On the inside of the iconostasion at Sinai, there is a depiction of the Parable of the Good Samaritan. On the right, a man sets out from Jerusalem, bound for Jericho. But thieves rob him, leaving him wounded and half dead. A priest, and then a Levite, see him, and pass by on the other side. A Samaritan sees him, and takes pity on him. In the traditional iconography, it is Christ who is the Good Samaritan, anointing the wounded man with wine and oil, and bearing him to the inn. The inn is the Church, and the innkeeper is Saint Paul, who received all, and cared for them with untiring diligence. Christ enjoins his ministers in every age, Take care of those who have been wounded in the perils of this life. Heal them, and provide shelter for them, ‘and when I come again, I will repay thee’ (Luke 10:35).
The lower part of the depiction is obscured by the silver reliquary made for the relics of Saint Catherine in Moscow in 1688, and given to the monastery by the Tsars Ivan and Peter together with their older half-sister Sophia Alexeyevna.
Dear Father Justin,
This is a very moving depiction of the Good Samaritan.
What time period was it made? There seems to be some damage to the Icon, especially around the robbers and the Good Samaritan. What is the nature of the damage?
Does St. Catherine’s have a restoration program?
Thank you Father for allowing me to see this.
Richard
Scholars have come to Sinai to study the earliest icons. In general, they have not been interested in these later works. The depiction of the Parable of the Good Samaritan probably dates from the eighteenth century. Most of the flaking is along cracks in the wood, which has caused the layers of gesso and pigment to lose their cohesion. There was some conservation of icons here in the 1960s, but currently there is no program. Conservators always find better ways, and regret earlier interventions. We can be patient. When an icon has areas where the paint has fallen off and the underlying gesso is showing, the gesso can be tinted so that it blends in with the surrounding colours. This is a very minimalist intervention.
A very moving depiction!
Thanks a lot father Justin
Some of the grey rocks remind me of Italian ones in Tuscany .The medieval depictions from there are not as stylised as one might believe , as I had done as a boy studying artbooks.
If only the patient approach could prevail more in this world !
Luke maybe really was a painter of the Light and Icons .
Dear Father Justin,
I have a passion for Biblical archeology, history and art and lead teachings on Biblical Art and Biblical Archeology at my church. This icon of the Good Samaritan is one of my most favorite icons to teach about – I absolutely love and agree with the allegorical interpretation of the parable that extends back to the early church fathers Origen, Irenaeus and Augustine.
Up until now, the only copy that I have had to teach from is a black and white copy. So, I am so thrilled to have this colored copy that you have provided. I completely understand that it is not possible to move the reliquary in the sacred space in order to reveal the lower portion of the icon.
If I could ask a favor – I want to be as correct as possible when teaching about this icon and the amazing parable that it represents. Could you help by sharing your thoughts on some assumptions that I have made from the black and white copy as well as perhaps sharing the translation of the Greek writings?
Here are some of my assumptions:
In the middle of the icon shaded by the background of a mountain, I am assuming that this group represents Jesus with His disciples behind Him as He tells the parable to the expert in the Law and religious leaders
I can’t read Greek Uncials, but assume that what is written on the scroll held by the two angels is the Parable of the Good Samaritan
The resolution of the image that I have becomes blurry when I zoom in and I am not able to make out the Greek writing throughout the icon.
Could you share with me what is written in Greek:
Just in front of the traveler as he leaves Jerusalem
To the left of the man on the mountain holding the 2 tablets of the Law
To the left of the man walking up the hill. I am assuming he is the Levite
Just above the wounded man that Jesus is carrying
Just to the right of the face of the innkeeper
Thank you again for your service at the Monastery and for taking the time to reply to my initial inquiry! If you could share your expertise regarding my assumptions and the translation of the Greek writing – it would be such a help for my future teachings on this amazing Icon.
Blessings and thanks,
Tom Cash
Dear Tom,
I have tried to identify the scenes and inscriptions in the Sinai depiction of the Parable of the Good Samaritan.
On the back of the Sinai iconostasion are placed large panel icons. The lower register on each side has paintings. On the south side are depictions of events from the Old Testament. On the north side there is a depiction of the Parable of the Good Samaritan. The narrative goes from right to left.
At the top right, a city filled with buildings is surrounded by a high wall. This is Jerusalem. A gate is open, and a man sets out on his way, holding a cane in his right hand. A short distance from the city, five thieves set upon him. One grabs him, while the other four hold clubs with which they beat him. They strip him of his raiment and wound him, leaving him half dead.
Above, a priest holding the Tablets of the Law passes by. A caption identifies him, ὁ ἱερεύς, “the Priest.” To the left, another also passes by. He is identified by the caption, ὁ λεβίτης, “the Levite.”
Above, in shades of grey, Jesus speaks with the lawyer and those with him, who stand before him. Behind him are His disciples.
Below, the Good Samaritan finds the wounded man. He binds up his wounds, pouring in oil and wine. He is identified by the Cross in His halo, and by the nomina sacra, IC XC, “Jesus Christ.” In the next scene, it is Christ Himself who bears the wounded man. Again he is identified by the Cross in His halo and by the nomina sacra, IC XC, “Jesus Christ.” He carries him to the inn, identified with the inscription, τὸ πανδοχεῖο. The inn is an extensive building with many domes topped by crosses.
In the last scene, He speaks with the Innkeeper, depicted as a Disciple also with a nimbus, “Take care of him; and whatsoever thou spendest more, when I come again, I will repay thee.”
Above, two angels hold a scroll with the words of the parable, beginning with the words Ἄνθρωπός τις κατέβαινεν ἀπὸ Ἰερουσαλὴμ. The words continue for five lines to the words, ἀποδώσω σοι, when, in spite of frequent abbreviations, the iconographer realized that he was running out of room. The next words are written in two lines with letters half as high, with the final admonition, Πορεύου καὶ σὺ ποίει ὁμοίως squeezed in underneath in a third line in even smaller letters.
Father Justin
Thank you so much Father Justin!!
Also, could you comment on the date of the icon. I have read conflicting information. One source said 14th century and another said it was from the 8th century.
The panel icons above are older, but the scenes from the Old Testament and the Parable of the Good Samaritan were added in the eighteenth century. The Sinai Princeton archive has a black and white photograph of a detail of this parable, and there it is dated to the eighteenth century.