The Eschatological Iconography of the Preparation of the Throne

The Preparation of the Throne (Etoimasia tou Thronou, Η Ετοιμασία του Θρόνου) is consistently depicted within the multifigured representation of the Second Coming, precisely beneath the throne of Jesus the Judge.

Within a circular glory there stands an empty throne with the cushion and the cloth spread upon it, as well as the footstool. Behind the throne is the Precious Cross with the crown of thorns and the symbols of the Passion (the Spear and the Sponge) on either side of the Cross.

Directly beneath the throne kneel in supplication the two First-Created, Adam and Eve. Behind Eve stand two half-naked figures, who stand in awe before the Righteous Judge and are ready to be “judged.”

The iconographic theme of the Preparation of the Throne was originally an independent representation, but from the 11th or 12th century it was incorporated into the scene of the Second Coming. The empty throne is accompanied either by the Holy Spirit (a dove) and the Gospel placed upon the throne, or by the symbols of the Passion (the Cross and others), thus symbolizing the mystical presence of Christ, following the models of corresponding imperial iconography.

Source: Translated by John Sanidopoulos.

 

Preparation of the Throne – Introduction

Liturgical manuals and our Symbolics explain that the Holy Altar symbolizes:

a) the Tomb of Christ, and

b) the Throne upon which Christ will sit to judge us at the Second Coming.

It is precisely this Throne that we see in the iconographic type known as the Preparation of the Throne (or Preparation of the Judgment Throne).

The Preparation of the Throne constitutes an important and multifaceted theme in Christian art and theology, with deep eschatological and symbolic implications.

In our days, when unfortunately certain Metropolitans have proceeded with the removal of the Crucifix from behind the Holy Altar, images such as the Preparation of the Throne — dating at the latest to around 500 A.D. — constitute a living testimony to what should be self-evident: the direct connection between the Cross, the Tomb of Christ, and the Resurrection.

The continuous presence of this iconographic type throughout the Eastern Roman Empire and the period of Ottoman rule testifies to the coexistence of the Cross and the Holy Altar within the Sanctuary of our Church, exactly as depicted in the Preparation of the Throne.

The Preparation as an Eschatological Reference

The representation of the Preparation of the Throne is directly connected with the Second Coming and the final Judgment of humanity by Christ. This eschatological meaning is evident in various depictions, such as:

The Purple Throne: The purple cloth, symbolizing the burial shroud, covers the apocalyptic throne upon which the Lord will sit at the Second Coming (Psalm 9:7–8 LXX):

"The swords of the enemy have failed utterly, and you have destroyed cities; their memory has perished with a noise. But the Lord abides forever; He has prepared His throne for judgment. He shall judge the world in righteousness; He shall judge the peoples with equity."

This image, together with the presence of the symbols of the four Evangelists (Revelation 4:6–8) and the apostles, creates a powerful sense of the coming Judgment.

The Second Coming: References to the Psalms and to the Revelation of John emphasize the significance of the Second Coming. The throne is prepared for the judgment of the world, where Christ will judge humanity with righteousness and fairness.

The Judgment of Humanity: The Preparation of the Throne depicts the decisive moment when humanity will be judged. The apostles, as representatives of mankind, proceed in procession toward the throne, acknowledging the authority of Christ.

This eschatological interpretation is fundamental, as it establishes the framework for the final Judgment and salvation — central themes of the Christian faith.

The Triumph of Christ

The Preparation of the Throne does not only depict the final judgment, but also the triumph of Christ over death and sin.

The Purple Cloth: The purple cloth, hanging from the Cross of Golgotha, symbolizes the kingship and triumph of Christ. According to scholars such as Tania Velmans, it represents the garment of the defeated enemy, indicating Christ’s earthly and imperial authority.

The Crowns of the Apostles: The twelve apostles, in depictions such as that in the dome of the Octagonal Baptistery in Ravenna (6th century), bring jeweled crowns, recognizing Christ’s triumphant sovereignty.

Victory Over Death: The use of the purple cloth as a symbol of victory is significant, since it connects the Preparation with the Resurrection and salvation. Through His Resurrection, Christ conquered death and offers salvation to humanity.

These triumphant representations are important for understanding the Preparation as a celebration of salvation and Christ’s victorious authority.

The Cross as an Eschatological Symbol

The Cross, a central symbol in the Christian faith, acquires eschatological significance in the Preparation of the Throne.

The Cross of Golgotha: The Cross, which dominates the scene, replaces the visible figure of Christ and symbolizes the “sign of the Son of Man” (Matthew 24:30), which will appear at the Second Coming.

The Golden Radiant Cross: In the Church of the Dormition of the Theotokos in Nicaea of Bithynia (8th century), the golden radiant Cross symbolizes Christ of the Final Judgment.

The Second Coming: The presence of the Cross in the Preparation foreshadows the coming of Christ and the Second Coming, when He will judge humanity.

With its eschatological interpretation, the Cross becomes a powerful symbol of the Second Coming, reminding the faithful of the final Judgment and salvation.

The Holy Trinity and the Consubstantiality

Beyond its eschatological meaning, the Preparation of the Throne has also been interpreted as a depiction of the Holy Trinity and the dogma of consubstantiality.

The Holy Trinity: According to scholars such as Fedir Schmit and Tito Papamastorakis, the Preparation symbolizes the Holy Trinity. The presence of the Throne, the Cross, and the Gospel signifies the unity of God the Father, the Son, and the Holy Spirit.

Consubstantiality: This interpretation underscores the consubstantial nature of the Holy Trinity, a fundamental dogma in Christian theology.

Theological Dimension: Depicting the Preparation as an image of the Holy Trinity adds a deeper theological dimension, linking the Preparation of the Throne with the central dogmatic teaching of the Christian faith.

At a Glance: The Preparation of the Throne

The Preparation of the Throne, as a multifaceted theme, combines eschatological references, triumphant imagery, and profound theological concepts. The symbolism of the purple cloth, the throne, and the Cross creates a powerful image of the Second Coming, the triumphant victory of Christ, and the unity of the Holy Trinity.

These depictions, rich in detail and symbolism, have shaped Christian art and theology, reminding the faithful of the final Judgment, salvation, and the eternal sovereignty of God. The study of these representations offers a deeper understanding of the Christian faith and its rich iconographic tradition.

Source: Translated by John Sanidopoulos.

Preparation of the Throne 

(From the Great Orthodox Christian Encyclopedia, vol. 7)

The iconographic theme of the Preparation of the Throne in monumental painting is sometimes depicted as an independent representation in the dome, the apse, or the vault of the sanctuary of a church; at other times it appears as a structural element within compositions of Pentecost, the Resurrection, the Exaltation of the Honorable Cross, and the Second Coming.

Beyond wall paintings and mosaics, the representation of the Preparation of the Throne is also found in portable icons, manuscripts, and works of minor art.

At the core of the composition stands the throne of the Lord, with the Gospel, the symbols of the Passion, and often the Dove (a symbolic depiction of the Holy Spirit). Over time, various variations developed and new iconographic elements were added, such as censing angels or the supplicating Protoplasts (Adam and Eve).

Among the earliest depictions of the theme are found in the wall mosaics of Santa Maria Maggiore in Rome and of San Prisco in Santa Maria Capua Vetere in southern Italy (early 5th century). In particular, the mosaic decoration of Santa Maria Maggiore dates between 432 and 440 and was probably commissioned by Pope Sixtus III (inscription: XYSTUS EPISCOPUS PLEBI DEI).

In the first case, the mosaic of the Preparation of the Throne is located at the top of the triumphal arch of the apse, between the Apocalyptic Beings and the foremost apostles Peter and Paul. In the second case, it appears in the chapel of Santa Matrona, in a small tympanum beneath the cross-vault of the ceiling.

The depiction of the Preparation of the Throne in the dome appears in churches of the Middle and Late Byzantine periods, particularly in specific geographical regions: Attica, Laconia, and Cyprus. An exception is the Church of the Panagia Olympiotissa in Elassona.

The main symbolic meanings derived from analysis of the representation are:

a) the Holy Trinity,
b) the procession of the Holy Spirit according to Orthodox dogma,
c) the throne of the Lord’s glory, primarily with eschatological content (the Second Coming),
d) the heavenly altar, and
e) Christ as Redeemer through His Passion.

In one type, the representation consists of its basic iconographic elements — namely the throne (with or without backrest and cloth), the Gospel, the symbols of the Passion, and the Dove (e.g., St. Hierotheos at Megara, 1170–80). In another type, the Gospel is absent (e.g., St. Herakleidios in Cyprus, second half of the 13th century). In a third type, all elements except the throne are absent (e.g., St. Sozon at Geraki, second half of the 13th century).

A fourth type appears in the katholikon of the Monastery of Tharri on Rhodes (painting phase of the second quarter of the 14th century), where for the first time the Preparation of the Throne is flanked by six-winged seraphim. Likewise, for the first time, the Holy Altar in the apse of the same monument is also flanked by seraphim. Thus, a connection is created between the representations of the Holy Altar and the Preparation of the Throne, since the latter receives its liturgical character from the former.

In a fifth and final type, the Dove symbolizing the Holy Spirit is absent, making the throne of the Preparation a symbol of Christ (e.g., Panagia Olympiotissa in Elassona, 1332–1348).

One of the earliest examples of the theme in the sanctuary vault is found in the mosaic decoration (now destroyed) of the church of the Theotokos in Nicaea of Bithynia (7th century). The throne is depicted with the Gospel and the Dove hovering above it, and is accompanied by four ranks of angels holding banners. On the banners is inscribed the beginning of the Trisagion Hymn (“Holy, Holy, Holy…”), confirming the interpretation of the scene as symbolizing the Holy Trinity. Beneath the angelic figures appears the inscription: “And let all the angels of God worship Him” (Deut. 32:43), interpreted as identifying Jesus Christ with God the Logos.

With the depiction of the allegorical representation of the three Persons of the Triune God in the sanctuary, the continuous presence of the Holy Trinity during the Divine Liturgy — especially in the Mystery of the Holy Eucharist — is emphasized.

The depiction of the Preparation of the Throne in the sanctuary vault continued after Iconoclasm with the same character. It is very likely that the theme was depicted in the same location in the katholikon of Nea Moni of Chios (1042–56) and in Hagia Sophia in Kiev (1043–46). According to G. Millet, the representation also existed in the katholikon of the Monastery of Daphni (late 11th century).

Today, mosaic representations survive in the Cappella Palatina in Palermo (1143) and in the Cathedral of Monreale (1180–90). In the katholikon of Hosios Loukas in Boeotia (first half of the 11th century), the Preparation is incorporated into the composition of Pentecost and appears in the vault covering the sanctuary.

The connection — and often identification — of the Preparation with the Second Coming is significant. In Codex Vat. gr. 752 (11th century), in the illustration of the Sixth Hymn, the inscription reads: “Unto the end, in hymns, for the eighth.” In two zones are depicted Christ enthroned with angels (above) and the Preparation of the Throne among hierarchs (below). In the lower zone appears the inscription “The Second Coming” (the eighth day being understood as the Day of Judgment).

Finally, the Preparation also appears in scenes of the Descent into Hades and the Exaltation of the Honorable Cross. In the Monastery of Gračanica in Serbia (1321–22), within the Resurrection scene, the Preparation is depicted flanked by angels; two hold ripidia (liturgical fans), while the other two hold banners with the beginning of the Trisagion Hymn. The absence of the Dove (the Holy Spirit) makes the Preparation a symbol of Christ. It thus acquires a liturgical character, emphasizing Christ’s divinity without denying His human nature (indicated by the symbols of the Passion), while simultaneously highlighting the eschatological content of the scene.

Its inclusion in the Resurrection scene serves to remind that humanity’s salvation comes through the Passion, Crucifixion, and Resurrection of the Lord and is fulfilled in the Last Things.

In St. George at Viannos in Crete (1401), the Preparation is incorporated into the scene of the Exaltation of the Honorable Cross. Here, with the presence of the Dove and the absence of the Gospel, emphasis is placed on the dogma of the procession of the Holy Spirit from the Father alone. Naturally, the Son remains present in the composition, being indirectly indicated by the symbols of the Passion.

Bibliography:
N. Gkioles; G. Gounaris; P. Durand; A. Mantas; T. Papamastorakis; G. Tsantilas; T. von Bogyay, among others.

Source: Translated by John Sanidopoulos.