Focus on The Vision of Constantine (Moskos) and explain the Description.
The painting is made of egg tempera and gold leaf on wood panel.  The portable icon was completed in 1678.  The height is 72 cm (51 in) and the width is 28.3 cm (20 in).  The horse of Constantine displays a coloristic resemblance to the horses in Konstantinos Paleokapas Crucifixion.  The artist implements a unique array of colors common to the Late Cretan School.  The horse's pose is statuesque.  Similarities exist between the engraving named Il Danese Paladino by Antonio Tempesta.  Two of the engravings in the series named Orlando Furioso are similar to Mosko's work.  The other one is called Marfisa Guerriera.  Moskos mixes both engravings to create an elaborate blend of the Florentine-influenced masterpiece.The artists attempt to introduce elaborate early byzantine attire.  A grotesque mask appears on Constantine’s shield.  The Roman emperor's attire is elaborately decorated.  He is greeted by two soldiers, both of the soldiers hold weapons, one holds a crescent moon spear. They are dressed in silk.    The valley in the background and the orientation of figures creates an ambient space.  The painter eloquently adds dimension to his work.  There is a battle scene in the background.  Constantine is shown a second time.  The artist eloquently depicts the miniature scene in the background adding depth to his work.  An epic battle is waged outside of a fortified city among the hilltops.Constantine’s hands are open while he accepts his vision the work slightly resembles Bernini's Constantine.  Both works of art feature the artist gesturing his hands in a similar fashion.  An angel appears in the clouds relaying the message to Constantine.  The work is an excellent example of a Greek painter mixing the maniera greca with Italian mannerisms.  Cretan and Ionian art was typically influenced by Venetian painting.  In this rare case, the work was influenced by a Florentine painter.  The work symbolizes a breaking point from the Cretan School and a transition to the more refined artistic style prevalent in the Heptanese School.The work is first described in 1902.  It was at the church of Saint Basil in Apano, Zakinthos.
In 1933, the masterpiece was part of the Dionysios Loverdos Collection.  The collection was transferred to the Byzantine and Christian Museum of Athens in 1979.  The work of art has been maintained by the institution.
Heptanese School Orlando Furioso Byzantine and Christian Museum Florentine painter Cretan School Bernini Antonio Tempesta Venetian painting Athens Crucifixion maniera greca Konstantinos Paleokapas Moskos Constantine