On the beginnings of the Constantinopolitan school of embroidery *

This paper examines Greek-Orthodox ecclesiastical embroidery in Ottoman 
 Constantinople after 1453 until the emergence of the Constantinopolitan 
 School of embroidery. We are well informed about the artistic production that 
 flourished between the last decades of the seventeenth century and 
 midnineteenth century via preserved artifacts and inscriptions bearing the 
 embroiderers’ signature. Nevertheless, our knowledge of the production 
 between the fall of Byzantium and the last decades of the seventeenth century 
 is lacking. In this paper, our aim is to evaluate whether the Byzantine 
 artistic tradition continued to live in the Greek Constantinopolitan 
 production. The iconographical and technical analysis of different artifacts 
 will give the answer to this question revealing at the same time the 
 foundation basis of the embroidery of that School.

This paper examines Greek-Orthodox ecclesiastical embroidery in Ottoman Constantinople after 1453 until the emergence of the Constantinopolitan School of embroidery.We are well informed about the artistic production that flourished between the last decades of the seventeenth century and mid-nineteenth century via preserved artifacts and inscriptions bearing the embroiderers' signature.Nevertheless, our knowledge of the production between the fall of Byzantium and the last decades of the seventeenth century is lacking.Art historians signal the beginning of the Constantinopolitan School with Despineta, whose earliest known work is dated to 1673 (fig.1): an epitaph of the church of Sts.Theodores in Vlanga, Constatinople, burnt on the 6 th of September 1955. 1 Most likely, many relative contemporary artifacts have been destroyed during the last two turbulent centuries of Ottoman history.Moreover, it should also be taken in consideration that a great number of the artifacts housed at the Ecumenical Patriarchate still remain unknown.The present paper will investigate the Greek-Orthodox embroidery production during the two centuries that follow the sack of Constantinople.Our aim is to evaluate whether the Byzantine artistic tradition continued to live in the Greek Constantinopolitan production.The iconographical and technical analysis of different artifacts will give the answer to this question revealing at the same time the foundation basis of the embroidery of that School.

The embroidery in Constantinople after the fall, in 1453
After 1453, the first documented evidence concerning artifacts related to the Greek community of Constantinople comes from the first decade of the seventeenth century and it is a bilingual inscription (Slavonic and Greek) engraved in the embroidered liturgical veil of the  Fig. 1.Epitaph, by Despineta, Sts.Theodores in Vlanga,  Constantinople, photo: Mellas, Μνημοσύνη Β΄, p. 338  Secu Monastery (Moldavia) 2 dated in 1608 (figs. 2 and 3): "this holy and sacred veil has been realized at the great expense of the excellent ruler Nestor Ourekia, great Vornic of Moldavia, and of his wife Metrophano and was dedicated to the monastery called Secoul made by the hand of nun Philothei in Constantinople in the year of Lord 1608, 1 st indiction, with the aid of lord Ioannakis". 3 According to this inscription, the Epitaph of Secu Monastery was commissioned at the beginning of the seventeenth century to a Greek embroidery workshop in Constantinople.The harmonically organized design 4 appears to be of a very high quality technique: the threads of the figures' skin are slim, various stitches were used for rendering the metals and pearls were used for decorating Christ's and Mary's nimbus.This high quality piece of art attests the existence of a mature embroidery workshop from as early as the first decade of the seventeenth century.Professor Petre Nasturel 5 suggested that another series of veils must have been commissioned to Constantinople on the grounds of common decorative similarities (floral motif in the border).Three are found in Susevita: the first is dated in 1597, the second in 1606 and bears the portrait of Jeremia Movila 6 and the third in 1609 with the portrait of voevod 2 P. Nasturel, L' épitaphios constantinopolitain du monastère roumain de Sécoul (1608), in: Charistērion eis Anastasion Orlandon 4, Athens 1967-1968, 130-140, pl. LXIII-LXVII. 3 In the lower part of the veil, the inscription reads: O ΠΑΡΩΝ ΑΓΙΟΣ ΚΑΙ ΙΕΡΟΣ ΕΠΙΤΑΦΙΟΣ ΕΤΕΛΕΙΟΘΕΝ ΔΑΠΑΝΗ ΠΟΛΛΗ ΤΟΥ ΤΙΜΙΩΤΑΤΟΥ ΑΡΧΟΝΤΟΣ ΚΥΡ ΝΕΣΤΟΡΟΣ ΟΥΡΕΚΙΑ ΜΕ-ΓΑΛΟΥ ΒΟΡΝΙΚΟΥ ΠΑΣΗΣ ΜΟΛΔΑΥΙΑΣ ΚΑΙ ΤΗΣ ΣΥΖΥΓΟΥ ΑΥΤΟΥ ΜΗΤΡΟΦΑΝΟΥΣ ΚΑΙ ΑΦΙΕΡΩΘΗ ΕΙΣ ΤΟ ΜΟΝΑΣΤΗ-ΡΙΟΝ ΑΥΤΟΥ ΚΑΛΟΥΜΕΝΟΝ ΣΕΚΟΥΛ ΣΠΟΥΔΗ Κ ΕΠΙΜΕΛΙΑ ΔΙΑ ΧΕΙΡ(ΟΣ) ΦΙΛΟΘΕΗΣ ΜΟΝΑΧΗΣ ΕΝ ΚΩΝΣΤΑΝΤΙΝΟΥΠΟ-ΛΕΙ; and in the right margin: ΕΝ ε(τει) χ(ριστο)υ αχηω ιν(δικτιωνος) αης + κοπω και συνδρομη κυριτζη ιωαννακη. 4Nasturel,op. cit.,[133][134][135][136]plSymeon Movila. 7As far as the earlier period is concerned, Nasturel has attributed a commission of voevod Petros the Lame (1576/1577) depicting the Anastasis to an embroidery workshop of Constantinople.The artifact is in the Episcopal Museum of Buzau. 8But we could attribute many artifacts dated between the end of the fifteenth and the first decades of the seventeenth century and housed in different Romanian monasteries and museums to Constantinopolitan embroidery workshops: an epimanikion with Greek inscriptions of the sixteenth century; 9 an epitaph belonging to the collection of the monastery of Sucevita (fig.4), with Greek inscriptions in the interior and a Slavonic inscription on the bordure (1592-1593); 10 an epitrachelion with Greek inscriptions (1618) in the Museum of Arts, Bucharest; 11 an aer with the representation of Threnos (1625-1626) at the Dragomirna monastery; 12 an epigonation with the Anastasis (1638) at the Secu monastery; 13 an epitaphios-veil with Greek inscriptions (1638) in the Museum of Arts, Bucharest; 14 and probably the portraits of the spouse of Vasile Lupu and of his son John (middle of seventeenth century). 15ue to the historical circumstances, Constantinopolitan embroidery of the Byzantine and Post-Byzantine  Fig. 3. Epitaph, detail, Secu Monastery,  photo: Broderia Romaneasca, fig.80   Fig. 2. Epitaph, Secu Monastery,  photo: Broderia Romaneasca, fig.79  periods is better preserved in Romania than anywhere else.We may also assume that the local production was frequently stimulated by Greek artists coming from the capital to establish local embroidery workshops or by imported works of art from Constantinople, usually commissioned by local rulers.This had always been the case regarding Byzantine influences in the periphery of the Byzantine world (e.g. the case of Venice during the middle ages). 16These direct influences kept Romanian embroidery production close to the principles of Constantinopolitan artistic tradition.If Constantinople had not played an important role as an embroidery center, reaching the Danube Principalities after 1453, the veil of Secu monastery probably would had not been executed and signed by the Constantinopolitan nun Philothei in 1608.Furthermore, the icon-cloth of Gherasim of Galata (1681) 17 or the priest's stole with the portraits of Constantin Brancoveanu and Princess Maria made by Despineta (1695) 18 are indicative of this Romanian custom to commission embroideries to the best workshops of the Capital.
Apart from works of art in Romania, we have additional material at our disposal attesting the continuation of the Byzantine artistic tradition in the Constantinopolitan Greek-Orthodox ecclesiastical embroidery workshops during the sixteenth century.Two pieces of the sixteenth century are traced back on Mount Athos: first, in the Koutloumousiou monastery, there is a podea, 19 donation of the prince of Vlachia Vlad Vintila (September 1532 -June 1535); and second, an epitaph distinguished for its high artistic quality 20 at the Iveron Monastery (fig.5).Regarding the first decades of the seventeenth century, there is also a liturgical veil in Jerusalem, published by Maria Theochari. 21According to its inscription the commission-  beneath elaborate arcs with floral motifs, whereas rhombs containing geometrical motifs and fleurs-de-lys appear in the lower register.Despite the damage, especially in the naked parts of the bodies embroidered with silk threads (fig.7b), microscopic observation revealed the following technical features: 1) the embroidered surface of wires or metal threads is smooth (it is not embossed), although there are very fine padding threads, underneath; 2) the skin, beards, moustache and hair are made with very fine silk threads; 3) silk and metal threads (a silk core and a metal strip wound more or less densely around it) as well as wires are applied (fig.7c); 4) the wires are worked in groups of three fixed on the sides; 5) we find the combination of a silk thread wound with a wire (or more wires); 6) the contour of some details of the design, such as the draperies, could be made by a colored silk thread (fig.7c).
The extended damage in the previously mentioned epitrachelion forced us to take into account another very well-known piece of art, the veil of Thessaloniki (fig.8a).29 Decorated with the Christ-Amnos in the middle of two scenes of the Communion of the Apostles it demonstrates perfectly how the embroiderers' needle rivaled the painters' brush.This veil is of particular importance since it is very well preserved.The examination of the technique has shown the following: 1) again here, the labor is not embossed; 2) split stitch is used for the skin and the color contrasts are impressive (fig.8b); 3) metal threads or wires are couched with undyed silk thread (fig.8c); 4) in some areas silk threads are wound around wires, giving a special optical effect (fig.8d).
The next artifact that we will examine is an epitrachelion (stole) of the Peloponnesian Folklore Foundation (figs.9a and 9b).An inscription informs us that it belonged to the Metropolitan of Chalcedon, whose seat is geographically adjacent to Constantinople.The stole bears the date 1471; therefore, constructed two decades after the political changes in Byzantium it is still deeply rooted in the Byzantine artistic tradition of the Capital, mainly decorated with Dodecaorton scenes in medallions and dragon-like motifs placed in-between.Our assiduous examination on the technique has shown that in the relatively flat embroidery, the padding threads applied under live purple on light blue) regarding the color surface on which they are applied, a typical Byzantine practice, as we have seen above.Furthermore, systems of three or four wires, wound in S-shape with a silk thread, are fixed in the surface, also according to Byzantine tradition (compare with the Byzantine artifacts mentioned above).
To continue, Tatarna Monastery has in its collection an epitrachelion bearing an inscription indicating that it was produced in 1609 in Constantinople (fig.10α). 30Its embroidered decoration shows the Apostles standing be- neath arches.In the neck, there is a medallion with the bust of Christ as High Priest who extends both hands in a blessing gesture (fig.10b).The design shows the figures in contraposto with floating drapery (fig.10c).Nevertheless, the simple and rough embroidery work of this stole, contrary to standard scholarly approach, 31 is unrated to the high quality, sophisticated the materials and technique are concerned.In fact, here, apart from the flesh (fig.10e) which is by silk threads and the letters of the inscriptions, by wires (fig.10f), the rest of the whole surface is covered only by metal threads (fig.10d): a silvered or gilded strip 32 is wound around a silk core of different colors.Applied in a straight line and couched by two with silk thread, metal threads create the background, the architectural members and the protagonists' garments.Besides, a characteristic feature of Byzantine embroideries is to be noted: the borderlines of the draperies or contours are marked with colored silk threads (fig.10d).The Apostles' skin (fig.a man of good education and taste for luxury -whose first tenure as patriarch lasted from 1671 to 1673 37 -is well known for the expensive garments he bequeathed in the Ecumenical Patriarchate and the Iveron monastery of Athos. 38He signed on the epimanikia as Byzantine proudly declaring his descent from a notable family of Constantinople, the place of his birth.Τhis pair of epimanikia can certainly be attributed to a Constantinopolitan workshop and therefore is an important artifact for our case study.The epimanikia are decorated with two epiphany scenes of Byzantine tradition, the Baptism and the Transfiguration respectively.The theological meaning of the representations is highlighted by an inscription in the upper part of the garments: the words of God during the Baptism are written in gold letters: THIS IS MY BE-LOVED SON. 39Both scenes are placed centrally and are surrounded by columns supporting an arch, while a vase with flowers is located in both sides. In the Baptism scene of the epimanikion (fig.11a), the standing Christ occupies the main perpendicular axis of the composition where River Jordan runs, while the illuminated dove emerges from heaven.On the left riverside, John the Baptist in a characteristic pose is bending upon the head of Christ; and on the right, four angels are assisting the Epiphany.Some details such as the tree with the axe40 or the fishes swimming cially as far as the pose of the disciples is concerned, 54 for which numerous variations exist.The bordure's decoration and garments' background deserve a special note.In the bordure, between two thin bands, a floral motif is unfolded with stem, leaves, and various kinds of flowers.This motif, as well as the various plants, tulips, carnations, daisies, and leaves emerging from the elaborate vase in either side of the central scene, are usually found in the Ottoman art of the same period and later. 55Furthermore, there is an interesting detail in the handles of the vases: they are made by semi-anthemia combined with masks in profile; a long twisting stem with flower at his end is emerging from the masks' mouth.This is a characteristic theme of Renaissance art, 56 also found in Italian brocades with Ottoman flavor. 57he previous analysis on the iconography of Denys IV's epimanikia (1672) has shown that the artistic trends of seventeenth century evident in monuments of North-  ern Greece are also favored in the City of Bosphorus.Also, the special features that may be observed in the decorative themes of Ottoman textiles and the combination of Ottoman motifs with the seventeenth century Italian features are also attested in Greek-Orthodox ecclesiastical decorative systems.In the following technical analysis of this embroidery we shall ascertain its deep roots in Byzantine tradition, whereas at the same time some innovative tendencies make their apparition.
The excellently preserved embroidery is a very fine work in smooth surface with materials of high quality: gilded and silver wires and strips, different colors of silk threads, pearls (now missing around the haloes) and a great variety of stitches.Furthermore, the French knots in the bordure of the columns and arches (fig.11d), as well as the golden letters, demonstrate the high level of workmanship of the workshop that executed the patriarchal commission.The skin of the figures is made by fine silk in satin stitch, which resembles somewhat human anatomy, while their features are created with dark silk threads applied on the satin stitch of the skin (fig.11c).In the haloes, bright wires appear in a higher relief, while features, such as water (fig.11e), are made by a blue silk thread wound loosely with wires (so that we can see the color intermediately).In some places, this system can be associated with two or three parallel wires.We can also see something that does not appear often later, but is derived from the Byzantine tradition: the silk thread for couching is intense blue, so that it contributes to the entire chromatic impression.This game with chromatic impressionism can also be seen in the contour of the columns by using French knots of intense blue silk thread, as well as in the color effects of the ground.We actually see both: a) silk threads wound around wires leaving intervals; b) the surface covered by colored silk threads (grey, green or brown), above which groups of three gilded wires are couched in the form of a grid allowing the background's color to be seen (fig.11f).The grid is couched with silk thread of the corresponding color.So, on the microscope it appears as a tabby bar binding with the exposed ground, while to the eye it appears as a bright color surface.
Small details are attentively marked.For example, in the Transfiguration, the hair of Elias is made by a two plied Z-shaped wound silk thread so that they appear curly (fig.11c).Moreover, other features in this embroidery, such as the plait applied in the contour of the persons or the draperies, the spirals (tirtir) and French knots (fig.11d), are all features that will dominate ecclesiastical embroidery of Ottoman Constantinople.The concern about depicting "realistically" small details does not characterize Byzantine embroidery in general, but it will appear more often in later centuries, at least in the works of the Constantinopolitan School of embroidery.The next veil we will examine is an epitaph58 (BXM 2119) of the Byzantine and Christian Museum collection, decorated with a multi-figured composition combining the Lamentation and the Descent from the Cross (fig.12a).The artifact was donated to the Museum by the Zarifi family, a notable family of the Greek community of Constantinople.This fact combined with the sophisticated technique and iconography of the embroidery prompts us to examine it in this paper, although only the date (AXOB = 1672) is provided by the inscription and not its origin.Before the veil entered the Museum, extensive damage in its lower part had been restored by the addition of an oblong piece of silk along the lower edge of the veil.Damage is also visible where the silk fabric is not covered by embroidery, as well as in the central axis of the composition.Therefore, it is possible to examine the inner textile made of thick cotton tabby fabric.The obverse is covered by a thinner light brown fabric that could also have been added during a more recent period.Curiously, in both scenes the embroidery of the Christ's skin has disappeared completely.It seems that in a later intervention and before the object came into the Museum, somebody had removed completely the partially destroyed embroidery of the body.During a recent restoration59 in the Museum a fine tulle has been added on the veil's surface.
The lower part of the veil is dominated by the Lamentation with Christ laying horizontally on the shrine, Virgin Mary in the left side holding the head of her son in her lap and bending over Him; the rest of the people are placed behind the shrine, represented in sorrowful poses.Behind and above the Lamentation, in a second level, Joseph from Arimathea, Nicodemos and John are depicted in process of helping to remove the dead body of Christ from the Cross.Two upright angels with rhipidia, placed left and right, are slightly bending over Christ, emphasizing the liturgical symbolism of the scene.Beneath the angels a man and a woman without a nimbus are depicted praying in a smaller scale than the angels.Symbols of the evangelists encircled in medallions are placed in the four corners of the veil.In the background, the sun and the moon appear among the stars and the inscriptions. 60In the lower part of the veil, the hymn of the Holy Friday, 61 the date ΑΧΟΒ and the commissioner's name, Manoli, are written.The composition is framed by two fine bands of silver wire.Both represented scenes follow iconographical types of the Cretan School of painting. 62Stylistically, it is worth noting that the figures and the aristocratic faces are nicely designed, while the composition is harmonic and rhythmic.The Lamentation theme under the Descent from the Cross is almost enclosed in a semi-circular shape, creating thus a compositional type occurring commonly in Constantinopolitan workshops.The association of the two scenes is not very common in liturgical veils of this kind. 63specially, the fact that both scenes are arranged one behind the other in a relative perspective with focus on the Cross indicates both learned designer and commissioner.
As far as technique is concerned, the following features are characteristic.The light brown satin fabric of the embroidery lined with a cotton fabric bears a relatively smooth embroidery.Like in Byzantine technique, the work of the skin, features and hair is fine and detailed.Moreover, metals are fixed in all types of sophisticated stitches and gold is surprisingly bright, despite of the great damages caused to the artifact.Additionally, part of the garments (fig.12b) or the book of the evangelists is co-  Athens 1998, fig. 193, 194;Papastavrou, op. cit., 402, 403, n. 10, 15-17. 63 There are three epitaphios of Serban Kantakouzenos of Valachia dated 1681, depicting the Lamentation and Descent from the Cross side by side.Cf.P. Johnstone, The Byzantine tradition in church embroidery, London 1967, 125, fig.111.An epitaph veil similar to that of the Byzantine and Christian museum is housed in the Museum of Greek folk art in Athens.In conclusion, material quality, the work of the skin, the ethos of the faces, as well as the complexity of the composition all indicate a high level workshop of the Capital of the seventeenth century, which could be a rival to the one the Patriarch Denys IV would choose to commission his garments.If this conclusion is correct, then we could argue that Constantinople was a very open and receptive center of different artistic tendencies, not only for Northern Greek painting trends but also for those of the Cretan School of painting.Now we will shift our focus to an epigonation (BXM 1702) (fig.13a) of the Byzantine and Christian Museum, decorated with the Triumphant Pantocrator and made by the famous embroiderer, Despineta; her signature and the date 1689 are visible in the lower corner of the garment. 64ctually, in the current bibliography Despineta's work marks officially the beginning of the so-called Constantinopolitan School.We will focus on both the iconography of the composition and the embroidery technique.Does Despineta's work reflect the artistic trends already observed in the ecclesiastical garments we examined above?
In the center of the medallion's diagonal axis Christ is depicted enthroned and surrounded by angelic orders and the four apocalyptic animals.In the upper corner, God is represented with the dove in front of Him; prophets are depicted in the other three corners down to their thighs.The central figure of the composition, Christ, is relatively thin with heart shaped draperies beneath his knees and his feet are placed the one near the other.This image is similar to compositions that influenced Northern Greek painting, 64 Διά χειρός Δεσποινέτας του Αργύρη εν έτει ΧΥ Αχπθ΄.
such as the Christ enthroned in an icon of the painter Angelos (second half of the fifteenth century) in Zante 65 and in a few other icons of the Xenophon Monastery in Mount Athos. 66The embroiderer followed the basic lines of the draperies of the type mentioned above, but obviously, the transfer to another technique contributed to a slight simplification of the draperies.Moreover, it is interesting to point out that some details very common in post-Byzantine painting 67 have Western origin, such as the type of the bust of God with extended arms and the dove in front of Him.Furthermore, the simplistic cherubs' type is also Western and it is found not only in paintings of the Cretan School or in seventeenth century paper icons, but also in Ottoman textiles used by Christians, as in the case of a textile in the Prato Museum or the Jossip chasuble (1642-1652) in Kremlin Armory (TK-10). 68On the other hand, the floral decoration of the bordure is made by simple rosettes with five petals seen in ground plan, framed by semi-anthemia, which in the corners make a full anthemion.Such simple decorative motifs can be seen in works of Renaissance art and early seventeenth century Italy. 69Stylistically the faces and bodies have harmonious analogies making the figures look nice.Occasionally the miniature-like faces have spe- Therefore, the present iconographic and stylistic analysis has offered all the necessary evidence to establish that the composition is embedded in the Byzantine and Post-byzantine iconographical tradition as defined in the Orthodox world of the seventeenth century.Actually, this piece of art is connected with the Northern Greek and Balkan artistic environment.Nevertheless, it is worth pointing out once more the Italian influence, so important in Ottoman Constantinople during the seventeenth century, as we have been able to detect by examining the decoration of the garment's bordure.
The next step is to analyze the technique of this embroidery.The fine, smooth and sophisticated artifact made by silk threads and silver or gilded wires is directly related to Byzantine embroidery.Thus, the haloes and the parts of the garments (fig.13c) worked by wires present various stitch types, whereas plaits of wires are used for the contours and in the draperies.The flesh (fig.13e, 13g) by split-stitch following the anatomy and creating the effect of a painted surface is a technique we find in Byzantine embroidery.The same also occurs with the features rendered with dark silk threads especially for the contour.Furthermore, several other details of this embroidery remind us of artifacts of the Palaiologan era, 72 as for example, the various combinations of materials in order to render a special visual effect.Thus, the aureole around the Pantocrator (fig.13d, 13h) is made as follows: around a silk thread of blue-green color, two silver wires in S twist are winding sparsely so that the space in-between gives 70 Post-Byzantium: the Greek Renaissance: 15 th -18 th century treasures from the Byzantine andChristian Museum, Athens 2002, 202, no. 51. 71 Treasures of Mount Athos, Thessaloniki 1997, 566, no. 21.7. 72 Cf. the epitrachelion BXM 1022, as well as the epitaph veil of Thessaloniki, previously mentioned.out a colorful effect.This combination is looped in double.The optic result is a flat but "agitated" surface which renders the texture of the ethereal aureole.Similar combinations are applied also for the seraphs' background: five silver wires are winding in S twist around a silk thread without leaving big space in-between.In that way, here, the surface becomes shinier and the color tone different.On the other hand, Despineta adopts some innovative features, such as the surprisingly big variety of stitches applied to render details more "realistic".For example, for the eyebrows, the beard and partly the hair of Christ (fig.13e, 13f) a special silk thread is in use previously bathed in a kind of varnish (shellac?),procedure that has given to the silk thread the impression of the texture of the hair.Again, another interesting detail is the seraphs' curly hair (fig.13i) made by bundles of brown or yellowish silk threads wound with wires and fixed in spiral (fig.13d).Lastly, like in the epitaph previously examined, the painter's stroke on the flesh of the embroidered figures can be encountered on the faces and hands of the prophets, which are covered with colorful varnish (fig.13b).
To sum up, the previous analysis of Despineta's work presents an epigonation created in a very well organized workshop established in an artistic, intellectual, spiritual, aesthetic, and financial milieu of high level.Firstly, the iconography of the composition is a testimony that the commissioner had some theological knowledge; it also attests that the designer of the composition was not only aware of accomplished works of painting originating from the artistic production of Greece and the Balkans during the seventeenth century, but also that he was a gifted master able to apply this design on textile.Secondly, the flat/smooth technique of the work as well as all types of combination of silk threads with wires or strips come from the Byzantine tradition.Nevertheless, the great variety of the technique methods applied by Despineta is surprising.Subsequent works do not exhibit this variety, but more standardization instead.Despineta used very expensive materials (silver and gilded wires, silk threads).Furthermore, the correct spelling of the inscription with the embroiderer's signature shows someone with proper knowledge of grammar.We do not know whether the embroiderer would intervene in the pattern she would execute, but the collaboration between the designer and the embroiderer is obvious.Our examination of technique has shown that, contrary to the established scholarly opinion, Despineta's artistry stems from Byzantine tradition.Finally, the high quality of the design combined with the perfect execution by the embroiderer show that ecclesiastic embroidery art in Constantinople had reached its pick already in the second half of the seventeenth century, as expressed by the hand of Despineta.

Fig. 13b .
Fig. 13b.Epigonation BXM 1702, detail, photo: Byzantine & Christian Museum, Athens Examples such as the epitrachelion of the Metropolitan of Chalcidon, 1471 (PFF), the epitaph veil of the Iveron Monastery and the artifacts treasured in Romania mentioned in this study attest that between the fifteenth and the seventeenth centuries Ottoman Constantinople was an important Greek-Orthodox embroidery center open and receptive of different pictorial tendencies.Besides, comparing the technique of Byzantine and post-Byzantine Constantinopolitan embroideries has shown that the latter was deeply rooted in the former.The same methodological process of comparison has also contributed to comprehend different artistic levels among the artifacts as well as to discern to what extend the artistic making remained attached to the previous tradition and to what extend it proceeded to proper innovations corresponding to a new Zeitgeist.