Byzantine and Post-Byzantine Composite Icons Reconsidered: Their Past and Present-Day Role and Use

Abstract The phenomenon of adding a new, larger panel to an older work, thus creating a work of art consisting of two pieces from different periods, is well known in Western European art and is often referred to by the German term Einsatzbild. A similar type of reuse by insertion can be observed in Byzantine and post-Byzantine art, although it has received far less scholarly attention. Panayotis L. Vocotopoulos was the first to note its occurrence in icon painting and to propose a classification, calling such panels “composite icons” (σύνθετες εικόνες). Since then, these works have been sporadically mentioned, usually in conjunction with the methods for preserving icons in good condition, although it seems that the production of icons of this type was also driven by the desire to distinguish and draw attention to the inserted element. The relationship between the two panels can be compared to that between a relic and a reliquary, which allows the sacred object to be transported, presented, and venerated more effectively. This study analyzes some examples of composite icons in more detail and draws attention to the question of their past functions and uses, but also proposes a second line of investigation by asking how they are used today. It therefore raises further questions about composite icons, different from those posed by Vocotopoulos,and suggests possible areas for investigation. It highlights the internal diversity of the phenomenon and shows how different approaches can open up new areas for further research into composite icons.