ABSTRACT
I feel that the epilogue to a book like this, which brings together for the first time a number of studies which have appeared at intervals over the last 27 years, is duty-bound to provide some sort of an update on all the articles that have appeared in the interim on the subjects it treats of: the painter Angelos, that is, and icon-painting in Venetian Crete during the fifteenth century. It will need, too, to address a number of questions that will inevitably arise: Have more icons bearing the signature of Angelos appeared? Have others attributed to him been published? Have the State Archives in Venice revealed hitherto unnoticed documents through which more light has been thrown on the artistic activity and life of Angelos?
