SPYRIDON ROMAS(1826 – 1881)

Spyridon Romas, son of Georgio Kandianos and Ursula Valsamou. He travelled extensively and has studied law in Germany. He married Aspasia, daughter of the Romanian Prince Alexander Mourouzi. Spyridon Romas returned to his fatherland, organized his own political scheme ‘The Roma Party’ and was elected member of th Greek Parliament in 1879. A few years later, in 1881, the Prime Minister Koumoundouros appointed him as Minister of Education. This particular portrait, a work of quality, was made by the Zakynthian artist Apostolos Latsis (1840-1909), who was student of another well known local painter, Dionysios Kalivokas, as well as a graduate of St. Lukas Academy of Rome.

The politician is portrayed within the aristocratic residence. The carpet shown on the portrait still exists in the upper floor of the Mansion. By depicting Spyridon seated on an armchair with the ensigns chained to his breast, the academic painter emphasizes the wisdom and the venerability of his subject placing on his right side an allegorical entity, a small marble statue of the goddess Athena along with her symbol, the owl. On the table there is file addressing to himself as the Minister of Education. Another characteristic example of Latsis’ work is the portrait of a Lady with Red Fez, from the Koutlidis’ collection, in the National Gallery.

In the house there are also other portraits of: (a) Spyridon (miniatures, photographs, pastel), one of which was created post-mortem (1896) by the well known painter of the ‘upper class’ Pavlos Mathiopoulos (1876-1956), who was educated in Paris. In the same year, Mathiopoulos painted (b) Aspasia Mourouzi, Spyridon’s wife, while a beautiful portrait depicting her at a younger age can be seen on the upper floor of the Mansion. That was made in Paris by Ignace Spiridon. Members of the Mourouzi family (a princely Greek family from Constantinople) for centuries held the seat of the Interpreter of the Ottoman Sultan, as well as well governmental offices in parts of Romania. The official uniform of Constantine Mourouzi’s (grandfather of Aspasia Roma), who has been executed along with Patriarch Grigorios at the outbreak of the Greek War of Independence, is on display at the entrance of the Mansion.

CHRIST (Ecce Homo)

Christ is presented to the masses just before the crucifixion. The intense chiaroscuro between the brighter parts of the body and the darker background, the delicacy of the brush, with its white touches, and the pervasive feeling of deep emotion betray the particularity of Koutouzis’ art (il rococo patetico). The same sensation of the whole can be found in the center of the altar, in the Catholic monastery of Platitera in Corfu, while the angle of the expression of the face is depicted in the same way in other crucifixions painted by Koutouzi in the Byzantine museum as well as in the chapel of Sarakina Mansion in Zakynthos. The same form but with clearer lines is continued by Kandounis, in ‘Whipping’(known only from black and white photos) in the central altar of the ruined temple of the  Holy Apostoles in Zakynthos town, a synthesis wrongly attributed to Andreas Stavrakis, who only uses ‘egg tempera’ instead of oil on wood and canvas.

MALE NUDE STUDY

Drawn by charcoal on paper, the unpublished study has the original signature of the important post-impressionist Greek painter Simeon Savides (1859-1927) and it reflects one of his primary trials, from his first and only registered year in the University of Arts in Athens(1878) before his departure with scholarship for Munich and its Academy. His first teachers in Athens were probably Nikiforos Lytras and Ernst Ziller. He selects a difficult pose for his model for exercising on the shadows cast on the body and the delivery of perspective.

PORTRAIT OF CHRIST ON CLOTH

The particular piece depicts the customary or traditional brushwork of Holy Cloth which is an artificact of the Catholic Anti-Reformation- from 16th century onwards- which wanted the real Christ to be presented on cloth which was given to him in order to clean his face (a similar case for the Greek Orthodox Church is the holy wood). The same style of Holy Cloth was followed in the art by Greek artists, under Venetian Rule, in the temples of the Septinsular Churches (for example, in the temple of the Platitera in Corfu made by Koutouzi and Kandouni). The comprehensive Latin label on the picture takes one back to the Roman period and the Emperor Tiberius but the Emperor of Turks (Turcarum Imperator) proves the historical period must be the 18th century.

STILL LIFE

One of the noteworthy paintings in the Mansion is a framed picture made with oil on canvas. It is in the dining room. It was created around the 17th century and must be attributed to an Italian artist, and not a Flemish painter, specializing in matters pertaining to still life (natura morte). This type of painting indicates a specific period not only related to the usual practice but also heavily influenced by the Catholic Anti-Reformation.  It displays with firm iconographical pictures the only moral Christian way of life. In the painting one can see characteristics of the particular period such as: metal vases decorated with multicolored flowers to the point where the bloom touches the decay, the just blown out candle with its smoke, the clepsydra with sand showing the passage of time, the books which announce only the ephemeron (it can be seen on the side of one the word ‘’Vita’’), and finally,  the most common motif ,the scald ,which represents the meaning of vanity on earth (vanitas vanitatum omnia vanitas). The realistic feeling which describes the Baroque Era is a heightened antithesis between the dark background and the bright touches. In the center and on a tape is written QUASI FLOS CONTE.

SELF PORTRAIT OF NIKOLAOS KOUTOUZIS (1741 – 1813)

The Artist Nikolaos Koutouzis takes his first lessons from the militant Nikolaos Doxaras (1700=1775), son of Panagiotis Doxaras. Nikolaos was one of the main advisors in the picture gallery of Field Marshal Von der Schulenburg, and one of the main representatives of a Venetian rococo as it is depicted in Faneromeni Church in Zakynthos town. He left Venice in 1760. Upon his return to the island he became the first to introduce the naturalistic painting in Greece following the method that G.B.Piazzeta used (chiaroscuro and representation in general) .One of his early works is The Procession of the Relic of Saint Dionisios, The Pantocrator with the Celestial Sphere, and The Four Evangelists and the Two Prophets for the Cathedral of Saint Dionisios in Zakynthos. All above are now in the Byzantine Museum of Zakynthos, as well as the portrait of the general Andrea Dona, today inCorfu Palace. Koutouzis was a great thinker, controversial and always in conflict with the bad local practices, with the result to be badly injured by his opponents that led him to became a priest. His satirical poems, according to the Venetian tradition of G.B.Marino continue to circulate and shock the masses. He decorated many churches in the town of Zakynthos as well as private chapels in the countryside mansions. He also painted the portraits of many of the nobles. At the end of the 18th century he painted one of his masterpieces The Transportation of the Saint Dionisios Relic from Strofades to Zakynthos, presently in the Ecclesiastic Museum of Zakynthos .The composition of the painting is based on one of J.Marieschi’s works presently in San Giovani di Bragora in Venice.

The self portrait was bought by Dionisios Romas (1906-1981). The artist-priest is shown in mature age at the beginning of 1800 holding the pallet with colors and brushes in his right hand. The details of the face, the discreet smile, the eyes, the white beard have been carefully depicted.  On his left cheek is visible the black scar caused by his enemies.

However, the repeated motif of the left hand, the extended finger and the hint of the triple faced presence of the Satire in the painting which seats on the easel on the background leaves a suspicion that the portrait was done post mortem by Kandounis. Besides the coincidence  that both left their works unsigned  and  in a similar style  in the beginning of 1800 until the death of Koutouzi in 1813 became a riddle for art historians, whereas  the main reason of  Kandouni’s  portraits commissioned by the Zakynthian upper class was the after death memory . In the Mansion there are also exhibited two  manuscripts (letters). An Italian one which is written by another hand but bearing the genuine signature of Koutouzi is addressed to the Governor of the Island in 1805 about the conflict of the artist-priest while he was a vicar in the church of Odigitria with the churchwardens. The second one is written by his hand and is addressed to a fried and the content is satirical and imaginary- Koutouzis  is being presented with the nick name ‘Buzavarue’ (paunchy) written to his friend from the other world after having participated in various events with his brothers Irue and Arue.