The Iconography Committee is in the process of developing a bronze plaque with the names of all the contributors towards the Iconography Project as was promised at the start of the project.
The first two bronze plaques will include Stage I (iconography of the Great Iconostasion and the Sanctuary), Stage II (iconography of the Great Dome with the Pantocrator, the four Angels and the twenty Prophets), Stage III (iconography of the semi-domes under the great dome including scenes from the life of Jesus Christ), Stage IV (includes the lower level of the church’s walls.
In order to complete the list of the donors, the correct spelling of the names, the correct kind of donation and the correct dedication to the donation must be obtained. We have prepared the following list for corrections. The list is on the following page. The list will be published in The Cross and copies will be attached prominently on the church bulletin boards.
This way, people interested in correcting their names, adding or subtracting items from the list, will have the opportunity to do exactly that by contacting us in order to correctly present and construct the plaques. After the plaques are constructed there will be no more changes.
If by mistake we omitted any names and you don’t see your name on the list, you should call us to make the correction.
The time for corrections will end at the end of the calendar year 2023. After that date the list will be given for the construction of the plaque.
The list will only include Stages I, II, III and IV. One plaque will be ordered by the end of the year and the second will be ordered as soon as stage IV is completed. The rest of the stages will also be done by the completion of each stage.
The Beautification for the Church Committee
Athos Anastasiades, MD, Chairman
The Great Dome - Includes Pantocrator, Four Angels and Twenty Prophets
Donated by Helen Sumas and family and Robert Sumas and Family
In memory of James Sumas
Donated by Dr. Mark & Roselyn Adams
In memory of Father Seraphim Poulos
Nativity of the Jesus Christ
Donated by Kate and George Pappas
Entrance to the Temple-Ipapanti
Donated Nick Vlahos & Kostas Vanikiotis
Multiple small donations made by our parishioners
Entrance into Jerusalem
Donated by James and Jane Manias and family.
Donated by John & Helen Maletos & family
Donated by Ted Georgousis and family
Ascension - Located above Sanctuary
Donated by Antigone Lukowiak and James Demetropoulos
Dormition of the Theotokos - Kimisis tis Theotokou
Donated by Antigone Lukowiak and James Demetropoulos
Multiple small donations made by our parishioners.
Donated by Dr. James Gardner
Donated by Dr. Efthymios Daniskas and family
Donated by Pantelis and Sofia Athanasiou
Donated by Xenia and Paula Andreou
CLICK ON IMAGES TO ENLARGE
James of Alphaea
John the Theologian
About the Iconographer
By the Grace of God we have completed 25 years of study on the Holy Art of Iconography.
Maria Sigala-Spanopoulos was born in Athens in 1955. She attended interior decoration courses, Architectural Plan and free hand sketch for four years. Since 1973 she's engaged in iconography, and has painted churches in Greece, in Detroit Michigan, in Santa Fe New Mexico, and elsewhere. Much of her work is held in private collections. She's a member of the Chamber of Arts of Greece and the Panhellenic Union of Iconography Painters.
Nikolas Spanopoulos was born in Athens in 1955. He has been engaged in Iconography since 1975 and specializes in traditional water gilding, portable icons, icon screens (templa), icon stands (proskynetaria), Bishop's thrones, decorative surfaces and portable woodcut items of worship. Much of his work is held in Private Collections. He's a member of the Panellenic Union of Iconography Painters.
As a result of our team effort there is uniformity in the work we do.
The paints we use are made of pigments that come from natural rocks dissolved by egg (egg tempera). This is the traditional technique that the first iconographers used since the dawn of their Art, resulting in the unique and enduring quality of their work.
Most of our technique is drawn from the Palaeologan Renaissance. There is a distinct harmony between the drawing, color, composition, expression, the human figures and the natural or architectural environment. The period of the Palaeologan Renaissance started after the Regaining of Constantinople in 1260. This is the last phase of a sudden renewal of the art of the two preceding centuries.
Our studio has exhibited its work in five Clergy Laity Symposiums of the Holy Archdiocese of America specifically in Washington , New Orleans, Chicago, New York, and Orlando
The sacred art of Iconography is also known as "visual Theology" because it can be read and understood by all believers, including the illiterate. It is both narrative and instructive and addresses not only our vision, but also our emotions and experiences. The icon stands as a work of artbut more so as an object of respect and veneration in the Orthodox Church. The manifestation of the deeper meaning represented by the holy icon requires from its observer an inner enlightenment . The holy icon provides this enlightenment and allows us to penetrate its hidden meaning. According to Divine Province, each icon we paint should be unique. We are aware of the fact that numerous believers will direct their prayers and fears to them and they will be objects of piety and veneration; for holy icons "though constructed of material, are filled with Divine
MARIA SIGALAS - SPANOPOULOS
St. John the Baptist-5