Isaak Demetrakes’ Heavenly and Earthly Jerusalem: A masterpiece of orthodox iconography

The Heavenly and Earthly Jerusalem icon, attributed to Isaak Demetrakes and housed in the Ikonenmuseum Frankfurt, is a remarkable and intricate representation of Christian eschatology and salvation history. With its detailed visual theology, it stands for the the power of iconography in Orthodox Christianity to convey complex narratives. In this post, we will take a detailed look at the icon’s structure and try to understand its theological and artistic significance.

Heavenly and Earthly Jerusalem, Isaak Demetrakes, Romania, 1818, Tempera on canvas.

Structure and composition of the icon

Isaak Demetrakes’ icon from 1818 is a large, multi-tiered composition, filled with dense symbolism and meticulous artistry. Its layout is divided into three main sections, complemented by an outer border. Each segment narrates a different aspect of Christian theology and biblical history:

The outer border

The border contains a cyclical arrangement of small thumbnails or miniatures, which detail key moments from the Bible. Beginning with the Creation of the Earth in six days and extending to the stories of Adam and Eve, Noah’s Ark, and episodes from the prophets, such as Jonah and the whale, the border creates a chronological frame for the inner narrative. This visual “timeline” provides viewers with a sweeping overview of divine intervention throughout salvation history.

The ‘storyline’ in the outer border begins in the upper left corner with the Creation of the Earth…

…and continues with the creation of Adam and Eve…

…and their subsequent stories and fall from grace…

…Noah’s Ark, the fate of Moses…

…Jonah and the whale…

…Jonah escaping the whale, and other key moments from the Old Testament.

Left main panel: Mary’s story

The left section within the border is devoted to the life of Mary, the Theotokos (Mother of God), from the Annunciation to the birth of Jesus and beyond. Smaller thumbnails depict key episodes such as the Flight to Egypt, the Crucifixion of her Son, and other moments highlighting her pivotal role in Christian theology. At the center of this section, a prominent image of Mary holding the Christ Child, surrounded by angels, emphasizes her centrality in the mystery of the Incarnation.

The left main panel depicts in its center Mary holding the Christ Child, surrounded by angels.

Below Mary and Jesus, I think the legend of St. George and the dragon is depicted.

Mary and Jesus in a flowing chalice: a symbol of life-giving power.

Small thumbs show hallmark moments from Mary’s life.

Right main panel: Jesus’ ministry and passion

The right section narrates the life and ministry of Jesus Christ. It begins with scenes of his teachings and miracles and progresses to the Last Supper, the Crucifixion, and ultimately, the Resurrection. The central focus of this section is a grand depiction of the Resurrected Christ, symbolizing his victory over death and the promise of eternal life for believers.

THe central element of the right main panel is the Resurrected Christ.

That central element is flanked by scenes from Jesus’ life and ministry.

More scenes from Jesus’ life and ministry such as the Last Supper, foot washing, and healing wonders.

Central main panel: The Heavenly Jerusalem

The centerpiece of the icon is a detailed vision of the Heavenly Jerusalem, inspired by the Book of Revelation. At the very top, Jesus Christ (on the left) and God the Father (on the right) are enthroned, surrounded by saints and angels, symbolizing divine judgment and eternal glory. Below, the saved are depicted entering heaven, while the damned are cast into hell — a stark reminder of the dual outcomes of divine judgment. The central lower scene showcases the Heavenly Jerusalem, rendered as a grand cathedral-like structure with tall columns and a vaulted ceiling. Embedded within this celestial architecture are depictions of virtuous acts and divine blessings, exemplifying the ultimate reward for faith and righteousness.

Main theme of the icon: the Heavenly Jerusalem.

Exemplary acts and divine blessings are embedded in the architecture of the Heavenly Jerusalem. Here: A scenery during a Mass?

Exemplary acts and divine blessings are embedded in the architecture of the Heavenly Jerusalem. Here: Propably the Annunciation.

Exemplary acts and divine blessings are embedded in the architecture of the Heavenly Jerusalem. Here: Almost naked men, potential the 40 martyrs of Sebaste.

Exemplary acts and divine blessings are embedded in the architecture of the Heavenly Jerusalem. Here: Jesus riding on a donkey with palm branches (reference to Jesus’ entry into Jerusalem).

Exemplary acts and divine blessings are embedded in the architecture of the Heavenly Jerusalem. Here: The burning bush scene?

Theological themes and symbolism

The icon embodies the Orthodox Church’s eschatological vision — an artistic meditation on the Last Judgment, salvation, and the eternal promise of the Kingdom of God. Key themes include:

• Mary as the Theotokos: The left section emphasizes her role in the divine plan, highlighting her obedience and her maternal connection to the Incarnate Word.
• Christ as the victor over death: The central imagery of the Resurrected Christ underscores the Orthodox focus on resurrection and hope, as opposed to solely dwelling on suffering and death.
• Heavenly Jerusalem: The city of God serves as a theological and visual focal point, representing the unity of heaven and earth in the eternal reign of God.
• Judgment and moral responsibility: The division between the saved and the damned visually conveys the high stakes of Christian moral teaching, urging believers toward repentance and good works.

Historical and artistic context

Demetrakes’ work is deeply rooted in the Orthodox tradition of iconography, which prioritizes theological clarity and spiritual contemplation over naturalism. The inclusion of so many scenes and figures aligns with the post-Byzantine iconographic tradition, where icons served as “visual catechisms” for largely illiterate congregations.

The central depiction of the Heavenly Jerusalem echoes descriptions found in the Book of Revelation and reflects the Byzantine emphasis on portraying the Kingdom of God as a majestic, ordered, and harmonious space. The intricate architecture also draws on influences from Byzantine church design, highlighting the centrality of the liturgical space in Orthodox spirituality.

Artistic techniques and notable details

Unlike Western Renaissance art, Orthodox iconography employs inverse perspective, where lines appear to diverge rather than converge. This creates a sense of openness, inviting the viewer into the scene.

The vibrant reds and golds dominate the central panel, symbolizing divine light and glory. Cooler tones in the peripheral scenes may signify the earthly realm and the struggles of human life.

The icon’s crowded composition mirrors the comprehensive nature of salvation history, leaving no major theological theme unaddressed.

Conclusion

Isaak Demetrakes’ Heavenly and Earthly Jerusalem icon is more than an artwork — it is a theological statement. Through its layered composition and intricate details, the icon invites viewers into a meditative journey, from creation to final judgment and beyond. By placing the stories of Mary and Jesus alongside the vision of the Heavenly Jerusalem, the icon underscores the interconnectedness of salvation history and the ultimate hope of eternal communion with God.

As a piece of sacred art, this icon serves as a teaching tool and a source of spiritual inspiration, reminding believers of the transformative power of faith and the eternal promises of God’s Kingdom – at least in the eyes of the Orthodox tradition.

References and further reading

• Cornelia A. Tsakiridou, Icons in time, persons in eternity – Orthodox theology and the aesthetics of the Christian image, 2020, Routledge, ISBN: 9780367601768
• Klaus-Rainer Althaus, Snejanka Bauer, Karin Kirchhainer, Guntram Koch, Alexandra Neubauer, Richard Zacharuk, Icons: Icon Museum Frankfurt a.M., 2005, Legat Verlag, ISBN: 9783932942198
• Gennady V. Popov, Natalia Chugreeva, Farben der Heiligkeit – Meisterwerke der Ikonenkunst aus dem Andrej-Rubljow-Museum in Moskau, 2013, Druckerei Wirth
• Alexandra Neubauer, .von der Hand Deines Dieners. Christliche Ikonen der arabischen Welt, 2004, Legat Verlag, ISBN: 9783932942198
• ­Thomas Böhm, Peter Bruns, Wolfram Drews, Michael Durst, Michael Fiedrowicz, Johannes Franzkowiak, Reinhard Meßner, Eckhard Wirbelauer, Gerhard Philipp Wolf, Die Geschichte des Christentums – Der lateinische Westen und der byzantinische Osten (431-642), 2005, Herder, Ungekürzte Sonderausgabe, Hrsg.: Norbert Brox, Jean-Marie Mayeur, Charles Piétri, ISBN: 9783451291005
• Manolis Chatzidakis, Naxos. Byzantine Art in Greece, 1989, MELISSA Publishing House, ISBN: 978-9602040461
• Arne Effenberger, Hans-Georg Severin, Das Museum für Spätantike und Byzantinische Kunst, 1992, Herausgeber: Staatliche Museen zu Berlin, ISBN: 9783805311854
• Volbach, Wolfgang Fritz, and Lafontaine-Dosogne, Jacqueline, Byzanz und der christliche Osten, 1990, Serie: Propyläen Kunstgeschichte, Propyläen Verlag, Frankfurt am Main
• Denis Walter, Michael Psellos: Christliche Philosophie in Byzanz - Mittelalterliche Philosophie im Verhältnis zu Antike und Spätantike, 2017, Walter de Gruyter GmbH & Co KG, ISBN: 9783110526028
• Irmgard Hutter, Frühchristliche und byzantinische Kunst - Malerei, Plastik, Architektur, 1991, München: Deutscher Taschenbuchverlag, ISBN: 9783763018741
• Georgi Kapriev, Philosophie in Byzanz, 2005, Königshausen & Neumann, ISBN: 9783826026676
• Wladimir Sas-Zaloziecky, Die byzantinische Kunst, 1963, Serie: Ullstein Kunstgeschichte, Verlag Ullstein
• Benjamin Fourlas, Wege nach Byzanz, 2011, Verlag Leibniz-Zentrum für Archäologie (LEIZA), ISBN: 9783884671863
• Arne Effenberger, Neslihan Asutay-Effenberger, Byzanz - Kunst und Kultur, 2017, C.H.Beck, ISBN: 978-3406587023
• Peter Schreiner, Byzanz 565-1453, 2011, De Gruyter Oldenbourg, ISBN: 9783486702712
• André Grabar, Byzanz - die byzantinische Kunst des Mittelalters (vom 8. bis zum 15. Jahrhundert), 1976, Holle, ISBN: 9783873551251
• Wikipedia article on iconsꜛ
• Website of the Icon Museum Frankfurtꜛ