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Abstract
REB 47 1989 France p. 251-260, 8 pl.
Ch. Walter, The Iconography of the Prophet Habakkuk. — The development of the iconography of Habakkuk is traced from its
beginnings as an adjunct to that of Daniel in the lions' den through the illustration of his Ode in Psalters and of the Easter Homily
of Gregory of Nazianzus to the Palaeologan version of the Latomos Miracle. An explanation is proposed of the prophet's
characteristic twisted position in many of his later portraits.
Walter Christopher. The Iconography of the Prophet Habakkuk. In: Revue des études byzantines, tome 47, 1989. pp. 251-260.
doi : 10.3406/rebyz.1989.1815
http://www.persee.fr/web/revues/home/prescript/article/rebyz_0766-5598_1989_num_47_1_1815
THE ICONOGRAPHY OF THE PROPHET
HABAKKUK
Christopher WALTER
4. A. Cutler, The Aristocratic Psalters in Byzantium, Paris 1984, p. 25, 47, 102.
5. Ibidem, p. 17, 55.
6. H. Leclercq, Habacuc, DACL 6, 1929-1937 ; Habakuk, Lexikon der christlichen
Ikonographie, II, 205.
7. Daniel 14,33-38; Septuaginta, edited A. Rahlfs, II, fourth edition, Stuttgart
1950, p. 940-941.
8. Age of Spirituality, edited K. Weitzmann, New York 1979, p. 486-488.
9. Ibidem, p. 485; Ο. Μ. Dalton, Catalogue of Early Christian Antiquities ...,
London 1901, p. 55-56 ; W. F. Volbach, Elfenbeinarbeiten der Spätantike und des frühen
Mittelalters, third edition, Mainz, no. 167.
10. DACL 1, 3012, fig. 1042.
THE ICONOGRAPHY OF THE PROPHET HABAKKUK 253
south of Jerusalem, Christ would come from there28. This would seem
to be the source of the miniature and its legend in the Chludov
Psalter.
The most developed miniature illustrating Habakkuk's Ode is in
the twelfth-century illuminated Psalter, Vatican gr. 1927, f. 274V
(Figure 7)29. The painter has combined in the same miniature
illustrations to several verses of the Ode, indicating by a legend to
which verse each detail corresponds. Some details are literal
illustrations of the verse in question : "The nations see and are
liquidated" (verse 6) ; "The princes beheaded and the poor man
eating in secret" (verse 14); "The cattle before an empty manger"
(verse 17). However verse 13 : "You went out to the salvation of your
people", is illustrated typologically by a portrait of Christ. More
original is the illustration of verse 3. For this verse, Habakkuk is
represented kneeling before a mountain, above which are represented
in bust form the Virgin and Child Jesus.
It was inevitable that at some time a rapprochement should be
made between the phrase κατασκίου δασέως of the Ode and the phrase
δύναμις υψίστου επισκιάσει σοι of the account of the Annunciation
(Luke 1,35). Yet no commentator of the Ode seems to have done this
earlier than Theophylact of Ohrid (before 1050-ca 1108)30. He refers
the dark shady mountain explicitly to the power of the Most High
overshadowing the Virgin, and thus makes Habakkuk a prophet of
the Annunciation. The same rapprochement may be found in the
Menaia, for example in the office of the Forefathers31. However the
only surviving miniature inspired by it seems to be that in Vatican gr.
1927.
Verse 11 of the Ode : "The sun was exalted", is referred by
Theophylact to the exaltation of Christ on the Cross32. More explicitly
in the Menaia, Habakkuk is said to have prophesied the divine kenosis
on the Cross33. This same sentiment is expressed in a dodecasyllable
which serves as title to the Ode in Paris suppl. gr. 610, f. 252V, and
Washington Dumbarton Oaks cod. 3, f. 76 : "Habakkuk demonstrat
ing the abasement of the Logos"34. Yet in both manuscripts the Ode
be
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Fig. 4. — Daniel and the lions, Ivory coffer, Britis
^,*"·^?" τ* . " '*"·■ "' ' ν'. '- "
Fig. 5. — Habakkuk, Barberini Psalter, f. 257V, Biblio-
teca apostolica vaticana.
rig. 6. — Habakkuk an
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Planche V
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Planche VI
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Fig. 10. — Habakkuk, Menologium of Basil II, p. 219. Bibliotec
Planche VIII
40. Der Nersessian, art. cit. (note 3), discusses this question.
41. G. Galavaris, The Illustrations of the Liturgical Homilies of Gregory Nazianze-
nus, Princeton 1969, fig. 402, 357.
42. Ibidem, fig. 379, 455.
43. Ibidem, fig. 100.
44. Ibidem, fig. 236.
45. Ibidem, fig. 181.
46. T. Gerasimov, L'icône bilatérale de Poganovo au musée archéologique de Sofia,
CA 10, 1959, p. 279-288.
THE ICONOGRAPHY OF THE PROPHET HABAKKUK 259
The subject of the picture and its origin are not in doubt. Some
time between the fifth and seventh centuries, a mosaic with a similar
subject was executed in the church of Hosios David in Thessaloniki.
It was covered up, perhaps during the period of Iconoclasm, and only
rediscovered some centuries later. The discovery was recounted by
the monk Ignatius, who describes the mosaic and attributes the
discovery to a miracle47. Hence the legend on the icon. The mosaic
was again covered up, no doubt during Turkish times, only to be
rediscovered a second time in 1927 48. Since then an enormous amount
has been written about it.
The point which concerns us here is the identity of the seated
prophet on the right. On the original mosaic there are no legends. Yet
Ignatius names them Ezekiel and Habakkuk, attributions which were
taken up on the Poganovo icon. Unfortunately an intermediary
version of the Latomos miracle, badly damaged, in the ossuary chapel
at Backovo also has no legends49. A. Grabar first called in doubt the
designation of the prophet on the right as Habakkuk50. Various other
identifications have been proposed.
However I do not think that any scholar has put the question why
Ignatius should have made this identification. That it was considered
plausible, is clear since the painter of the Poganovo icon maintained
it, although, in accordance with Palaeologan practice, he represented
Habakkuk beardless, while in the mosaic he has a white beard. But
this is neither here nor there, for, as has been shown, there is no single
tradition for the portrait of Habakkuk. On the other hand the
observations made on the previous pages may help us to understand
Ignatius's identification.
Given the reputation of Habakkuk as visionary and prophet of the
Messiah, he was an obvious candidate. Furthermore the lay out of the
mosaic, with Christ in a mandorla and two figures below to left and
right, closely resembles that of miniatures of his vision in illuminated
Conclusion
Habakkuk, who entered Christian iconography as a modest adjunct
to Daniel in the lions' den, gained in stature as the typological
exegesis of his Book progressed. He was considered to be prophet of
the coming of Christ, of the Annunciation, of his abasement on the
Cross and of his Resurrection. In the marginal Psalters his was the
only Ode to be illustrated typologically. However the main subject in
which he occurs is the illustration of Gregory's Homily 45 In sanctum
Pascha. It is in this that he acquired his typical twisted pose, which
was then used for his portrait accompanying his Ode in some
"aristocratic" Psalters and, in the company of other prophets, in
church decoration.
Christopher Walter
Centre byzantin
67 Asklipiou Street
GR-106 80 Athens