The Virgin Hodegetria, who shows the way
The Virgin Hodegetria is one of the most famous and revered depictions of the Theotokos, or Mother of God, in Byzantine iconography. This representation originates from a renowned icon of Constantinople, which was widely copied and became a distinct type of icon. Hodegetria, meaning “she who leads the way” or “shows the way” in Greek, portrays Mary holding the Child Jesus at her side, pointing to him as the source of salvation for humanity. Typically, her head inclines toward the child, who raises his hand in a gesture of blessing. The Hodegetria had a profound impact on Christian art, extending far beyond Byzantine borders.
Origins of the Hodegetria icon.
This iconographic type traces its origins to a highly venerated icon. Tradition holds that Empress Eudocia, wife of Theodosius II (r. 408–450), sent the icon from the Holy Land to Constantinople. It was enshrined in the Hodegon Monastery, which Pulcheria, Theodosius’s sister, allegedly had constructed to house precious icons. The icon was also reputed to have been painted by Saint Luke the Evangelist; however, this tradition can only be traced back to the 12th century, at which time it was asserted that the icon was housed in the Hodegon Monastery.
According to a traveller account from Spain, the original icon was double-sided. On one side, the Theotokos was depicted standing full-length. The rewerse showed the Crucifixion.
Historical significance of the icon in Byzantium.
During the Iconoclastic Controversy, the icon was sealed to protect it from destruction. Emperor John II Komnenos (1118-1143) requested that it be brought to the Pantokrator monastery and kept overnight near his tomb on the days commemorating his death or that of his wife, Irene of Hungary.
In 1187, it was taken up onto the walls to protect the city under siege by Alexios Branas, a practice that may have been occuring as early as the 7th century, although another fame icon may have been used, since the accounts are not specific before 1187.
After the Fourth Crusade, under Latin rule, the icon was relocated to the Monastery of the Pantocrator, which had become the cathedral of the Venetian see. When the Byzantines reclaimed Constantinople in 1261, Emperor Michael VIII Palaiologos made his entry in the city walking behind the Hodegetria icon, which was returned to the Hodegon monastery.
During the 14th century, it was regularly taken to the Blachernai palace during the Easter time. The icon was also publicly displayed every Tuesday, becoming one major attractions for pilgrims and travellers. A Spaniard traveller described the ceremony:
Every Tuesday twenty men come to the church of Maria Hodegetria; they wear long red linen garments, covering up their heads like stalking clothes […] there is a great procession and the men clad in red go one by one up to the icon; the one with whom the icon is pleased is able to take it up as if it weighed almost nothing. He places it on his shoulder and they go chanting out of the church to a great square, where the bearer of the icon walks with it from one side to the other, going fifty times around the square. When he sets it down then others take it up in turn.
In the late Byzantine period, travellers accounts also described the icon as very large, covered with silver and jewels. The Hodegetria icon also served as a palladium believed to protect the city under the Palaiologos dynasty. Its prominence was such that some scholars consider it the most significant cult object in Byzantium.
Fate of the original icon of the Virgin Hodegetria.
The original icon was likely destroyed during the fall of Constantinople in 1453 – an account reports that it was cut into four pieces.
However, some other traditions suggest it was transported to Russia or Italy. In Russia, it would be the icon of “Our Lady of Smolensk”. Housed in the Assumption Cathedral of Smolensk, it is believed to have been destroyed by fire during the German occupation in 1941. Art historians are dating the icon, known by photographies, to the 11th century. Another tradition claims that Emperor Baldwin II took a portion of the Hodegetria icon – the head of the Virgin – to Italy in 1261, which is now part of a bigger icon enshrined above the altar of the Abbey Church of Montevergine.
Description of the Hodegetria type.
In representations of the Hodegetria type, the Virgin holds the Christ Child on her left arm. She gestures toward him with her right hand, while either looking at the viewer or gazing into the distance. Christ sits upright and comfortably in her arms. He holds a scroll on his lap and blesses with his right hand, looking directly out of the picture. This type is likely ancient and predates the iconoclast crisis, as it appears frequently on patriarchal seals from the 9th century. We know the icon originally depicted the Theotokos in full length. Some follow this pattern.
Ivory panel of the the Virgin Hodegetria, 10th century, Rijksmuseum in Utrecht
Plaque showing the Hodegetria, cathedral of Torcello, 12th century
Virgin Hodegetria, mosaic of the cathedral of Torcello, 12th century
However, many copies only show the upper part of the Virgin’s body.
Even in Byzantine times, some images attempted to represent the original icon. It appears in illustrations of the Akathistos Hymn, the Hamilton Psalter, and depictions of the Triumph of Orthodoxy, where it is supported by angel-bearers clad in red.
In a variant, called the Dexiokratousa, the Virgin holds the Child on her right arm. Both representation could be used within a single church, like in the mosaics of Hosios Loukas.
Influence on Christian Art.
The Hodegetria’s significance led to numerous copies, making it one of the most replicated representations of the Mother of God. Its influence spread across the medieval world, from the Byzantine Empire to Italy, Russia, Ethiopia, and even China. For example, the “Salus Populi Romani,” an icon from the 5th or 6th century housed in Rome’s Basilica of Saint Mary Major, follows the Hodegetria type. However, it depicts an earlier version where the Virgin’s right hand rests on Christ’s knee. After the iconoclast period, this imagery became more widespread, reaching far beyond Byzantine borders. Full-length versions, likely crafted by Greek artists, appear in the mosaics of Torcello Cathedral (12th century) and Palermo’s Cappella Palatina (circa 1150).
Many revered Russian icons, such as the Theotokos of Kazan and the Tikhvin icon, follow this type.
The Hodegetria style also strongly influenced medieval Italian artists, extending into the Renaissance.
Evolution into new types.
Many replicas of the icon went on to perform miracles in their own right and were given new epithets, like the Pyschosostria, the Peribleptos. The Virgin Elousa type (Virgin of Tender Mercy), more sentimental, also grew out of the Hodegetria image. In this variation, Mary still gestures toward Christ, but He affectionately presses His cheek against hers, with her head slightly inclined toward Him. Typically, in these images, the Child is positioned on the left. Notable examples include the Theotokos of Vladimir and the Theotokos of Saint Theodore.
The Virgin Hodegetria stands as a testament to the deep reverence for the Mother of God in Byzantine and broader Christian art. Its widespread replication and evolution into various forms underscore its enduring significance as a symbol of divine guidance and maternal intercession. Its impact and influence can still be observed nowadays in religious and even global artistic production.
