wearing mitres after the western shape. Mitres are not worn in the Syriac Orthodoxtradition, where a decorated hood like an amice called masnaphto , meaning 'turban', is worn instead by prelates

Nabedrennik (Slavonic набедренникъ) 
A square or rectangular cloth suspended on the right side by two adjacent corners from a strap drawn over the left shoulder. This is a relatively recent Russian invention and is not used in the Greek tradition. It is an award, so it is not worn by all priests. Bishops do not use it.

Omofor - In the Eastern Orthodox and Eastern Catholic liturgical tradition, the omophor (Slavonic: омофоръ, omofor; Greek:ὠμοφόριον omoforion) is the distinguishing vestment of a bishop and the symbol of his spiritual and ecclesiastical authority. Originally of wool, it is a band of brocade decorated with four crosses and an eight-pointed star and is worn about the neck and shoulders.
By symbolizing the lost sheep that is found and carried on the Good Shepherd's shoulders, it signifies the bishop's pastoral role as the icon of Christ.

Orarion (Greek ὀράριον) 
A long narrow strip of cloth worn by deacons over the left shoulder and reaching to the ankle in both front and back. It is also worn by subdeaconsand, in some places of the Greek tradition, by tonsured altar servers. It corresponds to the Western stole (see above).

Pantocrator or Pantokrator (from the Greek Παντοκράτωρ) is one of many names applied to God. When the Hebrew Bible was translated into Greek as the Septuagint, Pantokrator was used to translate the Hebrew title El Shaddai. Christians ascribed this title to Jesus.
The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantokrator is a compound word formed from the Greek words for "all" and the noun "strength" (κρατος). This is often understood in terms of potential power; i.e., ability to do anything, omnipotence.
Another, more literal translation is "Ruler of All" or, less literally, "Sustainer of the World". In this understanding, Pantokrator is a compound word formed from the Greek for "all" and the verb meaning "To accomplish something" or "to sustain something" (κρατεω). This translation speaks more to God's actual power; i.e., God does everything (as opposed to God can do everything).

Pectoral cross 
A large cross is worn around the neck by all bishops, but not necessarily by all priests. In Russian usage, the style of Pectoral cross worn indicates the rank of the priest.

pentimenti: Corrections added to the painting after the day’s work.

A pigment is a material that changes the color of reflected or transmitted light as the result of wavelength-selective absorption

proplasmos - in Greek icon painting - Underpainting of Flesh (Russian - Sankir) 

Phelonion (Greek φαιλόνιον or φελόνιον) 
Large conical sleeveless garment worn by priests over all other vestments, with the front largely cut away to free the hands. Byzantine rite Bishops may also wear the phelonion when not serving according to hierarchical rubrics. Corresponds to the Western chasuble (see above).

Sakkos (Greek σάκκος) 
Instead of the phelonion, the bishop usually wears the sakkos or Imperial dalmatic. This is a tunic reaching below the knees with wide sleeves and a distinctive pattern of trim. It is always buttoned up the sides.

Sankir - Underpainting of Flesh (Russian)


secco: Italian for "when dry;" painting with dry pigments in organic binders such as egg, oils, or waxes.

sinopia: A stencil of the major shapes of the painting transferred to the wall before actual painting begins, sometimes called the cartoon. On the dried arriccio, the artist sketches the sinopia, usually first with charcoal and then with a lime-compatible pigment mixed in water. The sinopia is then traced onto paper to serve as a guide for continued work. The paper sinopia is then placed over the fresh intonaco and the image transferred to it in one of two ways: (1) by gently incising the lines of the drawing through the paper into the plaster or (2) by dusting dry, dark pigments through perforations in the paper along the lines of the drawing ("pouncing").

Sticharion (Greek στιχάριον) 
Actually a form of the garment worn at baptism, this is the one vestment worn by all clergy. Though against Church canons, it is even used by non-ordained persons carrying out a liturgical function, such as an "altar boy". For priests and bishops, it is made of lightweight material, usually white. It corresponds most closely with the Western alb


Tempera - also known as egg tempera, is a permanent fast drying painting medium consisting of colored pigment mixed with a water-soluble binder medium (usually a glutinous material such as egg yolk or some other size). Tempera also refers to the paintings done in this medium. Tempera paintings are very long lasting, and examples from the first centuries AD still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting.

Templon - (from Greek τέμπλον meaning "temple", plural templa) is a feature of Byzantine churches consisting of a barrier separating the laity in the nave from the priests preparing the sacraments at the altar. 

Zone (Greek ζώνη) 
Cloth belt worn by priests and bishops over the epitrachelion. Corresponds to the Western cincture (see above).

Varkas 
This is a broad stiff band of heavily embroidered brocade and decoration, functioning like a collar, worn exclusively by Armenian Orthodox priests over the phelonion. It corresponds to, and is likely derived from, the Western amice.