In movies, an “extra” is an actor who appears in a scene — often in the background — but is not a major character and generally has no lines to speak and is not named in the credits.
Icons too have their “extras,” persons who appear in the scene but are generally given no name.
We often find such an “extra” in icons featuring the “Flight to Egypt.” In fact we saw one in a previous posting:
The main characters in the narrative are Joseph at right, and Mary with the child Jesus, both riding. However in this example there is a fourth character walking behind. This is the “extra.” He appears in some icons, but is omitted in others. Notice that he has no halo, and no name title above his head. He is often identified in discussions of iconography simply as their “servant.” However, in the apocryphal texts, the single male accompanying Joseph, Mary and Jesus is identified as a son of Joseph. We read of Joseph in the Protoevangelium:
“And he saddled the ass, and set her upon it; and his son led it, and Joseph followed.
And indeed, in some examples of the “Flight to Egypt” we do find the youth leading the ass, instead of walking behind it and carrying the traveling bag on a stick, as shown above.
We see the boy leading the ass in this early Italian painting by Duccio di Buoninsegna, more closely reflecting the excerpt from the Protoevangelium:
There is another tradition, however, which says the the person who goes with Joseph and Mary is not Joseph’s son, but rather Salome — often identified as the woman present at the birth of Jesus in the apocrypha. This is found in The History of Joseph the Carpenter:
“Joseph was told by my Father in a vision. He rose up, took me and my mother Mary, I sitting on her lap, Salome walking behind us, and we went down to Egypt.”
There are still more variations on just who accompanied the family to Egypt in apocryphal texts, but I will not go into that now. Suffice it to say that in some icons, Joseph and Mary and Jesus go unaccompanied, but we often find that boy or young man as an “extra,” sometimes in front, sometimes behind.
We encounter another “extra” in icons of the “Visitation,” the visit of the pregnant Mary to her also pregnant cousin Elizabeth. This extra is female, and commonly appears as a young woman holding up the curtain of Elizabeth’s house, peeking out as Elizabeth and Mary meet. This young woman has no name, but she is generally understood to be Elizabeth’s servant. In fact in discussions of Russian iconography, she is generally identified only as a sluzhanka (служанка), a female serving maid.
We find her in Western Catholic iconography as well. Here she is in a c. 1320 stone carving at the Cathedral of Orvieto, in Italy — the young woman holding up the curtain at right, watching Elizabeth and Mary embrace.
Here is the young female “extra” again, in the mosaic of the “Visitation” in the Basilica of San Marco in Venice:
She also pops up in the Sofiya Cathedral in Kyiv (Kiev), Ukraine — this time peeking out at left:
Just as movie extras may appear in different movies, we also find the “peeking maid” in this mosaic segment depicting a quite different event — “The Prayer of the Holy Anne” (Ἡ Προσευχη Της Ἁγιας Αννης / He Proseukhe Tes Hagias Annes), in the monastery at Daphne/Daphni, Greece. This St. Anne is by tradition the Mother of Mary:
It is worth mentioning that while Protestants tend to think of Joseph and Mary as being rather poor, that is not the case in the Eastern Orthodox tradition. Poor people could not afford the servants (more literally slaves) that we sometimes see in icons of the family members and relatives of Jesus.