Handwriting expert Christina Sotirakoglou examines Byzantine paintings from photographs in her Thessaloniki office, Greece, on Saturday, Nov. 30, 2024. AP Photo
In an extraordinary breakthrough, a combination of modern crime-solving techniques and medieval research has uncovered the true identity of the Byzantine painter known as Manuel Panselinos. For centuries, the artist's life and full name had been a mystery, but experts now believe the figure behind the influential works in Orthodox religious art was likely Ioannis Astrapas, a painter from Thessaloniki in northern Greece.
Panselinos, a contemporary of Giotto, has long been recognized for his role in revolutionizing Byzantine art. Known for injecting a sense of humanity into the formal and rigid depictions of Orthodox saints, Panselinos was part of a major artistic shift that revived classical traditions while maintaining strong Orthodox themes. However, Panselinos had remained a shadowy figure in art history, with very little information available about his life.
The name "Panselinos," meaning "full moon," had been thought to be a nickname that emerged from the so-called Macedonian School of painting, a group of artists centered in Thessaloniki. It wasn’t until recent research led by Greek monk and linguist Father Cosmas Simonopetritis that the idea of a link between Panselinos and Astrapas began to take shape. Father Cosmas had been intrigued by the mystery surrounding the name for years and set out to uncover the truth.
On Saturday, Nov. 30, 2024, handwriting expert Christina Sotirakoglou works in her Thessaloniki office, printing Byzantine paintings from photographs. AP Photo
The breakthrough came when handwriting expert Christina Sotirakoglou examined manuscripts and paintings that had long been associated with Panselinos. Sotirakoglou, a court consultant specializing in handwriting analysis, discovered remarkable similarities between the writing in a 14th-century Greek manuscript and inscriptions in the Protato church, which houses some of the finest works attributed to Panselinos. Despite never having visited Mount Athos, where the church is located, Sotirakoglou studied high-quality photographs of the artwork and identified a match between the lettering styles.
One of the first key clues was the Greek letter Phi, which appeared in both the manuscript and the church paintings. The unique shape of this letter, along with other distinctive letters such as T and K, suggested a match between the two works. This discovery provided the evidence needed to link Astrapas with Panselinos, finally solving the long-standing mystery.
Father Cosmas, who had been fascinated by the mystery since his time working at Mount Athos, expressed his confidence in the findings. "Panselinos was a real person, and the name was just the nickname by which Ioannis Astrapas became known," he said. He emphasized Astrapas’s exceptional talent in combining classical Greek styles with Orthodox spirituality, creating a distinct artistic vision that set his work apart globally.
On Saturday, Nov. 30, 2024, Christina Sotirakoglou, a handwriting expert, examines Byzantine paintings from photo prints at her office in Thessaloniki, northern Greece. AP Photo
The revelation also shed light on a wider renaissance in Byzantine art. Panselinos and his contemporaries brought a new level of emotional depth and realism to Orthodox religious imagery. Saints, once depicted in rigid and formal poses, now appeared more human and relatable, with greater attention given to facial expressions and proportions.
However, despite this breakthrough, scholars agree that much more research is needed. While Astrapas’s identity seems clear, some elements of his life and works remain elusive. Art historian Constantinos Vafiadis, who was not involved in the study, noted that more research on other monuments from the period would be necessary to fully understand Astrapas’s influence.
In a final reflection, Father Cosmas expressed satisfaction in solving the mystery. “I think the artist has now acquired his true identity,” he said, marking the end of a centuries-old puzzle that has intrigued art historians and scholars for generations.
