[Symbol: Cross][Greek: Andronikos en Chô tô thô pistos basileus kai autokratôr Rhômeôn ho palaiologos].
[Symbol: Cross][Greek: Anna en Chô tô thô pistê augousta hê palaiologina].
As both Andronicus II. and his grandson Andronicus III. were married to ladies named Anna, it is not clear which of these imperial couples was here portrayed. The fact that the consort of the former emperor died before the restoration of the church by the protostrator Michael is certainly in favour of the view supported by Mr. Siderides that the portraits represented the latter emperor and empress.[224] Why these personages were thus honoured is not explained.
Having restored the monastery, Michael Glabas entrusted the direction of its affairs to a certain monk named Cosmas, whom he had met and learned to admire during an official tour in the provinces. In due time Cosmas was introduced to Andronicus II., and won the imperial esteem to such an extent as to be appointed patriarch.[226] The new prelate was advanced in years, modest, conciliatory, but, withal, could take a firm stand for what he considered right. On the other hand, the piety of Andronicus was not of the kind that adheres tenaciously to a principle or ignores worldly considerations. Hence occasions for serious differences between the two men on public questions were inevitable, and in the course of their disputes the monastery of the Pammakaristos, owing to its association with Cosmas, became the scene of conflicts between Church and State.
[Illustration: PLATE XXXVII. (1) S. MARY PAMMAKARISTOS. INNER NARTHEX, LOOKING SOUTH. (2) S. MARY PAMMAKARISTOS. THE DOME, LOOKING WEST. _To face page 142._]