**1. Introduction**

Religious panel paintings ("icons") are an essential part of the Eastern Orthodox Christian Church ritual practices; hence, such artifacts have been continuously manufactured for more than 17 centuries [1]. In case of the artistry developed in the region of modern-day Greece, this long period is divided into three sub-periods, namely the Byzantine (330–1453), post-Byzantine (1453–1830) and modern periods (post-1830). The marking year 1453 corresponds to the capture of Constantinople (Byzantine Empire capital) by the Ottoman Turks, while 1830 corresponds to the declaration of the autonomy of the Greek state.

During the late 14th and early 15th centuries, icons of notably high quality were produced in the island of Crete (south Aegean Archipelago). As this artistic trend bears several idiomorphic characteristics, it has been designated as the "Cretan School of iconography", and it is well known that *Heritage* **2020**, *3* FOR PEER REVIEW

it considerably affected the development of the Orthodox religious painting throughout Greece and the Balkans [2]. Among the highlights of the Cretan painting stand several early 15th century icons of exquisite painting quality that bear the inscription "Xειρ´ Aγγε´λoυ" ((by) "the hand of Angelos"). Interestingly, in the early 1960s M. Manoussakas spotted a Cretan painter's will in the Venice State archives that is dated to the early 15th century (probably 1436) [3]; the testator was named Angelos Akotantos, and he made his will on the occasion of a trip to Constantinople. Soon after the Manoussakas publication, it was proven that the Angelos of the will was the painter of the aforementioned famous icons [4,5]. In order for the reader to get an idea of the importance of Angelos' work, it is essential to note that the Cretan painting scholars acknowledge that he was indeed an outstanding painter of the 15th century and also that he "established and crystallized a large number of iconographic subjects in Cretan painting through his own work" [6]. Also, as for Angelos' productivity, it is indicative to mention that more than 30 icons bearing his signature survive today, while some others are ascribed to him on the basis of pronouncedly idiomorphic stylistic characteristics [2,6]. and the Balkans [2]. Among the highlights of the Cretan painting stand several early 15th century icons of exquisite painting quality that bear the inscription "Χείρ Αγγέλου" ((by) "the hand of Angelos"). Interestingly, in the early 1960s M. Manoussakas spotted a Cretan painter's will in the Venice State archives that is dated to the early 15th century (probably 1436) [3]; the testator was named Angelos Akotantos, and he made his will on the occasion of a trip to Constantinople. Soon after the Manoussakas publication, it was proven that the Angelos of the will was the painter of the aforementioned famous icons [4,5]. In order for the reader to get an idea of the importance of Angelos' work, it is essential to note that the Cretan painting scholars acknowledge that he was indeed an outstanding painter of the 15th century and also that he "established and crystallized a large number of iconographic subjects in Cretan painting through his own work" [6]. Also, as for Angelos' productivity, it is indicative to mention that more than 30 icons bearing his signature survive today, while some others are ascribed to him on the basis of pronouncedly idiomorphic stylistic characteristics [2,6]. The St Theodoros icon in consideration (Figure 1) dates from the second quarter of the 15th

that it considerably affected the development of the Orthodox religious painting throughout Greece

The St Theodoros icon in consideration (Figure 1) dates from the second quarter of the 15th century (1425–1450) and has been recently ascribed—on the basis of stylistic criteria—to Angelos [7,8]. The icon originates from Crete and was once placed in the church of the Strofades monastery, from which it was later transferred to Zakynthos Island. It is worth noting that in 1953, the area of Zakynthos was struck by a series of strong earthquakes that destroyed many dwellings and infrastructures, including churches and monasteries. Unfortunately, during this event many of the Zakynthos icons were either destroyed by the fire that followed the earthquakes or "disappeared"; however, several hundred icons were rescued as a result of the tireless efforts of M. Chatzidakis and his co-workers [9]. St Theodoros icon survived this terrific disaster and is currently displayed at the Zakynthos Ecclesiastical Art Museum. century (1425–1450) and has been recently ascribed—on the basis of stylistic criteria—to Angelos [7,8]. The icon originates from Crete and was once placed in the church of the Strofades monastery, from which it was later transferred to Zakynthos Island. It is worth noting that in 1953, the area of Zakynthos was struck by a series of strong earthquakes that destroyed many dwellings and infrastructures, including churches and monasteries. Unfortunately, during this event many of the Zakynthos icons were either destroyed by the fire that followed the earthquakes or "disappeared"; however, several hundred icons were rescued as a result of the tireless efforts of M. Chatzidakis and his co-workers [9]. St Theodoros icon survived this terrific disaster and is currently displayed at the Zakynthos Ecclesiastical Art Museum.

**Figure 1.** St Theodoros icon, Zakynthos Ecclesiastical Art Museum; the sampling spots are marked on the figure. Note that the painting has been transferred onto a new wooden panel. **Figure 1.** St Theodoros icon, Zakynthos Ecclesiastical Art Museum; the sampling spots are marked on the figure. Note that the painting has been transferred onto a new wooden panel.

The present work demonstrates how the analytical investigation of this very icon strengthens its assignment to Angelos Akotantos using a combination of technical evidence reported herein with related findings of other workers who previously studied several genuine Angelos icons [10–15]. The materials employed in the St Theodoros icon were identified through the meticulous The present work demonstrates how the analytical investigation of this very icon strengthens its assignment to Angelos Akotantos using a combination of technical evidence reported herein with relatedfindings of other workers who previously studied several genuine Angelos icons [10–15]. The materials employed in the St Theodoros icon were identified through the meticulous investigation of microsamples'

cross sections, while the assessment of various technical aspects (pigment mixing, preliminary drawing, etc.) was assisted by the complementary use of multispectral imaging. Thus, authors managed to considerably strengthen the hypothesis that the St Theodoros icon is a work of Angelos, and also to widen the understanding of important details of late- Byzantine painting.
