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, llil![ !


TOY TOTHPOI (Ayui lox{pcr)


- Appterrowrc{ xcr Td?4vrl

THE CHURCH OF THE TRANSFIGURATION OF THE SAVIOUR (Hagia Sotera) History - Architecture and Art



Bu(awwoldyoE - IoroqrchE T*ttqg


Byzantinist - Art Historian


Io'ropic - AgpterctowKri
rcor Tdyvn;



Architecture and Art

(Dcotoypogrioerq PhotograPhs

Matd<ppoor; o'rqv A1ry).trcri Translation into English )GPAAAMIIOI I. XOTZAKOIAOY Dr. CHARALAMPOS G. CHOTZAKOGLOU


EnrpC),eroA11,trrniqMetci<ppoor;q EnglishEditing HAMZA HENDA\XT FIAMZA HENDA\XT

ISBN: 978-9963 -8998-r-4

(irpyright @ Erlv8eo;rog flpootooioq Mrlpeiov fla).or1op(ou 2009, Aeumolo

'OIc to 6rxor6pctc enrguldooowcr.

Arruyoptrleto, loplq tr1 ypcrrer] d6ero tou luv6Copou, 1 onotoobr]note popgrlC cvoncpcyoyri, ;retdbool npoq to rotvd, erno[m], petdgpool, 8uoreuri { dll4 rpoocppoyrl ol6r}.r1pou tou Cpyou ouroil ri ouorrlt8ouq tprjpotdg tou.





Mema Leventis

ISBN: 978-9963 -8998-r-4

(i4ryright @ Association for thc Prorection ofthe Monuments of Palaichori 2009, hfkosia

llo)'rtto'rtriq Ynqpeoieg Cultural Services of the Ministry Ynoupye{ou llot8e(oq rot llotrtnopori of Education and Culture

All rightr rcrcncd.

No plrt of'rhir publicrtion may bc rcproduccd, ttanrtnittnl or brordcast ro thc public, translaLcd or adaptcd without the Arurtintion'r prirtr wriltett conscnr,




Xorpeuop6q flcvtepor<itou pltpono),(tou Tcpoooil

rcor Opervrlq, rc.rc.


Greeting of His Eminence, Esaias, Metropolitan bishop of Tamasos


. 10

and Oreines
Preface of the fusociation for the Protection the Monuments of Palaichori


flp6),oyoq luv8dopou llpoorco{cg Mvlpefr,rvllc},olopiou . . . . . . . . . . 12

.t3 I9



....22 ..,.... 24


O vc6q Metcpopgc6osoq rou }otr]pog (Apd Iartripc) llc),at1'rp(ou.

Iotop(c-AppterctovrrcrjrccrTtryn TotloypcrpirqrlqBevetorcpo,'rfug(1489-1571) .. (c) Iep6 (p) Orcupir'4Nc6q. Arorc6opr1o4fU),rvovemqoverrilv TotloypcgisqrnqTouprcorcpo'rhg(1512) Totdpn),oKororgopllriqerrc6veq AplrterctovrrciqKot6rliarq... Enr).eypdvr; Brp),roypc9(c

The Church of the Transfiguration of the Saviour. History of the Monument -Architecture Frescoes of the Venetian rule (1489-1571)

23 24 25 43

The holy Bema

......43 ........91 ....... 92 .......93

. .103

b. Main church Decoration of the wooden surfaces



paintings during the Ottoman rule

(1612) . . . .


The iconostasis and its Icons


Architectural Plans
Selected Bibliography


H ircfiooq aanf ehtm agtepatpivtl ottp Trnipq

'roa aeiparl oroa KQNETANTINOY AEBENTH,

#ary llgoiilgoo rot' Iilgipang'A. l. AtphrryE" W rT oweto(popti na ory otwtigrlorl roa Tnqpeioa Kat orrllt auirlaory rca regtpdMortog xcipoa
This publication was deooted to the eternal lnetnory of KONSTANTINOS LEWNTIS, formn President of the Foundation 'A. G. Leoentis"

for bis con*ibution to the renooation

and kndscapting of tlris monatnent.



lepd lrlHTponodlc Tamaooy Kcr 0retuHc

tou cv0pc6nou fipoq tov ll)dotq rou Kcutcut6Xpovc ouwo'rd dwowl tqv pcprup(o t4q oydnrlq rou @eori yro ro nar8rd'rou.

rcd0e va6g, avtlapqrc cn6 to pdye069 rou, ercgpd(fl orrlv npdfrl ttq ol1roeq tou cvOpcirnou lrs ro @s6. Afiote),e( rcctdrpooq tqq rcorvrovicg

H npcoropou).{c yrc t1v irc6ooq tou O8rlyori'rou rcpoil vcori tlq Me'rapopgcboeolq tou Icorrjpoq (\r.i Iotrjpc) llc),cr1t'rpiou dpletcr vo unrlpetr]oer cu'r6 'ro orcon6. Aev anotetrei ro "ptr6, ye(pag" prp),(o ivc o6qy6 touptonrcr]q fevdylorlg, olJ,d ).ertoupye( orq epyctre(o orc, y(.pn tou onorou8rjno're, c6ote va rcctovorjoer to peyo),e(o 'rolv olioer,lvtou
@eorJ pe rouq cv0pc6nouq.

H cpltterrovtrcr] tou vooJ

rcct q 6),r; nopouo(a'rou efroteprrcd

dvat 6ppr1-

rro ouv6e6ep6vq pe'ro guorrc6 neprpd),),ov, evc6 o eooreprrc6q ntroritoq tou eivqt otevd ouvugcopdvoq ps to piyeOoq tqq ercrc),4orco'nrcr]g
epnetptrcrjg lror1c,.'Erot o rcd0e dvcq nou'rov gntorcdntetor ugio'rcrar lrto cyic ctrIoiooq, un6 trlv dwota 6'rt q0dver oto va6 r,lq ernorcdntlq Kor

cvclcope{ on6 ou'r6v olg npoorcuqujq.

I8tairepo evtunoorci(er an6 'ro vc6 to n),rjOoq rcov ror1oypcgrrilv rou, ot ono(eg arco).ouOoilv ivc 0cupdoro aKovoypogtrc6 np6ypoppo. Or 6to0epcttrcdq 'rou ev6tlteq rcotr$n'rouv yeyov6tc qq Ay(cq fpogtig, r4q fr,lrjq t4q Ercd,r1o(oq Kor trlq epnerp(oq tarvAyrov. It4 tdrloypagkg ercgpd(ovtot rcot ),et'roupyorSv pe tp6no dr.foyo rotoptrcd, 8oypcurcri rcot c1'totroyrrci9{para, to ono(c, lre rnv r8td(ouoo'romrcr] 're1vo'rponio,
rrou rcr ya,parc:.:rpi(xl, nporca),oJv 0cupoop6
rco,r drco'roor1.

Epxtg yaqxri(ope rccr tqv nponopou).io cutr] tou Iuv8ioprou llpootcoicg Mqpe(rov lld,crl,rpiou rccr r8roi'repc ouylo(pope rco eulcpro'rorJpe rouq 1oprlyorjq trlg drc6oor1q cutr]s, rrlv rcupic M6paAepdw4 rcct uq llo).rrmrrciq Ynlpeo(eq tou Ynoupye(ou flo6e(aq rccr llo)ltoporS qq Kr3npou,
6trouq'roug ouwe),eotiq'rou ercrc),4orco'nrcoil rcar notrrtrotrrcoJ ourou rpYou.
rcc0c6q rcct





lera f{nrronolrc Tamaooy Kct (}petunc

Every church, big or small, expresses the relation between man and God.

It shows the communion of the man with his Creator and at rhe same
time demonstrates the testimony of the love of God to His children. The initiative for the publication of this guide for the holy church of Transfiguration of the Saviour (Hagia Sotera) is meant to serve this
purpose. The book you have in your hands is not a tourist guide, but

in the hands of every person in order to understand the greatnpss of the relation berween God and his creations. The architecture of the church and the whole external form is strongly connected to narure, while the rich decoration of the interior
serves as a mean

is connected to the experience of its ecclesiastical life. Therefore,

everyone who is visiting the church, is exposed to a holy alteration,

meaning that he enters the church

as a

visitor and leaves as a pilgrim.

The number of the frescoes in the church is quite impressive, following a splendid iconographical program. Its iconographical subunits
present the facts of the Holy Bible,

well as of the liturgical life of the church and the experience of the saints. Historical, liturgical and doctrine issues are joined together in a local, iconographical (sryle and


in the best way) the admiration of the visitor. welcome this initiative of the Association for the Protection of the Monuments of Palaichori and congratulate and thank specially the sponsors of this publication, Mrs. Mema Leventi and the Cultural Services of the Ministry of Education and Culture of Cyprus, as well as all the contributors to this ecclesiastical and cultural work.




O }iv6eopog llpootooicq MvqpeiCIrv fIc),orXop(ou ouveli(ovtcq ps ouvdrata t4 ouwrjprloli, Trpooroo(a rcat npopotrr] trov pvrqpe(rov tou lla),at"Nadq Metcpopqc6oeorq Xorp(ou, napouotd(et tl vio drc8ooq rou ps'r(tlo tou Ioltrlpoq (Ayld lcorrjpo) llo).cr1cop(ou, Io'ropic - Aplttarctowrcr] rcat


rcrjpro dpyo nou dXet ent'retreoet p.typt orjpepo o }iv6eo;ioq cn6 tqv i8puoq'rou, B Nosppp(ou, l99l efucn:-

A. Me),dreqi'EpeuveglErc66oetq
1. Me),dtrq "llc).ct1c6pt, llo),t'rto'rtrcri rccr lleptpc),),ovttrcr] K),r;povoptd

llapoJoc Kctdo'rcoq, llpoonurcdg Atdoorolq




otc ApXe(c Itc),(cq, fa).).io.q rcot Mdlrqq yto cveripsorl roroptrcriv n),r1pogoprc6rr Trou ovcgipowor oto flo).crXc6pr. Tc oqpowtrc6'repo d1rypc<pc rccr otorleic dXouv nept),r1g0ei oro Kerpdtrato "llctrc"tyrhpt, 'Eva Operv6 Xalpr6 oro lldpoopo rr'tv Atc6vov" rqq drc6oo4q paq "Tc llc),cryipto - K),r1 povoptd Atc6vov".
3. 'Erc8ooq rouptortKorS evr;pep<,1'rtrcorj <pu),),c6(ou'pt ro lld,ctlc,lptori oetdooeprq y).r6ooeq.

ldptq tou

4. 'Erc6oor1 oupdg rcaptc6v (card postal) cnote).or5peq on6 16 rcdpteq ytc npopo).rj tov Mr,1 peirov flo),ct1arp(ou.
5. 'Erc6oo4 orrrrKocrKouo'nrco$ rlrlgrorcor5 8(orcou yrc oilvtopq evqpdpoorl \4o ro fla).crXc5pr, ta pwlpeic rou Kot trlv totopic rou oatiooeptq y),r'rooeq. 6. 'Erc6oo1

"Ta llclotyrhprct K),qpovopd

Arc6vr'rv (6iy),<,rooo)


Mouoe(ou Bu(owwr; q K),ri povo ;rtdq lI c).cr1o piou (6fy).orooo) B. 'Ercboorq "No6q Mercpopqr6oe<,lq tou Icotrjpoq (Ayio Ir,ltrjpo) llo).orXr'lp(ou, Iotopio - Appterctovrrcrj rccr Tdryrq (6iy).roooo).
O 6qy6q



The Association for the Protection of the Monuments of Palaichori is continuing its efforts for the preservation, protection and promotion of monuments in Palaichori by presenting this new edition under the title: The Church of Transfiguration of the Saviour (Hagia Sotera) in Palaichori, History Architecture and Art. The main work, which has been accomplished so far by our Association since its foundation on November 8, 1991 is: A. Studies/Research/Publicarions:
1. Study: "Palaichori. cultural and Environmental Heritage. The present situation. Perspectives of resdue and application".
2. Research in thefuchives of Italy, France and Malta in order to collect historical sources regarding Palaichori. The most important traced documenrs have been

included in the chapter "Palaichori, a mounrain village through rhe cenruries" of our edition Palaichoria, Centuries of Heritage.
3. Publication of informative leaflet

with the plan of Palaichori in four languages.

4. Publication of 15 post cards postales for the promotion of the Monumenrs of Palaichori.

5. Creation of an informative video optic

and its history in four languages.


on Palaichori, its monuments

6. Publication of the book "Palaichoria, centuries of Heritage" (bilingual).

7. Publication of the "Guide to the Museum of the Byzantine Heritage of Palaichori" (bilingual). 8. Publication of "The Church of Transfiguration of the Saviour (Hagia Sotera) in Palaichori, History - fuchitecture and fut" (bilingual).
B. Renovations/Conservatiori of Monuments, frescoes, holy vessels etc.
1. Renovation and reuse of the medieval olive press and the Primary School of the Apostle Luke.

B. Avona).orrioerq/Iuwri pn


Mrn peiov, TorXoypcgrcbv,

Ie pc6v

Irceu civ

1. Avona),aioor1 rcat tret'roupyfc

A4 potrrcor5 IXo).eiou

tou Meostc'lvtrcoil etrt6putrou



Anoot6),ou Aourcd.

2. Iuvtrj

oll rt'lv ercrcIn; otc6v Ayirrlv Avcpyri pov, Metcpo p gc6oecoq'rou (Ayia Iotripc), llovcyicq Xpuoonov'tdvooocq rcct Ay(ou }rltrjpoq feopyiou.'O).eg or ercrch1oieq e(vorrou 16ou crcirva. 'E1ouv en(o4q ouwr1pq

pr;Oei rotXoypcgieq, tepd orceriq, fd),weq entn).c6oerq, <pop4tiq errc6veq rc.<i.

3. Avanc),a(oor; nctrcror5 rcttp{ou nou avrirca o'r4v ercrc}qo(o trlq llovcyrcq 6nou o'reydfetct rcot ).etroupyei to Mouoe(o Bufcv'nvr]q K).rlpovoptciq

'Otro ta nto ndvc'r ilouv ulonotrlOe( Xdprl o'nq npoondOeteqtou luv8iopou, nou ndwo'rs Xplolporrotodoe'rtq unqpeoieq er8rrcr'lv emo'r4p6vov Kot r1v ouorootrrcr] orrcovoprn] otriprfrq cprcetr6v urroorllpr.Krcbvrou dpyou rou, rouq onoiouq euXoptotor3;re crc6pc pfu, gopa pe autrj tqv eurccrp(c.

'Ooov oqopd ro pv4pe(o rrou rropouotdleran orlv noporioc drc6oo4, 11 orlpeptvri rcctdotco1 rcct 6rl.11 'rou, oge(trovrcrt rcupiclq oro'I6puptc A. f. Aepdvrqq" Kcu ororr tdroq llp6ebpo 'rou, ceipvqo'ro Kcovotavt(vo Aepdw4 Kct oro TuqqApXcrotritr,rv.
11 powrrcr; npoogo pd 1'rc o).od,ri pclol1 rou Mvrq pe{ou ou'ro$ xiyav


Kupic Mipo Aepdwl, or5(uyoq porccpcro$ Kcovotaw(vou Aepiwr'1 Kc0rlyqu]q Bdooq Kcpol'tc6py4q, Arcu0uwl1q I8prJporog "A. f. Aepdvr4g"
Ap Ioqorclr] q X" Ap Mcp(vo

Idp pcq, lI

pcirrlv Ateu0uwrj q Tprj potoq

po g


Ie pc'rvu


Mouoe(orv, T urTW Aplcrotr]rrov

f rciw4q Aproro8r] pou, o,pptircrorrcrq, }1 prpou),oq'rou luv8dopou Kot pe),etr;tiqtou dpyou.

Kowottrc6 Iu ppor5).ro lla).crXr,l p(ou (O p ervrl q)

H oorotj cvootrjtrroorl Ko.t ronrotilvro1 'rou Mvqpre(ou, e(1e roq cnotdleopo r,o npoto0e(tov Io6vro tou 2000 an6 'ro TWiWoAplcroujtov orlv UNESCO vo s\Tpagsi c'rq nl 8ircorq ercrctr1o(c o'rov rcotd),oyo lloyrc6oproq K).r1povoprdq. H nepO,1r|q tou pvqpaiou orov rcotdtroyo ilnve to Aercdpppto rou 2001 o'ro E),oivrct, rccrrd. rqv 25q orjvo8o qq Enrtponr]q
lloyrc6oproq Klqpovoptdg.

H anorcd),u{l .nq ovapv1ouKr]q

n),drcaq yrq

rIV |wo'lqr1g



2. Restoration ofthe churches HagioiAnargnoi, Transfiguration

ofChrist (Hagia

Sotera), Holy Virgin Chrysopantanassa and St. George.


these churches date

back to the 16th c. Frescoes, holy vessels, wooden furnishing, icons erc. have been also restored.

3. Renovation of an old building, which belongs ro rhe church of the Holy Virgin and houses the Museum of the Bfzantine Heritage in Palaichori.

All these actions have been realized thanks to the effons of the Association, which always used the services of specialists and scientists, and thanks to the financial contribution of several donors, which we would like to thank once again here.
Regarding the monument presented in the presenr publication, we owe its present condition and facade mostly to the A. G. Leventis Foundation and

to its unforgettable former president, Konstantinos Leventis, and to the Department of Antiquities.
Essential for the fulfillment of the monument was the contribution

of Mrs. Mema Leventis, wife of the late Konstantinos Leventis Prof. Vasos Karageorghis, Director of the Foundarion "A. G. Levenris"

Dr. Sophocles Hadjisawas, former Direcor of the Deparrmenr ofAntiquities

Dr. Marina Hieronymidou, Curator of Museums, Deparrment ofAntiquities
Ioannisfuistodemou, architect, Member oftheAssociation and project researcher

Community Council of Palaichori (Oreine$

The correct restoration and landscaping of the Monumenr contributed to the application made in June 2000 by the Department of Antiquities to UNESCO aiming for the registration of the monument as the tenth Cypriot church in the List of \(orld Heritage. The monument was included to the List in December 2001 in Helsinki during the 25th Council of the Committee for the'S(orld
Heritage. The presentation of the commemoration stone for the inclusion of the Church

of Transfiguration of Christ to the \(orld Heritage List of UNESCO was included in the celebrations marking the 30th anniversary at the Convenrion of the Protection of UNESCO's \(orld Heritage, organized by the Deparrment of Antiquities with the cooperation of the Association for the Protection the Monuments of Palaichori and the Community Council of Palaichori (Oreines) on the 30th ofAugust 2002 at the churchyard. The revelation of the commemoration stone was carried out by the former President of the Republic

r1q Msrcpopqc6osc,lg rou Itor{poq orov rcctd},oyo llcyrc6oprcq lQrlpovoprtdq qq UNESCO, e(yx nepr).r1g0ei orouq eop.rooporiq \4o ro. 3}ypova qq }5ppco1q yrc rrqv llpoo'rco(c trqq llcyrc6optoq K),rqpovoprdq rqg UNESCO, nou opycvc6On;rccv otrq 30 Auyorio.rou 2002, or4v cu).r] rnlq Ercrc),1o(cq, an6 to TWiWoAplarotrirr,rv lrs rrl ouvepyco(c.rou luv8dopou llpoorco(cq Mw1 peiov flo).or6'lp(ou rcct trlq Korv6.rrltcq llo),or1rrlpfou (Opervr]q). H anorcd),u{tt .rtq n),drccq dyrve cn6 tov.rir,rq llp6e8po rqg Kunprcrcr]q A1porcpcr(cq rcripro f),crjrco K).qp(6q, o onoioq tfprloe touq eoprcopor5q lrs r4v ncpouoio'rou.

Merd tqv dvrcfrl tou Mvrqpe(ou o'rov rco.rd),oyo llcyrc6oprcq K),ripovoprdq rcp(0qrce cvoyrccio vo erc6o0ei dva enro.rqpovtrc6 porlfupc/o6r4y6s c6o're or enrorcdrrteq vc pnoporiv vc dlouv .rq 6uvc.r6.r1rc rqq orrlotrjq fevdyrqoqq rcor pe)dr;qtou ;rv4pre(ou.
EuXoprotoripra Oeppd rouq rrro rcd'rco nou eivar or poorrcoi ouweleo.rdq .rqq

oft6),oylq cuulq


Ap. Iardwq A. H).tti64 yro enip).er.fr1 trlg drc8oo1g.

Ap. Xopd),cpno



.rcov rcetpdvroir Kcu tr1 yevrrcr]


Xor(drcoy).ou )4c



petdgpcol tou O6rqyoJ.

H.alrrza Hendawi \xo

rIV erupd).sra qg

qry),rrcr]q perdqpcorlg.
Trou Koopor3v

Popdpto Awcor.rd8q \4o

lq ela(per4



Kup(c Borj),a Korcrcivou \4o r1y rcc)),r.reprrcri erupd),erc trlq 6rc6oor;q. I8tc(tepeg eulcprodeg ercgpd(oupe rrpoq rouq 6ilo 1opr1yoilq tqq drc8ooqg: Kupia

Mipc Aepdwq, ori(uyo tou

ce(pw1o.rou Krovotawivou Aepdwrl

llo),tuottrciq Ynq peo(e g'rou Ynou pysiou lI at8eioq Kqr flotrrno;rori

fta no)),oo'ri qopd

6r1),c6vouv ncpr6v rcct

ndwo'rs 0c .rouq euyvc,rpovoripte.

zwlE MotilPotTAtat
MNHMEION IlALAIXOPIOY Ilil.atxdtpr, NoipfEog 2008


ofCyprus, Mr Glafkos Klerides, who honored the celebrations with his presence.

After the inclusion of the monument to rhe List of the \(orld Heritage it
was found necessary to proceed to the publication of a scientific guide, in order to assist the visitors with an accurare and trusrworthy study to guide them while

visiting the monument.

\fle thank cordially the following persons, who contributed essentially to the
publication of this guide:

Dr. Ioannis A. Eliades for the texts and the general supervision of the edition Dr. Charalampos G. Chotzakoglou for the English translation of the guide
Hamza Hendawi for the English Editing

Dr. Roberto Antoniades for the excellent photographs of the edition

Mrs. Voula Kokkinou for the artistic editorial supervision

\7e owe special thanks to both donors of the publication:

Mrs. Mema Leventis, wife of the late Konstantinos Leventis Cultural Services of the Ministry of Education and Culture They are repeatedly present to our efforts and we will always thank them.
Association for the Protection the Monuments of Palaichori


PakichorL Nouember 2008


To opew6 Xopr6 llc),orXc6pr eup(orcetcr orrlv neproXrj llrtortrrdq, o'rc v6trc trlg enoplicq Aeurcr,loioq rcor yet'rvtd(et pe trq encpfeq Adpvarcag rcct Aepeoori. To llc),o1c6pr anoteleirar an6 6rjo rcorv6rlrsq, to llclcrryipr Opervriq Kqr ro flc),cr1c6pt M6pqou, nou qvlrcav ercrctrr1otao'nrcd pdlpr np6oqcro oqv Apltentorconrnl nepr<pdpero rcar cn6tov Iorjlto 2007 {yow ewclOei ou; prppono}.rtrni neprqdpetc Tcpcoori rccr Opetrlq. To llc),o1c6pr eivct pra an6 rq nc),crdq rcorv6trlteq t4q Kr5npou, q nd,m6reprl pveic tilq onoicq evtoni(etcr oe d1rypoqo npoYoF(ov rrlq Qpcyrcorcpctfcq. flp6rcetrct yra dyypcgo rou pooildc qg Kilnpou Epp(rcou A'Aou(twdv rot: 1237
oro ono(o cvogdperct 6tr ro yopt6 nopoXarpri04rce orov euyevr] Balian d'lbelin rccr oq oil(uy6 rou Echive de Montbdliard. Ot 'retreu'rcior erclipqocv pe tr1 oepd rouq ro qdou8o rou flolcrlop(ou oto Tdypc tov kDqwncbv. To flo),ot1ipr, cgor3 nepujtr0e rcar ndtrr oto ordppc qq KJnpou, nopcXopeftot ro 1455 cn6 'ro pcot),dc tqq Krlrrpou, Iodrvrl B', orqv Hdlbne de Grenier.

H nor6tlto trlg rdn4lq nopouod(ei rrrc6or1 rccrd u1v Touprcorcpctic (1570-f878),

4 rcoMneprrc1 nopoyr,ryl petc6vetot 6ntoq Kqt ortq un6trotneq neproldq qg Kilnpou

),6yo tqg pe'rcvdo'reuolq KqtrItrsxvcbv

Kor rcDy otrcovoprrcr6v 6uorco),tc6v,


pevo t8tafrepc dvrovo rcatd ttq npc6teg 8erccedeg t4q Touprcorcpcdoq. Or vdeg

yeono),ttrrcdg rcctcotdoetg oqv OOotpcvtrcr] ouroKporopLa, rcars to rd).oq

'rou 18ou crcSvs Kqr rcctd rr1 8tdprcetc tou 19ou qtc6va o64yoSv oe cvdrcapr].rr1 orrcovopfctou vr1oroil. Iro flc),arXcbpt 11
orrcovoprrcr] dv0rlori


qvtcvcrc),dtqt oro 6tdrcoopo 'rr,lv vccirv pe rotloypcgieq, goprltdq errc6veq rcor ur.pr1),d rrrt1puoopdvo tdprn),o. O ercrc).r1orco'nrc6g efontrtop6q cvarccwf(etct rco ot etrc6veq roopo$-


ps apyupdq enev8rioetq.

I8roitepa orlpcwrrcd eivct'rc prlpeia rrlg

encllotco'nniq rc),rlpovoprdq tou fld,qtlolp(ou, orpof tdooeprg cn6touq ndwe


Xorpr6 rccrd trq BevatorcpotLrr Q489I 57 0) qafu uor 6t lvarp(fer payd).r1 crcpri,

agod rc ntreiora Opr1orceutrcd rou lrvrldlouv cveyep0ei rcot rorloypcgrl0ai on6 o4powtrcorig rcctrtrrtd1veq trqq enop]g currjq, 6nog o (rDypdrpoqtou vaoJ
pre(c r 11c Meropropqrooer'lg.


lla),atxaq pgiorcnaz avriptoa


Aeuxania rcat rrJ Aepeod

situated between LeJkosia and Lemesos 18



The mountainous village of Palaichori is located in the region of Pitsilia, in the
southern part ofthe prefecture


not far away from the prefectures of

Larnaka and Lemesos. The village comprises rwo communities, namely Palai-

chori Oreines and Palaichori Morfou, which were until 2007 under the jurisdiction of the Archbishopric and now under the metropolitan Bishopric of
Tamassos and Oreines.

Palaichori, one of the oldest communities of Cyprus, is found in documents



oe roaoypagia o-ro ttad rult,4yid,nt

the Frankish period refening to privileges.

Attagyilpatu lla)'atxa.tpiou, I 6o9


More specifically, in a document of the king Henry I. Lusignan of Cyprus dated in 1237 is testified, that the village was

Donors in a wallpainting in the church of Hagioi

Anargtroi in Palaichori, 16th century.

granted to the noble Balian d'lbellin and to his wife, Echive de Montbdliard. This noble couple transferred the fief of Palaichori to the Order of the Knights of St. John. Palaichori, after it was again transferred to the crown of Cyprus, was granted by king John II. of Cyprus to
HdlAne de Grenier.

population, which led to the immigration of several local artists. The new political

conditions in the Ottoman Empire

since the end

ofthe 18th and through the

19th century contributed to a prosperous

era for the island. This situation was also mirrored in Palaichori through the
decoration of churches with frescoes, icons and high gilded icon-beams. The church
anifacts were renovated and the icons were

The majority of its religious monuments, which were founded and adorned with frescoes by important painters of that era, like the one ofthe Transfiguration Church, reveal its prosperity during the Venetian rule (t489-r570).

adorned with silver covers.

Ofspecial importance are the monurnents

of the religious heritage of Palaichori, since

four of the five churches of the village (Holy Vrgin Chrysopantanassa, Hagioi
Anarglnoi, Transfiguration (Hagia Sotera) and St. George were erected and painted during Venetian rule (1489-1571). The
artistic value and the variation of the icono-

The reduction of the quantity and the artistic production's weakening of the qualiry during specially the first decades of Ottoman rule (1570-1878) is connected with the attested poverty of the

graphic cycles depicted in the Transfig-









Xigrryg llatratxagiou Ogentlg. O wd9 n1g Muapopgr,,toeaE

rou farrygog


'.' {'

anurcoil(wat rdtdt



Map of Palaichori
Oreinis. The church
of the TransJiguration

ofthe Sauiour
is depicted

on tbe right hand side.

vcoJq rou Xoploil (llovoyfc Xpuoonovrdvo,ooo, Ayror Avdpyupot, Msropr6pgrrlon (Aytd },rrripo) KGr Ayroq fecSp\noq) KriorlKov Kord rilv Beverorpcrio (I 489 -l 57 I) Kor s(vcu rorloypcrprl prdvor. H rcotrtrtre1vtnj cfia, 6oo rcor 4 n),r1p6rlro rou stKovoypogrrcoil rcilrc).ou 'rrov rorxoypogtc6v rou vooJ qq Mercpropgc6oeorq rou }oljpoq ouwsldocve c6o're vo svroxeri o vs6g ro 2001 oroy Kcrdtroyo

To're).euto(c 1p6vrc, perd cn6 npr,ltopoutr(eg nou crvdn'rufe o lJv8eoproq ll pootooicq Mvq pe(r-ov lla).or1co p(ou cnorcq'rco'rd.0r1rccrv rotoprrcd pqpeic rcct
otK(rq nopo8oorcrc4q op1lrsKrovtKr]g rcct
660r1rce r6rc(repr1

dprqcorl o'rqv cto0qtt-

rcri enrpdtrero

rtov 6rlpr6orov yiparv. O

nc).r6q ypctprrc6g lcpomrjpoq rou


lcop(ou, nou 6rcqpri0qKs Kor cvc8eil0rl<e 'rq're),eu'rq.ia oe ouv6uoop6 pe rq



llcryrc6optoq llo),ruonrcijq r0,r1-

povopldq rqq OuvdoKo (UNESCO). O ndpntoq vc6q rou llc).oryopiou s(vot crprepopdvog orov Ayro Aourcd. llp6Krlrcn yro rcr(opcr veoyorOrrcoil puOpoil, rcu 1925, rrou ovrtKorrio'ri1os nc),qr6repo fu),6oreyo vc6 nou crveydpOrl rccrd

rou opropgrdq, tr6yc'r r1q rorro0eo(aq tou cpqr0eotprrcd oe 6ilo pouvontroyrdq rrlq rcor).d6oq rou no'rcpoU

Ieppdp rccrro 6pooep6 tou rctripa, e(vct n6),og d),fr1q vt6nrcov rcor fdvov rrrtoKrntc6v. To flc),or1c6pr 6ev e(vot ad'd dva
6propqo 'rouprotrrc6 0dpatpo nou npooqdperor yrc fercoilpcror1, c),).d rcor dva

ndoa nt0ov6trltc oulv nep(o6o rilq


rdwpo oro onoio ot entorcdrrreq pnopoilv vc cvctprifouv oro psoqtcDvtrc6 'rou ncps),06v Kol yG
6uvaprrc6 no),rnolrc6


uration's Church contributed hugely to the inclusion of the monumenr in the list of the tVorld's Cultural Heritage of LINESCO. The fifth church of Palaichori
is devoted to St. Luke. This building


neo-gothic architectural style was erected in 1925 replacing an older one with a characteristic wooden roof, which had been possibly built during the Venetian period.

In recent years, many historical buildings

and traditional mansions were restored thanks to initiatives of the Association for the Protection of the Monumenrs of Palaichori. In that way the respecr ro rhe

AtaVttryonrc( nltirca oro e{orcpzxd nu traol unev2uVi(u onug emoxy'treg du o wdg


g ry

o upn e E)"appduu at ont, rcatil,oy o lTayrd opmg II o Intmnrf 9 rc)r1 g ov o ptrig n7g Ou,iorco (UIVESCO).



outside of tlte churclt reninds

traditional architecture and the rehabilitation of public places in a most sensible way was achieved. The preserved
and recently promoted old picturesque character of Palaichori in conjunction with the good climate and the natural beauties of the village, located in two slopes of the
Serrhaches' river valley, attracr every year

to the uisitors that rhe church ls iitcluded in the

L|NESCO World Herirage Lisr.

manylocal and foreign visitors. Palaichori is not just a beautiful tourist resorr, o{Te-

ring relaxation, but also a rich cultural

center, where visitors c:m trace its

past and discover rhe mountainous traditional architecture of our homeland.

'ln o,{ l l I



:-': a t


1,-i;1; 6,f l,;




I<rropin O vo6q


History of the Monument -Architecture
The church of the Transfiguration of the Saviour, widely known as Hagia Sotera was built at the southern slope of the mountain, which rises on the east of Palaichori, where the monument of the "Cypri-

Appterrowrri rct


qq Metcpopgr6oeo4 tou Iotrjpoq, yvroo'r6q Kor oq Ayrd }ou]pc, eivct

rnopdvoq o'rr1 v6'rtc pouvontraytd rou 6pouq nou 6eon6(er oro oycrrotrrrcd tou llo),ot1op(ou, 6nou eup(orce'rot ro [rv1pe(o t1q Kr5nprcq pcvag.
O vc6q eivct pov6rc),troq ps op0oyc'l'tni
rvoolrorcilvet trqv 4 prrcurc],trcri crf(6c tou rcpor! otov opr(6wto ava'ro),trc6 toi1o. Ito ndlog tr,lv roilrlv'qS ilp60eoqq ilouv 6tovot10e( oro p6pero rcor rcdrorlrl

ot Mother" stands.
This single-nave church presents a rectangular ground plan after its semi-circular apse is incorporated in the horizontal eastern wall of the holy bema. In the thickness of the Prothesis-walls, to niches were opened in order to serve the liturgical needs of the church.

o'rc cvsro),trcd rc6y1eg \no rtq tretroupl'trcdq aviyrceqtou vco$.

O vo6q qtpzt pta t8tcitepc entrctrtvri 8ippuul fr3),rvr1 ordynl. O tp6noq cut6g otdycoqq pov6rlt'rov, 6(rc).ttr,rv r] rpirc),ttrov ful6oteyrov pcoil.rrcr6v entrcewpr6ve'rcr rcupir'rg o'rtq opervdg neproldq rou Tpo66ouq rcct cvan'ni101rce rj6r1 qn6 ro 15o crdvq p{yptrcu to 19o arc6vo. Ot ),6yor nou ouvd'rgrvov otrlv enttroyrj tou 'njnou outoil ruotet1etor nalq eivat or K),1pcto),oyrcdq ouvOrirceq, rq dqOovr; fu),e(o rcc0c6q en(oqs r4 itrIerrfr4 poorrcr6v 6oprrcciv utrrrcr6v, 6ncog o cop6otr;q. Bcotrc6

The church bears a strong sloping wooden roof. This method of roofing the single-

double or three-naye wooden basilicas is concentrated in the mountainous regions of Troodos and was developed from the 15th up to the 19th century. The climatological conditions, the abundance of wood from the forest in conjunction with

the shortage of some basic building materials, such


lime, led to the preference


of of

that construction method,

far as the


is concerned. The main characteristic

XopcKrqprcnrc6touttinou au'rorj e(vo,r 11 6tn).rl (endtrtrr1trq) 6(pputrl otdyr;. H eooteprrcr] o'rdy4 anote),e(tct o.n6 eoroteprrcdq rcer<Irpiveq 8orcorJq, tono0eqpdveq avd ptrcpd 6tcori1*o, 'ra rcevd rov onoicov'ra rca),ilntouv ocv(6eq. H efcoteptrcri miy4, nou cnota)eitct qn6 rceKlrpdveq 8orcorig, <ptpu oyruotpoltd, rrrpoyr'rvtop6vc rcepcp(8tc. H mdyl oqv nep(22

that type is the double saddle-back roof. The internal roof is composed by inner sloping beams, placed near to each other, while plain boards are covering the spaces in-between. The external roof is
also consisted by sloping beams covered

by hooked and rectangular tiles. In the


of the Transfiguration church the roof

is not covering only the main church,


TTrool'l rou voolj rrlq MsroFopgc6os(l)q

atr)d npoerre(verot rrpoq'ra avcto),trcd yro vc rco),r5{a trlv crf(6c Kot npoqta 8unrcd rcst v6rta ytrr vc rcchirlet to yoppot6rcupirog va6,

6ev rcatrrjnter p6vo'rov

is extended also to the east, in order to protect the apse and also to the west and the south for covering the angle-shaped

The masonry of the church is made of simple local stones ofvarious colors and shapes

o14Fo npootc6o.

H torlo6op(ctou vaoil oro'rstre(tat


cn6 cpyotrrOo8opr] rcot trcionrl c,lq ouv6erov{cpc. Xprlotponotorjwattomrcoi

triOot, orcav6l'tmou ouvr]0cog

connected with mortar. The type of the single-leaved door along with a rectangu-

lar window, inscribed in the triangular

pediment, created by the beams ofthe roof,

'Oncoq Kcu orouq neptoo6'repouq futr6-

found at the western and eastern fagade

orsyouq vcoriq rlq Krinpou, crcotrouOei'rot o'n5noq tqq pov6qu),).Iq 0dpaq pe 're'rpdyrovo nopd0upo eyyeypcppdvo oro rpryrovtrc6 cdtropc, nou op(fouv ot 8orcoi t4q otiyqq ot4 8uurcrj Kot ovorohrcrj 6rfr1'rou vaoil rco w6q porcp6o'revou op0oyc6vtou ncpc0r3pou otr;v crf i6o. O va6g, erct6q cn6 touq ptrcporiq opOoyc6vrouq geyy(teg oto aetc6pcta 8u'nrcd rcor cva'rotrtrcd, gc'lt((erot Kctt an6 ro otev6 pov6).opo ncpd0upo rlq ot[(6cq. p6pero rcct v6tto to(1o rcov'rd oto errcovootdoto dlouv 6tcvot10e( owrKpuotd tug)d crft8rirpatc, 6nolg ouvq0((eto oe vootig ttlq Bwetorcpc'ricq ()..1. mouq vcorlq tou Ttpiou ltcupori o'rov Aytoopd'n rcct otlv Kuneporivtc) rcct 6r;pt-

ofthe most Cypriot churcheswith awooden roof, anarrow, verticalwindowis opened

Tl"oWh these *reewindows enters the light into the church.

on the apse-wall.

On the north and south wall near t]le imnbeam blind niches have been opened,

usually found in churches of the Venet-

ian period (e.g. Holy Cross-church in Hagiasmates and in Kyperounta), creating a cross-shaped ground plan, ifone considers the niches as compact horizontal
parts of the cross.


Apart from the central entrance at the western side ofthe church, a second entrance
is opened at the

southern wall. At the west-

ern and the southern sides of the portico there are similar doors respectively. Two

oupyoriv Fto urrorurlci6nl otcuptrcr] rcdrorfq, cgorJtc orft66;rctc pnoporiv

vo ertrrqg0o$v arq ouventuypdveq rcepc{rq rou otcupor3.

additional windows are also opened on both sides of the southern door of the portico.

According to a fragmentary preserved

inscription at the lintel over the main western entrance ofthe church, the frescoes on the western external wall were painted in

t1v rcevrptrcrj e{oo6o o'c4 6urtrcti 6ftl tou vco$, 8tcvo(yetct 0rlpc otrl v6'nc ntreupdtou vaoil. AvriototXq OrJpo undpler Kot orrl v6tto ntreupd tou npoErct6g an6

16i2, while the portico, which was built

later and protects them, bears the year of 1655 inscribed on an inserted over the

eniolq Kat orrl 8uttrcrj. To npootc6o qot((etct eniorlg ;re 6rio

otc6ou, rco0r6q

nopdeupo, ro ofioio rup(oKowor tKcrr.tpro0ev tr;q v6tng 0ripcg tou npoo'rriou.

Ir5pgr'lva Fr orroorrco partrca oal(6pernr1 enrypcqrj oto undpOupo qq rcevtprrcr]q sto66ou'rou voorj, oto 6u'nrc6'ro(Xo, or totloypcgieq o'r4v efoteprrcrj n),eupd tou
to(1ou dlouv ercte),rclt(ro 1612, evc6'ro npoo'rc6o, nou rrio0qrce cpy6ra6utrrcor3

rrpooro,reriar gdpa Xpovotroyo 1555 yo,payp6v4 oe ),iOo ndv<,r an6'qv 8uttnj e(oo6o'rou npoo'rc6ou. O p6petoq po Kot


westetn entrance of the portico stone. The north wall of the portico was built northern that the north wall of the main church, so that its internal side touches the external side of the north wall of the main church. The frescoes, which since their painting stayed unprotected, were slightly damaged; thanla to the portico, built four decades later, they were well
preserved. A second inscription with a cross in the middle and a pigeon on each side bears the year I874, refercing to renovation worla. The ponico was re-built in 1964 on its old frnd"-.ntr.
Frescoes of tbe

to(1og'rou npoo'rriou e(vor rnopivoq popet6tepc an6'rov awioror1o to(Io tou

rcup(a4 vcori, c6o're q eoroteprrcr] 'rou n),eu-

pd vc erpdmsrcr rnq eforreprrciq ntreupdq

tou popeiou ro(Xoutou vqoil. Xdptq oto npoo'rciro nou rr(otqrce rdooeprq 6ercoet(eg cpy6repo 6Xouv npootcteu0ei Kot ot totloypcg(eq, or ono(eg rropouotd(ouv g0opig cn6 q nepio8o nou rjtcv crcd),un'reg. Mto 8eJreprl enrypogrj pe otcup6 oto rcdvtpo rcar 6rjo cvtivtDtq neprotdprc nou gdper ypovo)'oy{a 1874 cvcgdpetcr oe epycoiaq cvarccil'roqq. To npomc6o fcvorcr(mqrc t. ro l964ndvr'l ma na),ctd 0epd),rc.

Vmetian rule

Imponant historical facts marked the 15th
as a

the end of an era and the begin-

ning of

new period. The Council of Fer-

rara-Florence held

in 1439

for the


of the Churches led to an improyement on the way of living for the Greek clergy; during that period a greater religious
freedom for the Greeks was attained. A considerable number ofthe refugees, who
abandonqd Constantinople after its fall in

ucoypag ie g rry g B ever org adag

15oq crcbvcg oq;rc8erleto cn6 peyd),c roroptrcd yeyov6rcr rrou oripcto8otoriv

ro rdlog

moyyKar r1v crropm urloig dMlq. H }3vo6oq t1q Qeppdpag-@).opewicq rov 7439 yrc rIV'E voo4 'rorv

1453, settled down in Cyprus thanks to the assistance of the Blzantine queen of the island, Helene Palaiologina. After the death ofKingJacob II. Lusrgnan of Cyprus in I474, his wife, Aikaterine Cornaro,
adopted by the Venetian Republic, took power in Cyprus. In7489, Cyp* became

Ercrc),4orc6v o8qyei os pro pe).t(roo4 t<,lv ouvOrq rcc6v

6tcp(ooq q tou e),).qvrrcori

rc),ripou Kor


peyo],ritepr; dveoq o'rr1v

'rcov ntotc6v.

dorcr;oq rrrlv 0pr1orceu'nrcc6v rca0qrc6vtrov H 'rt),c'loq t4q Kcovo.rcwr24

officially part of the Serenissima. The art of Cyprus came to a closer contact with the \flest, was gradually enriched with western elements and shaped its postbyzantine profile with two basic sryles,


rc 1453 o8rlysi orlv rrpooqu-

differentiated by each other on how much

they could absorb the western iconographic

1r)d6eq Korvotcwrvouno),(teg, cpreroi cn6'roug ono(oug eyrcc0(otcvror orl1y Kilnpo petl pori0enqq pu(cvmTq 0oor),toocq qq Krinpou, E),dvr1g llotrcuo),oyvag. To 1474nt\sfter o poor),rdq Idrccopog B' Aou(nrdv rcarro o'rdppc'n1g Kinpou

influences: the first preserves its Blzantine

characteristics with few western icono-


graphic and stylistic influences, while the second has more obvious western influences in its sryle (Cypro,Renaissance

Atrco.repir.r1 Arlprorcpo-

Kopvdpo, utoOer4pdq an6

rfa rrlq Bevericq. To 1489 11 Kinpoq 1-6,erct rcar emorlpc n)dov.rprjpro qq fd'r1vordqg. H rdpl rrlg Kdnpou dpT,ercn oe otsv6tspq enc<pr1 pe q Arioil, epn)'oud(ercr otrodvc rccr neproo6rspo iis 8urrcd o'rotXe(o rccr 8tapoprpc6vet'ro petcpu(c-

The church of the Transfiguration of the Saviour in Palaichori belongs to the

Brzantine sn le and ofrers one of the most complered iconographic ocles. s'hich were

in Cr-prus since the Yenetian


period (Fig.



O tadg mpouotd(tt htau and T oug n)*1plnegoug etrcovoygagtrui rciil,oag





( I 189- I 57 1).

Fig. 1. The church presents one of the rnost completed iconographical ofC1,prus (1459-1571). 25

of the Venetian Rule

vrrv6 rlq np6oorro, pe 6rio pcotrcd peripcro nou 8ngoponotorSr,tcr petcfri toug oro rroooor6 ouyl6veuor;g'rolv 6u'nrcc6v em6pdoe<ov: dvc pu(cwrvorpono W hyootdg 8uurcdq enr8pdoerq rcat dvc mo 6u'rtrc6'rpono, pe dwoveq ttchrcdq enr8pdoetg orly u1votponrnj on66oo1 (rcunpo-

a. The holy Berna

The Holy Bema preserves iconographic scenes belonging to the Eucharistic
cycle, while the frescoes in the main church are divided in two horizontal zones, where

in the upper part are depicted scenes of

the Christological cycle and on the lower

0v0ys\ qorcrct'1 talvotpon(o).

O vc6q t4q Mercpopgrioe<oq tou
poq llc),or1cilpr, nou avr]rcfl

standing saints.


ot4 pu(o-

r,trvrj talvotpon(c, nopouord{a dvov an6

toug nfulpdmepouq flKovoypcgtrcd nirdouq



otqv Krinpo (em. 1).

(a) Ieg6 To Iep6 rcotolcppdvouv Odpctotou su1optorrlptcrcoil rcUrctrou, evr6'ro eoc'l'reptrc6 tou vco$ yop(lxu oe 6tjo opt(6vtteq Iriveg, 6nou qnetrcovt(ovtot ndvco rcupir,lq o 1ptototroytrc6g rcrirctroq rcct rcd'rr,l pepovcopdvot Aytor.

In the half-barel vault of the apse the composition of the HolyVirgin of theAngels on green scenery with a dark-blue slcy is depicted. The Holy Virgin is standing between the kneeling fuchangels Gabriel and Michael without holding the Christ Child and raises her hands in a praying
gesture. She is wearin



tunic and

brown maphorion, adornedwith the stars

of the maidenhood at the point of the shoulders and of the head (fig. 2). A similar iconographic depiction as far as the garments and the gesture of the HolyVirgin concerned can be found in the Hagios Mamas church in Louvaras, as well as in the church of St. Nicholas in Galataria, Pafos. The archangels Michael on the right
and Gabriel on the left ofMary are dressed

Ito re'rcp'roo<po(pto tqq olfi8aq orlttKov(luu oe npdowo d8cgog rcct pcOuyd),cvo oupav6, 11 oriv0eorl tqg @eot6rcou roq Kup(oq trov Ayryd),ov. H @eot6rcoq etrcovifetot 6'lp(q to Bpdgoq, o).6oorpq, 6p0tc pe tc ldpn ur.[opwc oe mdorq 6dqorqq cvdpeoc otouq oep((ovteq Aplcyyd),ouq

wirh imperial garments (sakkos (dalmatic), loros and golden shoes) and are
depicted dark blond, curly binded haired,



fcppui),. @ope( yrcpi(o

rcomav6 pcq6ptovnou rcoope(rcu oro r3r.poq tcov c6pclv rcct oto rceqd).t pe'rc cmdpn tqq nop0ev(cq (sm. 2). AvdXurcbvc rcct

falling on their shoulders in hair-locks. They raise their left hand in a praying gesture towards the HolyVirgin, while they
a censer

ororxl errcovoypcgio cog npoq'rr1v cn66oo11 tov ev6upd'rr'lv Kot r1l otdrol trlq
@eot6rcou ncpouotd(erot oro va6 rou

with their right hands. The

outer side of theirwings is colored and the

inner is dark brown.

The lobed window in the apse divides the lower zone in two parts, where the Communion of the Apostles (Metadosis-Delivery and Metalepsis-Reception) is placed

Mripcwoq o'rovAoupcpd rcat oto va6 rou Ay(ou Ntrco),<iou ot4 fc),ctcptd mrlv lldqo. Or ApXdyye),ot Mtlcr]),, orc 6efrd tqq @eo'r6rcou, rcct fcpptrj),, otc

Etrc. 2.

@eoilrcog Kugia mtu AyyiTan, rozxoygagia oro rraerlo(paiEo rryg atltifag. the Lady of the


2. Virgin Maty a:

Angell wall painting in the half banel uaub of the apsis.


rlq, rcc),oKreltopivot

pe Kcoro-

(fig. 3).The composition of Palaichori

follows the iconographical tipe ofthe Holy

v6fcv0c, oyoupd po),Itd, nou 8dvovtot rrrpr).6q Kor Koro).{youy oupprrprKd orouq 6pouq rouq oe n).efi6eq, gopoJy
cruroKpcrro ptrcd

Virgin Podythou in Galata with the

double presentation of Christ. On the left side under the inscription "AABETE OAfFTF." ('Trk , eaC') (Mt. 26,26) isJaus




(odrcrco, ),c6po rccr lpuod nd6il,a). Me'ro oprorsp6 touq 16pr rrportroypdvo npoq



Fdpoq rqq @eot6rcou, ot XopoKrlpt-

otdor'1 6d4o4q,

tq 0u;ncti(ouv


ro 6ef{ toug lipr dlovtcg cvorltdq'ng

rccotov6lpopsq soortptrcd rcqt notrrjXpoprq efoltsptrcd gtepor5yeq touq.

depicted, followed by the angels-deacons and placedunder the ciborium, rdro administers the holy bread from the dish, laid on
the holy altar, to the group of the twelve aposdes, which St. Peter leads. Andrew andJudas are the only disciples among the twelve, who can be distinguished; the first
one covers his hands and the second splits 27



rcdro (cilvrq,

nou y,lp((etat oe

6rjo ioq prdprl cn6 pov6),opo ncpd0upo

Enc. 3.

Koutantia ratt

Aroord),o! orry

r17,nrci),ntdpo *Jg arltiilag.

Fig. j.

The Communion ofthe Apostles in the of the apsis.

roroeroJwor I Korvrov(a rccr q Metd),qrfrlrrovAnoor6trov (err. 3). H orjv0eorl rou flc),ctlopiou orco),ou0e('rov aKoyoypogrK6 nino nqq llcvcl'(aq t4q floSrjOou orrl fa),dta pe tr; 6rn),r; cnerrc5vrorl tou Xprotor5. Ito aptotepd o Xpror6q crcolouOorlpevoq an6 touq c1ryd),oug6tcrc6vouq, nou pp(orcov'ror pdoo rcrpcipro, petc6{6errov dpto on6 8rorcdpto,'rono0e'rr;pdvo ndvo orlv c1'rc Tpdre(o, otouq 6r66erco pc0rpdg tou pe npc6ro rov ll6rpo, trdyowcg, oilpgrovo lrs rrlv errypcq{ "AABETE QAIETE". An6 roug
pc04tdq felorpl(ouv o An6oro),og Av6pdoq, o ofio(og eivcr o p6voq pz ra, $.pn
rcctruppdvc, rccr o Iori6oq, nou cnolorps( rm5owo,qtov dpto oro ldpt rou.

Itc 6efrd



cyic rpantla,, ro

rctpc6pro, or dyye),or-5rd,rcovor rcor rq

tou Xprmof vo peta),cppdver rouq Anoo"r6iouq pe oivo cn6 cpgopdc trdyowoq


the holy bread into his hand. At the right side the holy altar, the ciborium, rhe angels-deacons and the image of Christ are repeated; Jesus administers the wine through a jar to the disciples by saying "fiIETE EE AYTOY ILANTEI" (Drink from it all of you) (Mt.26,27).Inthat scene, due to Judas' departure, are painted only eleven disciples. First on the row is John, followed by Peter; Paul is nor ar all depicted. The depiction ofboth episodes of the Communion of the Apostles separately, Metadosis (Delivery) and Metalepsis (Reception), the presenration ofall aposdes together in every scene, and not divided into groups ofsix, as well as the absence ofJudas, can be also found in the Asinou church; rhese rare iconographic elemenrs appear also in the St. Nicolas church in Galataria, pointing to an aftist of the same cvcle.





Ofspecial interest is the effon of the painter

F smypoq{ nrivor on6'ro pov6),opo ncp<i-


orcqvri ouuj

qq Metd,4rfqq

etrcov((ovtat 6v6erca pa04tdq, cgoil o IorS8cq dler ri64 cnolopr]oer. llporton6oto).oq errcov{(e'rct o Iodwr;q rcar 6erjte-

lldtpoq. O An6oto),og llcil).oq 6ev etrcol't(etat rcq06),ou. H lcopmtrl cnarrc6\torl rov 6rjo snetoo8irov tnlg Kotvr,lwcg rrov Anom6).ov,'nlq Metd,nplnq KGr rqq Metd8oorlg pe 6),ouq toug Anoot6),ouq rccr 6p ava ilt, rcc0riq en(oqq 4 cno1c6plol rou Iorj6a, 6noq )..1. otry llcvcyrc tqq Ao(vou, cnotetroilv ondvta lKovopoq o

to use the perspective of the one central point, while depicting the internal of the building, where Jesus, the angels and the disciples are standing. The composition of the space, as well as the use of the perspective, is connected to the so-called "first
renaissance" of Masaccio and Beato Angeli-

co in Italian Tuscan andwas appliedwith great success to many italobyzantine paint-

ed churches on Cyprus. The decoration of buildings with floral modves ending in three roots reminds similar iconographical details found in buildings

ofthe Cypro-

ypcqrrc6 orotyx(a, 'rq onoia nopouord(o-

Renaissance sryle, as

in the Holy Virgin

wcu Kot otqv cv'rimor1rlrot1oypog(o mo

vc6 rou Aytou Nrrco),dou o'rri lc),ctoprd o'rry fldgo, rcct 0q pnoporioe vo cno6oOsf oe ratrtrtrdlvq rou nepryripou tou.
Ev8tcgdpov nopouord(et 4 npoond0erc rou rcqtrtrr'rd1vrl vo stocydyer rIV npoon'nrcrj tou ev6q rcev'rptrcori o4peiou

Podphou in Galata, in the "Latin Chappel" in Kalopanagiotes, as well as in the

churches of Hagiasmate and Louvaras, painted by the more conservative painter Philip Goul in
I 49

5 and I49 6 respectiyely.


these elements reveal a painter, who


is observing and is informed on the new style applied in the same period in other

cnetrc6vtoq rou soortptrcori lcbpou tou rr4p(ou, oto ono(o eupiorcov'rct o Xptm6q, ot cyyd),ot rcat otAn6oro),or H opy<i-

vr,lorl rou lcilpou, rcc0c6q rccr q 1pr]or; rlq npoofiurc(g, ouv8deror pr q ),ey6pewl "npritl Avcydwrlorq" tou Masaccio
Kot rou Beato Angelico o'r4v Toorcdwl

mural decorations. Other painters of that period imitate our master, as the painter of the holy altar in the Holy Cross church in Askas, who is depicting the same

composition according to the CyproRenaissance style, although slightly naive.


Iro).(cq rco eqcpp6(eto




The holy altar with the holy gifts




enrrulio or


ed in the lower zone of the apse (fig. 4).

rot1oypoqlpdva orivo).o tn1 g Krinpou. H 8tcrc6oprqo4, err(o4q'rrrlv rrrqp(cov pe gutrrcoriq rc),d6ouq ps rprtq cno),riferg
0upi(et cvt(o'rotXeq oe rctr]prc Kunpoovcyewlorcrcr]q rrxvorporr(cq, 6nr,lq otqv

On the left side of the holy altar is placed the holy dish and on the right side the Eucharistic jar. The depiction of using wine and bread instead of Hostia during
the Holy Mass was specially underlined

llcvcy(c qq llo6ri0ou otr; lctrdrc


duringLatin rule (1192-157I) in Clprus,


Etrc. 4. Eu)J"enoupyor)weg Iegdgxeg erca#pdt1eu u1g ayiag Tgdne(ag.

Fig. 4.Celebrating hierarchs around the Holy Ahar.

oro AolwK6 flcpercd,rioro orov Ka),o-

during the struggle of the Onhodox 4pinst

rrovoyr6rn, rcc06q, rrr(orlg, Kar sKr(vsq rou mo ouvrqplrrKorj (D0lrmou fou), mov Ayrcop<iu1 Ko,r oro Aoupopd rov 1495 rcilI496 cvrimorlo.'Otrc autd eivar motleic nou qavepdvouv 6tr o rcolJ,rtdlvr;g ncpcrcotrou0ei rcat e(vct evr]pepoq yro rtq Kotvoropleq nou rgqpp6(ovror rrlv nsp(o6o ourli or dtr),c totloypcglpdvc orjvotro. Tov rcdr),tripn1 pcq cwrypdqouv d)J,or (coypdqor rlq enolr]g tou, 6nrog s(vct o (rrlyprigoqtou repoU tou Ttp{ou llpo6p6pou orov Aorcci, o ono(og cno6(6sr ro 0ipc otqv rcunpocvcyewlonrr] 'relvorponic, cMd rcdnorq ),circ6tponc.

the proselytism efforts of the RomanCatholic Church. The holy altar

is covered


luxurious red cover and a white line

cover, used only during the Liturgy.


the holy altar are depicted six holy Fathers,

three in each side, celebrating the Mass, wearing archbishop' s vestments (sticharion (tunic with sleeves) with vertical lines,

epitrachelion (stole), pair of maniples, sakkos (dalmatic) and omophorion (pallium) with embroided crosses) and holding inscribed scrolls with liturgical texts from the LiturgyofSt. John Chrysostomos.



fcbvl tr;q o{(6cq cnerrovi30

On the left of the holy altar St. Antypas,

{erct oro rcdwpo qq alf(6cq cy(c Tpdne(a pe ra T(prtc Ac6po (errc. 4). Iqv aproreprj ntreup

bishop of Pergamon (fig. 5) is depicted


cyLr.g Tpdne(crq e(vcr

with inscribed scroll writing: "K\?IE O OEOC HMON COCON TONAAON

ronoOeqpwo dyo 8torcdpto rcar mc 6efrd

ruxcptortcK6q cpgopdcg.


KAHPONOMTAN COY. TO.." (Lord, our God, save your people and bless your heritage), St. Epiphanios, bishop of Constantia in Cyprus: "<K\?IE O OEOI HI{ON OY TO KPA>/TOC A <NEIKbCTON K<AI H>/ AOEAA<KATA>,\HIITOC OY/ TO EAEOCAME. TPHTON K\I H @LI{OPO[IA" (Oh


rlq Xp4olq'rou 6p rrlg 6o'rtcg

o(vou Kot rou dp'rou rcor

t4 @e(o Eulopror(ctov(ot1rce r8taitepc ro'rd rq Aorrcctd

vorcpct(o (1192-157

I) otqv Kilrpo, o'rov

oyrirvc t49 Op0o6of(oq rcctd t4q npoorl-

).wrotrcjq 6pcmr1pt6rr1'roq'rcov Aorivcor'.

;re no),ure),dg epu0p6 rcd),up;rc rcst ),eurc6 trrv6

H tpdne(a e(vot orcencopdvrl

trlv rdtreoq r4q @e(cq Eulcprodcq. 'Efr llctdpeq trlg Ercd,4o(ag, an6 rprtq os rd0e n),eupd, tepoupyoriv yripo on6 qv cy(c Tpdne(c, gopc6wcg cpltepctrrcd dpgro (orrldprc pre "no'ropoJq", rnr-

rcd),uppo, rrou Xp1orponorcitct p6vo rcctd


empcl'rrctc, odrcrcouq Kcrt orcru-

Lord, our God, u.hose power is undefeatable and his glon' incomprehensible and his mercy immeasurable and his philanthropl...) and St. John Chrysostomos, patriarch of Constantinople (fig.7) holding a scroll with the following text: "O OEOC HMON.. AOEC .. nAN..KO..TO.. HMON. AN rH [CO\l\T]


rcot rcpctc6vtaq

CIOTH]PA K<AI>.." (Our Lord

ovcn'ruypdvo er),qtd pa ),ertoupyrrcdq


who sent us Jesus the Savior). On the right side ofthe holyaltar St. Basil (fig.

8) is depicted, whose text in the scroll is

not any more preserved. Next to him is standing St. Gregory the Theologian from Nazianz (fig. 9) holding a scroll citing a part of the Liturgy of Chrysostomos: "O @[EO]C O Afr[OC]/ O EN AfrOrC/ AN AIIAYO/MENOC/ O TPICAIIA/


ANY/MNOYMEN/OC K<bt Y[nO...]" (Our holy Lord, resting in the holiest and praised by the holiest voice by Seraphs) and follows St. Aberkios, bishop of Hierapolis in Phrygia (fig. 10), displaying

Etx. 5. O dyngAwdxag, exiorcoxog [IeqyriVou.

Fig, 5. Saint An4,pas, bishop of Pergamos.

Em. 6, O riytog Entgtitttog, eniorconog Kaora.triag Kinpou. Fig. 6. Saint Epiphaniul bishop of Constantia of Cl,prul

En. 7. O dytog latitltryg o Xguodmopog,

n ary ilgxry g

KaIt mawu,ound)"e 0g.

Fig. 7. Saint John Chrsostom, patriarch

of Constantinople.

rI Aerroupy(c rou o\4ou Iodwou rou Xpuooot6pou. Itc cpto.repd qS cycg Tpdne(og onerrcow(owo o dyoq Awrincq, en(orconoq llepydpou (etrc. 5) nou rcpard er),qt6 ps rrlv enrypcrgrj ..KYPIE O @EOC HMON COCON TON AAON COY KAI EYAO|HCON THN KAHPONOMIAN COY. TO..", o dyoq Enrqdvrog, en(oronog Kr,lorovtiaq Kilnpou (etrc. 6) pe to rceipevo ..<KYPIE, O @EOI HMON OY TO KP$ITOC A<NEIKbCTON K<AI H >/ AOEA A<KATA>AHNTOC OY/ TO

with fie text "KIYPIIE O @[EO]C M[OY]/ O ENWH/AOrC KATOyKON

a scroll

KAI TA/nErNA E/AOPON/ O [ArA THNI CIOTH]PyAN Tf) fEA{Er TON/ AN [@POn] ON EEA|TO CTETAAC TOIN MONO|ENH COYYTON KAr OEON HMC)N].." .." (The Lord, who is living at the highest and inspects over the humble, who sent his one and only
Son for the salvation of the human race


which is also coming from the Liturgy of St. John Chrysostomos (Great Entry). St.
Basil and John Chrysosromos are always

EAIOCAMETPHTON KAI H @IAA, OPO|IIA", Kor o dyroq Iodwrig o Xpuo6o'ropoq, nctprdpplq Kovo'rcv'nvoun6),eorg (etrc.7), nou rcpc' er),r1r6

depicted next to the holy akar

posers of the



Holy Liturgy accompanied

by St. Gregory the Theologian, the third

ro o16).ouOo en(ypcppo "O @EOC HMON.. AOEC .. IIAN..KO..TO..

HMON..AN IH ICOYN] X<PICTO>N EEAIOCTEI AC CIOTH]PA K<AI>..". Iro 6efrd l1g cy(og Tpdne(cg crerKov((trat o dytoq Boofietoq (errc. 8), tou ono(ou r1 enrypcqrj oro ertrr1'r6 tou dlar n),rjprDq Koro,orpog(. Ain),a rou qnarcov([erct o dytoq fprly6proq o @so].6yoq, o Ncv(rav(qv6g (errc. 9), pe rrlv enrypcqri

member of the Three Hierarchs, who are the most well known holy fathers in the Orthodox world, prorecrors of the
Letters and honored bv a common feast
since 1028.

On the top of the eastern pediment,

above the apse, the Annunciation of the

Holy Virgin (fig. 11) was painted, The depiction of the Annunciation in the
pediment can be also found at the church


8. O dyng Baoil.erog,

Fig. 8. Saint Basil.

Em. 9. O dyrog fgqydgrog o @eil'dyog, o NatQat(rytdg.

Fig. 9. Saint Gregory the Theologian,
the Nanziazenus.


rrr.r rri.rtro "O O[EO]C O AfllOCl/ O E\ .\|IOIC/ AN ANAYO/MENOC/

O TPICA|IA/ OONH Y/[O TON CEPA/OIM ANY/MNOYMEN/OC K<$l YI|IO...]", nou npodpla'rat qn6
n1 ),erroupyo'rou Xpuooot6pou (e(oo6oq

euc1rye),fou) rccr o dyroq Apdpruog, en(oKorroq Iepdno),r1q Qpqnoq (etrc. 10), nou


to en(ypoppc "K[YPI]E O olEolc MtoYl/ o EN YrrrH/Aorc






TOIN MONOfENH COYUON KA] OEON HMON].." ..", en(or;q cn6 q

),ertoupyc rou Xpuooot6prou (erctevr] rccr Meyd).r1 E(oo6o). Ot dyrot Bco0.etoq rcct
Iardwn;q o Xpuo6o'ropoq cnetrcow(owat

ndvtots 6in),q ot4v ayio Tpdne(c


or oulTpogr(q trov rcsrpdvrov qq @eioq Aerroupy(cg rcqt ouvo8edov'rct ndvtots

En. 10. O riytoEAplgruog.

Fig. 10. Saint Aberciul

an6'rov dyto fprly6pro to @eotr6yo, ro tpito p6).oq torv Tprc6v lepcplc6v, nou e(vst ot rcot'efo1r]v flcrdpeq rrlq Op066ofuq Ercrc),qoicg rcat npoordrrq rcDV ypcprpdrorv rcat'uporiwct pe rcorvri eoprr]
nou 0eoniotqrce

of St. Christine and of the Holy Cross in




in the church of Dormi-



tion in Kourdale etc. The composition of the Annunciation in Palaichori reveals

many similarities with the one painted by


rcopugr] 'rou crcto),rrcoJ o,etr6patoq,

ndvo sn6 rriv arf(6c cnetrcov((atat o Euoyyehop6q tr1q @eot6rcou (etrc. 11). Trl

Philip Goul in St. Mamas in Louvaras, where the Holy Virgin is depicted seated, receiving the message of the angel. Four prophets were depicted on both sides

yai,pilu vorqtd op0oyc6nog qs\ry(-

rnq. H cnetrc6r'to4 rou Euolyetrtopoil mo

odrcopc cnerrcovr(etcr en(orqg rcct o'ro yc6

of the half barrel vault and the composi-


AYtoq Xpto'rivaq Kot rou T4r(ou


poi, orov AoKd, o'ro vc6 trlq Korpt'loeorg

H errcor-oypcqia tou Euclryetrropori oto flatrar7.opr nopouord(er no),),dg opor6trlteg pe

n1g Oeor6rcou

oro Korip6d.4


tion wi-th the Communion of the Apostles, all of them holding scrolls with texts referring to the HolyVirgin. On the upper
nonhern side the text ofthe prophet David

(fig.1,2) cites "ANACTH@H/ KIYPIIE


Ezrc. I


O Euayye)aopdg n1g @eoilrcou

nrltt rcogug( roa attan)"trcod ae'tofta.tlg.

Fig. 1 1. The Annunciation of the Virgin on the top of the eastern ped.iment.

sKivl tou Qr),(nnou foutr orov Ayro Mdpcwc oro Aoupcpd, 6nou 11 @eor6Koq onflKow(etcr rcc0rjpew1 vc ),cppdver oor{pro p4vupo an6 tov Ayye),o.
Erccr6po0ev rou rsroproogctpiou tqg
Fs rrlv Kotvrovro 'rr,lv Anoo'r6trrov anstrcov((ovtcrrdooe-

crl(6cq Kor rlq


cvagipovror pe rce(pevo nou cvcypdqovror otc er).4r<i rouq orrl @eot6rco. Iq p6petc n),eupd endvr'r o npogr]t4q AcuiS (errc. 12) avaypdger oto erlrlt6 tou "ANACTHOH/ KtYPrlE XPn CFEI THN AA{A|rAYCrN/ coYCYKYlPrEl/ H KTBOTOCi TOY AIIACMATOC COY' rcqt rcdro o npoperq npogriteg, ot onoiot

xtPl ctTEl THN AJNAIAYCTN/ COY cY KYIPrE]/ H KTBOTOC/ TOY AIIACMATOC COY' (Rise up, O [,ord, from your rest, you are the ark ofyour Holiness), while the text of Prophet Esaias (fig. 13) states "OI IIPOBA/TON EnI CO/AIHI (sic)" (like a sheep hewas led to a slaughter). In the southern
upper side Prophet Salomon (fig. 14) holds
a scroll

writing "flOAAL/ OITATE/PE


women have done excellend,v,


surpass them all), while in the lower part

ProphetJeremiah (fig. 15) says'OAON

Erx. I 2, O npogt1t 4g


Fig. 12. The prophet Dauid.

gijr4q Hooroq (ew. 13) "OI endvo


IIPOBI/TON Enl CO/AIHI (sic)". It4 v6rc n),eupd

npogrinlg lo),opcbv
(errc. 14)


ypdqa mo silnr6 tou "IIOAAL/ OITATE/

EIII/EICAN AINA/MHN NOA/AE EIHEICAN/ lI OYTON (sic)" rccr rcdrar o npogrjrqg Iepepicq (errc. 15) "OAON

H snetrc6vroq llpogrlrriv pe ettrrlrdprc 6(n),s cn6 orcr1vdq, 6nog o Euayyelrop6q rccr o Aoncop6q tr1q @eot6rcou cn6 touq A1rydtroug, 'ug ono(eq ololtd(ouv, ondrrrqoe r8toiteprl 6rd6oorq rcard

qv flolcrotr6yen nep(o6o (1204-1,453)

enrlped(owcq r8nitepo t4 percpu(owtrn.dXun. Ot llporprireq nou onetrcou(ovror or1'l Mercpr6pgtoorl llc).ctyop(ou

npodplovtct cn6'ro tbtcftepo rlKovoypc9rrc6 Odpc 'Avo0ev ot flpoq{req" o'ro

onoio ot llporprjtaq upvoriv tr1 @eor6rco.

Em, 13. O xpogirt1g Hoaiag. Fig.



prophu Isaiah

I'rr1v rdtro (6"n ttls p6peng d,eupdq tqg orlri8cq anerrov((eto.r ro ruxo,pro'uarc6 Oipo tou Me),ropoU (errc. 16), 5r1),o6rj


who causes the salvation). The depiction of Prophet with

inscribed scrolls commenting the scenes next to them,
as the Annunciation of the HolyVirgin and the Embracement ofMary


saw you as the way,

npoogopdtou oc6pctogtou Ir;oori rcard

rq @efc Korvorv(c. O (roypdgoq tou flolot1'lpiou rccrvotopei rcor nd),r, cgori nioro

an6'ro nopgupd prj),o, ro ono(o o4rcc6vouv pr Sdoq 613o dyye).or, cnerrcow(er tov
Xprot6 8rntrd,
roq Bpdgoq vo, eupiorcetor

by the Angels, was widespread especially during the Paleologan period (1204-1453)

taut61povc oto dlnov llo.rr]pro Kor oro Atorcdpro rcparc6wcq erfu1t6 lrs rrlv srrrypogf "AABETE <DAIETE", oto Arorcd-

having a strong influence on the postblzantine art. The Prophets painted in the

Transfiguration church in Palaichori are

descending from a special iconographical theme named "Above are the Prophets",

"ilIETE EEAYTOYIIANTEI", oto dyo llomipto. Iqvrc6yp1rnlq llpo0doearq rcd'rro an6 ro Metrrop6 crnrKopro Kct

where Prophets praise the Holy Virgin.



Arcpc Tcneiv<oor1 (errc. 17c):

In the lower zone of the northern parr

Erc. 14. O ngogrlnlg EoTopat.


Erc. 15. O xgoglrrJg kgepiag

Fig. 15. Tlte prophetJeremiah.


The prophet Sohmon.

Etrc. 16. O MefuoVtlg.

Fig. 16. Breakingofthe Breadforthe Holy Communion.

o Xprot6q vsKp6q dpnpoo0evtou


Tou rcct'r4v emypoq4 O


of the apse the painter depicted the Eucharistic theme of Melismos (fig. 15),
which is the offering of the body ofJesus during the holy Mass. The painter of Palaichori innoyates again, through the
double depiction ofJesus behind the purple veil, held by two angels: Jesus is placed

T<Ht> A<O>E<H>I. O (roypdgoq qq

Matcpopgrioeoq crcotrou0ei'r4v (6rc errcovoypcqic rou Oipa'roq, 6mog

oro rKo-

vi6ro nou rcpotd rl Ayrc llcpcorceurj ot4v

ncpdo'rco1 o'rov 6u'nrc6'roi1o'rou Kupioq

vcori (etrc.

I7p).To srKovoypoqrrc6 out6

in the chalice

0dpc eprpcvt(e'rct oe notrtror3q vcoriq o'rr;

Beve'rorcpa'rorlpel'q Kr5npo clg cwr8dvero
ArSo'4, 6moq mouq voo$g tou AplcyMtlcr]). otr; Ia),rita, tou Trp(ou Itcupol5 mov Apcopdtq, tr;S @eo'r6rcou o'r1v Kcrconzrpt6, trlg flcvoyfu.g ora Kcpw<iptc rc.a. Ls errc6va oto Mouoe(o llc),cr1olpiou, rrou npodpletcr qn6'ro

on6 tq

infant with an inscribed scroll and at the same time stands on the dish also with a scroll bearing the following inscriptions respectively: "AABETE


OAIETE" ("Take, eat") and "flIETE EE

AYTOY |IANTEI" (Drink from it all of you). In the niche of the Prothesis below the Melismos is painted the Man of Sorrows (fig. 17a): Christ is standing in front


rlq Xpuooncw<ivcoocq oto


of His empry tomb; the composition is

Nopt6, avay"toa. oe 6Jo oetpdq on6 A1'touq orrstKov(lerat ro i6to etrcovoypcqrrc6 Odpc ps ro Xpto'r6 o),6ocopo 6pnpoo0evt4q ocprcoqdyou Tou. H aK6vq, rrou

inscribed: "O

B<A>t<[ LYt> T<HI>


A<O>E<H>I" (The King of the gloty).

The painter of our church following the
same iconography,as in the small portable

ncpouord(et rcotvd rs1vorpofi


a Xa.pc.-

icon, whichholds St. Paraskeve in the com-

rctqpronrcd [ rrlv rot1oypogic tqq Me'rc-

position on thewestwall of the main church

popqc6oerog, unoypdgetat an6 (rVpdgo ov6pcr (Di),tnno. H cr"r(orot14 (rir,1

(fig. 17b). The same iconography appears

in several churches of Clprus going back

to the Venetian period
as as

ot4 v6'nc ntreupd etrcovi(et rov rrporopdptupc Itdrpovo ev6e6updvo pt. ap<pta
6nrc6vou. To etrcovoypcgtrc6 np6ypappc

awestern antiloan,

in the church of thefuchangel Michael

oto rep6 prjpc oupn),4pcilvetot pe Srio (c6veq oto p6peto rcct v6tto to(Xo, 6ncog
Kcr orov rcupicog vo6.

in Galata, of the Holy Cross in Hagiasmate, of the Holy Virgin in Kakopetria, of the Holy Virgin in Kaminaria etc. In
an icon kept in the Museum ofPalaichori,


pdpen n),eupd

tou Iepori Br]pctoq, 6in),4 cn6t1v nforo

coming from the church of Chrysopan-

Etrc. 17. To etrcotoypagtrc| 0!7'ta nJg Arcpag Taneitta.toryE: orrlt

Kax or//1/ nagdomotl rryg ayiag

rcdyxt1 rrlg llgo1doea4 @gtorcpl) llagarctu(g ont, rcugidtg wd.

Fig 17

The iconographical theme of the

Man of Sorows: in the niche of Prothesis (brt) and in the depiction ofSaint Parasceue in the main church.




nu Af|padp.

Fig. 18. The Sacrifce ofAbraham.


ntreupd rou rtKovootao(ou


{Xu rapa.-

tanassa at the same village, the same

Ouofc rou Appodp (errc. 18) rccr

rcdto an6 currjv o prdptupcg Acupdvrtoq (etrc. 19) pe ).eurcd ap"rpta 6tcrc6vou. ArcptpcSq ornrr andvcwt ntreupdtou cy(ou Brjparoq, oro v6tto to(Xo, crrurcov((etcr 4 @r),ofevta tou Appcdp (errc. 20): ro enero66to rrlq en(orcerf1g rarv rptr6vAyyd),olv otovAppcdp rcct r1 gil,ofev(o nou dtulcrv on6 tov Appcdp pe ro yerSpc orrlv "6puvtou Mo0p4", nou eivat q npoerrc6vroli r4q Ay(oq Tprd.6cg rcct prnc(ver oto rep6 rj64 cn6'rriv nc).oroXprorrcvrrcr]

iconography appears between the two rows of saints:Jesus is standing in front ofHis emptytomb. This icon, where the same iconographic characteristics with the fresco in Palaichori are traced is signed
bythe painter Philip. On the corresponding


6nrog ),.1. o'rov


H orjv0eorl curri snov'rdrct notrr3 oulvd oro ttKovoypo,Bttd),to



row in the southern part we recognize St. Stephan in deacon vestments. Two additional painted zones at the north and at the south wall, similar as in the main church, complete the iconographic program of the Bema. On the north side of the Bema, behind the icon beam, the "Sacrifice of Abraham" (fig. 18) was depicted and underneath the martyr Laurentios (fig. 19) with white deacon's vestments. On the opposite side of the Bema, in the south wall, is placed the "Hospitality" (fit. 20): the episode of the visiting of the three Angels to Abraham, their hospitality by Abraham and the meal they had by the "oak ofMamre" (Gen. 18.1-B); the iconography is a symbol of the HolyTrinity and it is placed in the Presbperium since the early Christian period, as the example of St. Vitale in Ravenna proves. This composition appears very often in churches painted during Venetian rule, as in Hagiasmate, Louvaras, Galataria, Kourdale, Kaminaria, at the Holy Virgin church and in St. Sozomenos church in Galata, at the Holy Virgin church in Kakopetria etc. Iconographically, it resembles the compositions on Galataria and Kourdale,
where it seems that they imitated the same

Errc. 19. O pdqngagAaupiwtog.

Fig. 19. The Martyr Laurence.


motive. Underneath of this composition

"4 -'/



20. H

Qt),0{euia rou Al}gadp


The Sarifice ofAbraham.

gtKd npoypdppcrc

BryrroKpor(oq, 6nog o'rov Ayroopdtq, otov Aoupopd, otrl fo),ctcptd, orc Korip6d,r1, mo Koprvdptc,


we find two Cypriot Saints, dressed


white deacon's vestments, St. Ioannis Lampadistes and St. Athanasius Pentaschoinites (fig. 21) and next to them, on

oq flcvcyc rcct o'rovAyo Io{6psyo orrl fotrdra, orrlv flcvay(c orrlv



c I8rcitepeq srKovoypoqrpa

the east wall, St. Stephen (fig.22), also depicted with white vestments.

opor6rqrrq no.pouord(er olor6oo

rtq rropoordostq orrl fctrotcprd Kcu orcr

Koilp6c),q, 6nou e(vat nr0ov6 vo dXouv rcotv6 np6runo. Arco).orj0orq cnerrcow(owqt Kdro cn6 q Qil,ofeuc or 613o Kr5nprot dyot pe treurcd a1t<pta 6ror6vou, o clyoq Iodvvriq o Acpnc8rotrjg rcor o dyroq

A0avdorog o flevtooXorv(qg (errc. 21) rcor ncpcn),eJpr,lq orov avato),rrc6'roiXo, o dryrog Irdgcvoq pe enion;q ),eurcd dpgrc

(p) O rcupiatg Na6g

yap(lzrcu or 6rjo (riveg: n1 dvo (c6vq ncpouotd(et rcup(oq orcriviq an6'ro 1ptorotroytrc6 rcrjrc),o, evr6 q rcdtrrl

rcupiroq vaog

rotdpeveq popgdq cyiarv.



rc6 drcpotou vot(ou ro(1ou 6in),a mo errcovoo'rdoto cnetrcow(etot q orcqvr] pr rnv tcrpri tqq oo(cq Mcp(oq rnq Aryunt(cg (ttrc. 23),1 ono(o ncpouotd(er ntc6o1 rlq (roypcgtrcriq entqdvetog o'rc cprotepd ),6yro tqq cwtrcc'rdo'rco1q rou npoyevd-

orspou strcovoo'rooiou. H Oo(s orrctKov(luu 8tcyrov(alg vo rce(tat oe dyovo

Em. 22. O dyng Drlgauog.

Fig. 22. Saint Stephen.


Main charch

The frescoes ofthe main church are divided inro two rows: the upper one presents scenes, mainly from the Christological rycle, while the one underneath standing saints. On the eastern edge of the south

wall, next to the iconostasis is painted the

Em. 21. Or dyrot lailuurlg


A1atdotog o lTnvaoxotuin1g.

burial of Holy Maria the Egyptian (fig. 23), which is partly damaged due
to the replacement of the icon beam with a new one. Maria the Egyptian lies


21. The Saints loannis Lampadistes

and Ath anasius Pentas c h o inites.

dEcgoq dlovtoq

pdvc, dv8etfrl 6rt eivor vercprj. Itc cprorepd rrls eupiorerqr o qoKllrijq 6oroq Zaou,ng, 'rou ono(ou ro rcegd),r dXer rcoroorpcqei. Iro 6efrd rilq Ayiaq dvoq ),do-

rc ldpro r1q oroupo-

diagonal on the ground having her han& crossed, which implies fiat she passed away. On her left stands the hermit
Zosimas, whose head has been destroyed.

On her right a lion


digging with his front

vtcq orcdper 1. ro lrnpoo'rtvd'rou n66ra 6puypro ylo rllv toqri rilq Ooicg. llp6Kttrot )4o lI povobucj lrycDorli pdlpr o{pepo nopdo'rcoq rou slKovoyporprrcoil curoil

legs a grave for the burial of Maria the

Egyptian. This is a unique presentation belonging to the iconographic cycle of Maria the Egyptian. The usual depiction

Em. 23. H mgtl n1g Ooiac Mapiag





The entombmenr of Holy

Mariaof Egtpr.





Ilaiileg et rrJ Kapiuat



The three Children

in the Fiery Furnace,

0ipcroq ouy Krinpo. Iwrq0dmep4 Trspdoroon rnq Ooioq eivor erceiwl tr;g Metd-

InVtiS rqq on6 tov dyto Zaoyta,6rr'i,g o'rovAytcopdtq, oto vc6 rqq @eot6rcou otqv Korconetptd, otqv llovcyia Icpc'nrcr] o'rov ApoKcrrd K.o.

is the one with her communion by St. Zosimas, as found in Hagiasmates, in the Holy Virgin church in Kakopetria, in HolyVirgin Iamatike church infuakapa etc.

H en6pewl oKIVrl otov (6rotoi1o, cnerrcov(lu touq Tpetq flc(6eq ev t4 Kcpivco G.trc.24). Ot tperg vdot atrcov((ovtcr
6e6p"svor oe rcop(r't nou'ru).iyeto otrq <p),6yeq, wc6 an6 ndvro toug eup(orcercr Ayye-

),oq Kupiou rrou rouq npootctsder.

llp6rcettct ytc dvc 06pc pe en{or1q 6oypotrrc6 yapo;rcrrlpa, oqori ncpcrcweitouq motoilq vc crcotrouOrioouv to ncpd8erypc

The next scene on the same wall presents the "Three Children in the Fiery Furnace" (fig. 2q. The three young boys are depicted praylng into a flaming Furnace, while tleAngel of the l-ord above protects them. The iconography is also related to doctrine issues, urging the believers to imitate the example of the
three youngJews in captivity, who refirsed

rov vrop6v Eppa(rov otr;v otlpo),olo(c nou cpvri0qKov pr ncppqo{c vo rrpoorcuv{oouv'ro ei6t'l),o rou lldporq pcoildc

to worship the idol of the Persian king

Nebuchadnezzar. This composition found abeady in the catacombs and was widespread since

NcpouloSov6oopc. To etrcovoypcgrrc6 cut6 0dpo nou flKovoypogrj0rlrce r]611 orq rcctcrc6ppeg rcct dtule eupe{cq 6rd6oolq rca0c6q ouppo),i(et tn1 or'rqpia Kor rrpoetrcol't(ett1v Avdorcorl. Ener6r] rl upvo),o1'(c trrlv Tprriv lloi8alv ouv8de'rcr pe'rr1 Idvrlorl tou Xpto'ror3, I oKIrrI outrj 0o pnoporioe vo ouppotrt(a en(oqq try llopOev(a rcor to <ig0opov tr;g @sot6rcou. H oKryn ou'nj cncvrdtar oe notrtroJq vcorlg rqq BryeroKpariag, 6nr,rq o'ro vdp0qrcc tou Aytou Hpcrc),et6(ou oq MovrlAyiou k'ldwq Acpno8rororj rc.o. Errcovoypaqrrcd ncvopot6'runq pe rq orcr;vt'1 otri

it symbolizes the salvation and

the Resurrection. The fact that the Hym-

nology of this feast is related to the Birth of Christ relates it also to the maidenhood
and the unperishable of the Holy Virgin.

This scene is often found in churches dated back to Venetian rule, as in the narthex of St. Herakleidios in the St. John Lampadistes monastery etc. Obvious iconographic similarities with our scene in Palaichori offers the presentation in St. Nicholas

in Galataria.
The Christological cycle, separated by


25. H fewrlorl rou Xpzmoi.



The Natiuity.




Fig. 26.. The Presentation in the Temple.

Matcp6pgr,lol llolot1top(ou eivcr rropdo-roor1 movAlto Nm6),ao o'q fd.o11

vertical rowwith floral decoration, begins with the scene of the Birth of Christ (fig.

r.a"ptd, Trou nopouotd(et


25).The Holy Virgin is depicted in the

centre of the composition half-laying, looking at the cave, where Christ-Child is. On the right side is situated theAnnunciation of the shepherds, the bath of the infant and on the left side the thinking Joseph and the arrival of the three Magi on foot observed by the angels.


To lproto).oyrrc6 rcrirctro, nou dne'ro.r pe'r<i cn6 pta rcdOer1 8tcl,rptornj tcMc pe gurtK6 8tdrcoopo, slxot\tdqfl I orcnvn tnq f6wr;or1qtou Xptotori (erc. 25). H @eo'r6rcoq cnetrcovi(erct oro Kdwpo o,voKr-

Kh[6q vo rcotrd(er npoq r;vndtprvn qdrv4 tou Xprotori. Aeftd to'rope('rcr o Euoyye),rop6q 'rolv notpdvolv, 'ro Aoutp6 'rou Nqniou, Kot cptorpci o orcent6pevoq ironq rco 11 npooitreucnl'rcrv tprc6v Mayov ntlriv ur6 'ro p),dppc cyyd),rov. liap6pot0 rtKovoypcAia ncpouord(er 11

The scene is followed by the "Presentation to the Temple" (fig.26). The older Symeon is standing on the right side of the holy altar looking atJesus and Mary. Behind the prophet we recognize the

Ynanavni tou lupec6v Afdwq mov Ayro Io(6pwo Kqt orrl @aot6rco otq ld.dtc, o),Id pe mo antrotrc61cporctrjpc.

Prophet Anna, who is pointing at the sky and is holding an inscribed scroll:

(erc.25) nou crcotrou0e(, 6eftd an6 t4v cyic Tpare(a Kor ro rcrpc6pro, errcov((etor o
orcr;vrj r1q Ynonovr:f;g ydpov Iuperirv vc're(ver rov Iqoor5 npoq


TO BPEAiOC O\"ANON/ K[AI] f[HN] ECTEPIE]/OCEN" (this infant secured the sky and the earth). On the left side of the altar the Holy Virgin with covered hands is followed
byJoseph, who is holding two pigeons. This iconography of palaiologan provenance is also found in the Archangel Michael church in Pedoulas.
As next scene comes the Baptism of Christ


t4v llavoyio. llioo qn6tov npogr]tr1 errcovi(etcr r; npogr]rt8a Avva nou

8eilver rf4),d
rccr rcpcte(

rrou crvcrypdqer "TOYTON TO BPE@/OC OYPANON/ KtArl ftHNl

avorrr6 er).r1t6

Enc. 27.

H BdmmrJ nu Xpnroi.

Fig. 27. The Baptism of Christ.


tou OuonotrTp(ou rq @eor6rcoq'refver ra y(.pn fipoq ro ppdqoq crcotrouOor3;rev4 an6 rov klorig, nou npoodple'rct rcpcrcivtog 6rio



neptmdpn. O eircovoypcgtrc6g cut6q'ninoq, nc),arol6yercg npodleuon;q cnawdtc,r mov


Mtpjtr otov lle8outrd.

Arco),ou0e( q

Bdntroq tou Xptotori (erc.27) an6 rov dyto Iordwrq rov lip66popo oro vepdtou notcpori IopS<ir1. Iro rcdr"rpo qg orJv0eo4q anetrcov((erct q Ay(c Tprdq og

(fig. 27) by John the Baptist in the river ofJordan. In the centre of the composition is the Holy Trinity in the form of the Father's voice, of the Holy Spirit's as a dove and ofJesus Christ. Jesus is shown naked in the river, looking at John the Baptist in a three quarter position and crossing his legs. On the left bank of the river John baptizes Jesus placing his hand on Jesus' head. On the ground an
axe is

depicted on

tree recalling the words

llardpo, tv ei6et fleprorepdq'ro Aytov llveripa rccr o pcnn(6gorvrj tou @soil

pevog Ir;oor5g. O

Xpm6q errcovi(ero y-rpv6q

useless tree will will be thrown into the fire. On the right bank three angels are

of the Baptist that every

be destroyed and

pdoc mo no'rdp, rcottd(owcq npoq to pepoq tou flpo6p6pou os mdorl rptc6v'retdprr,lv rcct dlowcq tq n66rq Tou o'rcuprord. I'r4v oproteprj 6104 tou no'rcpor.i o llp66popog parr:i(lu tov Ir;oor5tono0et6wcq to 6efi rou lipt oro rcegdtrt Tou. Ito rcdro pdpoq leyap((urc ouppo),trc6 0ipcqq ofivcq rcct rou 6dl'rpou nou napcnipner mc ),6yc'rou flpo6p6pou 6'rt ncv dlp4otov 8dvtpov (=oprrov6lrog) ercn5rrretct rcct eLq mrp pd),tre'rct. Irr; 6eftd 6X0rT ncpiorcrvrcr. oro puorrjpto rperq oepifovteq d1rye).or. Ita vepd tou notapoil cnerrcovf(owcr oro Gpro'repd, pro cv8prrcr] Fopqi nou rcpc'rdet cveo'rpcppdvo cyyeio, npoot,lrrofioirlorl tou notcporJ IopSdvrl Kot orcr 6efrd prc souppdvrl yuvotrce(c popgr] pe orcr]ntpo rca0ripar.q ndvo oe rlrdpt, rrpooofiofio(r1or1 r4g 0dtrooocq. llop6potc stKovoypoqrrcr] cn66ooq oncv'rd'rqt rcot oto vc6 tnlq Ayioq llcpcorceurjq otrl lepoorcrinou Kcu oto yc6

praisingJesus. On the left side of the river

a man holding a jar upside down is repre-

sented, as the personification of theJordan

River, while on the right side a crowned woman with a scepter riding a fish symbolizes the personification of the sea. A similar iconography is found in the St.
Paraskeve church

in Geroskepou, as well in the Zoodochos Pigi church nZopege.

scene of the "Raising of Lazarus"

In the

(fig. 28). Jesus with his disciples is moving to the right. The sisters of Lazarus, Martha and Mary, fall atJesus' feet praying, while at the same time Lazarus is
resurrected. Two young boys free the dead
I-azanss from his grave removing the grave-

stone and the shrouds, which bound the


flnVis ot1 Zroonly1.


friend of Christ. A figure of the crowd is holding her nose in order to represent that the resurrected smelled bad, due to the sepsis of his dead body. A similar depiction can be found in the Holy Cros church
in Hagiasmate,

It4v'Eyepoq rou Ac(dpou

28), o



in Hagios Mamas

hqoor3q pe'rr; ouvo6e(c'rr'lv pc0rpc6v Tou, 49

in Louvaras, both painted by Philip Goul.

Tropsilsrot fipoq ro 6efrd. Ot o8etrgdq rou


Ao(dpou, Mdp0c


Mcpic npo-

onintouv o'ro n66ts rou Irqoo$ 6e6peveq, ev<i tow6lpovs ouwetreirat ro 0cripc r4S cvdorcorlg'rou vercpor5. AJo vdot qne-

In the following scene of the "Entry into Jerusalem" (fig.29) Jesus is riding on a white colt moving to the right, followed
by his disciples. On the way leading to the
gate ofJerusalem palm branches are spread

tov'rd,qo, onoprcrcpJvowoq rIV rcq6ntrcrcc Kot ro odpcvc pe'ro onoia e(vcr tutrrypdvog o Ad(opoq. Iro pdOoq pta popqrj cn6'ro rtrn0os xle(vet t4 pJq qq tr6yo trqq 6uoor6(aq cn6 rI o{Vn 'rou vercpod oc6poroq.


varcp6 a,n6

and the crowd is gathered holding also palm branches. A similar iconographic depiction is found in the St. Nicholas

church in Klonari. The painter of Palaichori renovates the iconography in spite of his drawing weaknesses and places figures of the crowd, reminding Cypro-

Erc. 28. H'Eyeqory rou Aa(dpou, Fig.


The Raising of Lazarus.


Awiororpl cn66oor1 rou Odpcroq undpXer movTfpro Itaup6 rou Aycopdrrl rccr otov Ayo Mdpcvto Aoupopd, dpyc tou

Renaissance compositions, as for example

the figures of the apostles in the apse

same scene in the



Irrl orcr1vr] u1q BaToq6pou (errc. 29), nou orco).ouOe(, o Irlooilq cnarrcov((etor
vo rcdOetat oe
vrT0,t Trpoq
treurc6 nc6tro

HolyVirgin Podythou in Galata. The Holy Virgin church in Galata, painted by Symeon Axentes imitates the painter of the Transfiguration

nou rcctau0J-

church, although he does not understand his stylistic innovations. The same comment could be also made for other scenes,
the Entry to Jerusalem, the Baptism and the scene of the Transfiguration.

ro 6efrd
prdvog pre

orco),ou0oripavog cn6

6o 'rrov pc0r1rc6v

trlv opdTou. O 6p6poq orpo-

x)d6ouq pcir,rv o6rlya( mrlv



29. H Bai'ogdpog.



The Enny into Jerusalem.


Em. 30. H Merapdpgatory nu Ionrypog.

Fig. 30.The Transfiguration of the Sauiour 52


Iepouoc),r]p, 6nou ro n).r]0og ouvr'l-

9eftst rcpotcbvtoq eniorlq p,iyro. flcp6poroq srKovoypcgrrc6g'rUnog oncwd.rcr

o'ro va6 tou Ayrou Nrro),dou oto K),rov<ipr. O (oypdgoq rou llc).cr1op(ou cvoveci)ver r1rr sr.Koyoypc.gfu,

tou 0dpcroq

napd trq 6norcg ole8rcotrrciq cbuvop(eg totrpd vc eto&lu popqiq tou ntrr]Ooug nou nopondpnouv os KuTrpocvcyel''tr4orcrcd dpyc, 6norq ),.1 popqdq Anoor6trrDv qn6

tqv c'f(6c t4q llavcyioq r4q flo6rj0ou ornl fc),<itc. H avtiotorp orcqvrj oto vc6 trlq @eot6rcou m4 fddtc tou lupec6v Afdvtl gcivetcr 6tr ovtrypdger tov (oypdgo t4g Metop6pgcoo4q lopiq
vo ovtt),c;rpdve'rct rrq Korvorop(eqtou

To i6to enroqpa(vetcu Kcu oe d) orcr;vig,6no4 mli Botg6po, ot4 Bdntroq Kot orq orcqvri t4q Metop6prcctr),trd1vq. qroonq nou qrcotrouOei.

The Transfiguration of the Saviour (fig. 30) is the last scene of the south wall, although in the wrong position, because it should be depicted before the Resurrection oflazarus and the Enry to Jen.rsalem. In the middle ofthe compositionJesus in white garments is standing between the Prophets Moses and Elias on the mountain Tabor raising his hand in a blessing gesture; at the baclground there is a mandorla of by three concentric circles and white rays sent out of its centre. At the foot of the mountain Peter is represenred kneeling and looking to Jesus, while the brothers, Jacob and Ioannis are falling on the ground in different directions. Similar scenes can be seen in Hagiasmate, as well as in St. Sozomenos in Galata in spite of the mandorla, which is depicted


a different way.

H Mercp6pgool (srK. 30) eivar 1 retreurc(c orc4vr] tou votiou'ro(1ou, rccr eupioKtrot oe ),tiOoq Xpovotroyon oepci, aqori rcqvovtrcd npoqyeirct qq Eyipoer,lq rou Ao(<ipou Kor rnq Bciog6pou. Ito pdoov o hqooriq etrcovi(e'rcr vo eutroyei treurcovrupdvoq oto 6poq @cprip n),oorropdvoq

In the pediment of the west wall was placed the Crusifixion and lower, in two zones was depicted the Passion of Christ (fig. 31). Similar adjustments of the triangular
pediments with depictions of the iconog-

raphy of the Passion can be found in other wooden churches of Cyprus, as in

Kourdale. In smaller churches,like the one

cn6 rouq npoqrjteq H),(a rcar Mouori. Elrypdgerct oe 66fc onote).oripevq an6 rpeig op6rcewpouq nirclouq rccn leurceq crr(vsq fiou ercndpnowct an6'ro rcdwpo tr;q. }ouq np6no6eq tou 6poug, o lldtpoq
yovunetr]q qneuOdve'rct o'rov I4ood,

of the Holy Cross in Hagiasmate and St. Mamas in Louvaras, the pediment is decorated with only one zone depicting the Passion.

rc c6d),qtc Idruopoq rccr Iodwlq ndqtouv iwpopot npqw16c6v oe cw{0eteg Kcr,rsuOilvoerq. Avt(otorleg orcqvdq anov'rriwo mov Ay c.o4ofinrcct mov Ayo Io(6pevo fc)drcg, cl)d 8roqdpouv roq npoq

Crucifixion (fig.32) Jesus is placed in the middle of the composition, nailed on a wooden cross with

In the

scene of the

four nails, according to Byzantine iconography, between the two other bandits with
their hands tied behind their back without

Erc. 31. Touoygagieg fwtrcoi rcixou,

Fig. 31. \X/all-paintings of the west wall.

rIV orrsrK6\torl rnq A6fcq rou Xproroil.

cdtopc rou 8urlKoJ roixou GnrtKow\erui1 lrcJparorl Kcu rrto rcd'rco, oe 6ilo 16v4, orc4vdq an6'ra fld04 (en<. 31). Avdototpl 6reu0dtr1or1 toutptyarvtrco$ cetc6poroq ;.re orcrlvdg an6tov rcilrcIotov fla0c6v, orrowdror Kol or d),),ouq fu),6oreyouq vcoJq rrlg Krinpou, 6ncoq o'ro

specifying, who is the good bandit. On


the left side stands the Holy Virgin along with two other mourning women

soldier in servant's garments pierced

Jesus' side.

On the right side stands John the Evangelist with the Centurion looking at the Crucified. Next to them a beardwith monk's garments could be interpreted as a real portrait ofa person related to the foundation or the decoration of the church or even with the painter himself. At the backgroundwere depicted
ed person

Ie vooilq prrcp6tepoug, 6norq o Tiprog Ircup6gAycopdq rccr o Ayroq


Mdpoq mo Aoupcpd,'ro odtopctou 6u'rt-

pfu\avq lla0c6v. Iq lrcripc'ron (srK. 32), oXpv o'r6q cnetrcol'r(etor oto pdoov rqg oKIvrjq, rcaprpr,rpdvoq oe fUlrvo otcup6 pe

ro(1ou 8tcrcoope('rcr p6vo pe

Roman soldiers and thewalls ofJerusalem.

Under the cross there is a cave with


and bones, which according to the tradition belonged to Adam (=Christ is the new

'rriooepc rccpgrd, rccrrd'n1 pu(cwrw1 arrco-

voypogia, Kor nrprorory(luu cn6toug

6rjo ).qotdq 8epdvouq nroOdyrcrovo, XcDp(g va npoo8ropi(etor noroq eivct o rcc).6g rar

Adam who saves the old one). Above the cross were painted the sun and the moon, the irxcription in Greek "H CTABPOCIC"
(The Crusifixion) and on each side ofJesus
angels covering their face and mourning. The emphasizing of the Crucifixion is common in the Cypriot monuments. Many similarities can be found between that scene and the one in the Holy Cross of Hagiasmate painted by Philip Goul, in

rroroq o cpetcv6q'roq

),Ior{q. ll},srori6-

vrror oro cprotepd an6



6rio dJ,eq 1ruva(rceq nou 0pr1voilv, Kor on6

dvc orpatc6ril pe evbilprarc unripdrrl nou

Tou ),oy/(er tc n).eupd Kor oro 6sfrd cn6 rov Iardlvi1 KGl rov Porpc(o Ercor6vrap1o Aoly:vo nou rot'rd(et {r1}d. A(n},c roug

spite of the simplification of that

Em. 32. H ltaugaory.


32. The CrusiJixion.


Em. 33, O Muonrcdg leinog.



The La:t Supper.

pro o8ldn/oorq popq{ pr yrvad8o Kot

pdoo ncpcndpnet nt0cv6'rc'ro oe np6oorro oxsrt(6pevo pe'rrqv ovdyepoq rccr

composition, where the bandits, the soldier with the lance etc. are missing.

In the "Last Supper" (fig. 33), placed in

the first zone under the Crucifixion, Jesus is depicted in th.e centre ofthe scene, behind the rectangular table of the Supper. Jesus is sitting between the twelve disciples, leav-

rn gilordxqoq

rou vaor5 q o'rov i6to



pdOoq cnetrcov((ov'rot

Pr,lpotor mpcrc6req rcorcrei14





rcdtr,l an6'ro otaup6 undplet

onrj),cro ps rcpcv(o rccr oo'rd, rcctd'r4v ncpd8ool tou A6dp (=Xprot6q o vdog A6dp, nou ).u'rprirvst tov na).ot6). lldvr'r cn6'n1v rcepcic tou otcupo$ etrcovr{owor o b(orcoq rou r1).(ou Kor rnq oe).n1vqq rccr 4 enrypoqrlH CTABPOCIC rcct trcsr{56

ing a small part of the table opposite to Jesus empty. Christ embraced by John looks at his side. Judas is stretching his hand to the bowl, while the other disciples are talking with vivid gestures. The last two disciples are turning their backs

ptoesvrou hloori, Alye).or nou rcc),ilnrouv

to np6oarn6 rouq ps o6rivr1. Eivar ev6roqdpouoc 11 flapolt4g Ircilpr,lor1q, oupaj oe rcunpicrcd prv4pre(c trlq enoplq. H orcqvrl

to the visitor of the church. The painter is using in this scene the perspective ofthe one point and presents iconographic similarities with the one in Hagiasmate.

au{ ncpouotd(er oprcetdg opot6rrlreq pr rIV cvt(ororp tou @r),innou foutr otov Itcupd tou Aytcopdt4, ncpd ro

In the

scene of the \flashing

of the

yeyov6q 6tt

Apostles' feet (fig. 34) elevendisciples are depicted on the right side unrying their
sandals. Christ is standing on the left prepar-

q orir,eor1 elvor mo nepto-

ptopdvrl, cgori cnouord(ouv or ),4ordg,

o ).oyXtotjq rc),n.

I'rov Muottrc6 Aainvo (err. 33), nou

to'ropei'rct otrlv npcirq (rivr1 rcdrr,l cn6 14 }cripooli, o Xptot6q errcov((etcr oto rcdv'rpo r4q ouv0doeorq, n(oco cn6'ro

ing him to sweep the leg of Peter, which is lying in the basin. Peter is holding his head in the middle of the scene in the

in the Holy Cross church of Hagiasmate and in the St. Mamas

same way as

church in Louvaras. The scene was copied

Em.34. O M.mtlpag.


The wa"shing of the Disciples Fea


op0oycil'to qantlt tou Ae(rrvou. Ercatdpo0ev tou Irloori 8ra'rdooov'ror rrsprpr'rprrcd ot 6c66erca pcOrpdq Tou, crpr]vowoq dvc pnrcp6 tprjpc tou rpanefrori andvawt cn6'rov Ilooil qrcdlurrro. O Xpm6q 6dXeror rov evqrcotrtop6 rou Iodwrq rcorrd(owog npoq ro prdpoq tou. O Iori8cq ontrcb-

Ya ro ldpr rou


yopd0c rcqt ot un6-

),ornor paOrlrdq lerpovopor3v rcct prtroriv pretofJ rouq. Or 6rjo tetrsuta(or pro0rlrdq dlouv mpoppdvo'rc vcbtc'roug o'rov 0sctr]. O rcctr),rrd1vqq Xprlorponorci yro tr1 orcrlvri outr] trlv npoonttrcr] rou KrwptrcoS

or;peiou quy{q Kor rropouord(er errco-

Em. 35. H llgooeux( ont, rctfno




voypcgtrcdq opot6qreg lre r1v



The Pray on the

Mount of Oliuel

14 orovAyaoparq.

Itrl orcqvr]tou Ntntr]pc


(owct mc 6eftd ot 6v6ercc prcOrpdq ouvr,ro'rtoprdvot otrqv drcpr1 vc pydfouv ta oav8dlro touq. O Xprot6q oro optorspa troty,6(trcu vcr otcounioat ro n66t tou fld'rpou, nou aupiorcrrot orn ),ercdvry pe'ro vep6, evri o lldtpoq oto rcdwpo r4q orcrlvrig rcpardet to rcegd),t rou pr rov f6to XopcKrlptottrc6'rp6no, 6noq ottq cw(ororxsq orcqvdq orov T(pro lroup6 rou Ayrcopdll KGt orov Ayro Mdpc orov Aoupcpd. Trlv orcrlvrj cwrypdqet rrcvopot6'runo o (riypdqoq Iuperiv A(u) E6nng oro vc6 trqq @eot6rcou orrl fa)dta.

in every detail by the painter Symeon Axentes in the Holy Virgin church in

The scene of the Prayer on the Mount of Olives (fig.35), which follows, is painted in two levels. On the upper one, Jesus is depicted at the summit of the hill twice praying, once kneeling and once standing. At the lower level, on the foot of the hill the group of the aposdes is sleeping, except Peter, who is talkingwithJesus,

after he returned and reproached them. The iconographic similarity of this scene

with the one in the Holy Virgin church

in Galata makes certain the use of the same sketch ("anthibolon") for the painter. The last scene on the upper zone depicts
the "Betrayal" (fig.36).Jesus walks to the


r4q llpoosux{q orov rcr]no qg



35)nou arcotrou0e( anet-

rcovrfetcr oe 6So enineba.Iro dvcl pdpoq,

orqv rcopugrj tou tr6qou, o Xprot6q cnerrcovt(etct vo npooerilercu or 6So 6rc6ovc npooerila'rct yovc'no'r6q rccr 6p0roq Kcr oro rcdtor pdpoq orrq unripeteq rou ),6qou cnerrcov((etcr o 6pr),oqtov pc0r1tc6v vc 6yrr cnorcorprl0e(
Xrrcdq orcrlvdq

right; Judas embraces Him and gives Him the kiss. The two main figures are surrounded by soldiers with conical helmets and lances. The first soldier on the left holds a torch and pulls the hand of

lldrpo nou ouvopil.r( pr Kilpto rov nou dlet rccrepe( cn6'ro ),69o rcar roug entn),r]'r'ret. H srKovoypoqrrc{ opot6tlro plnlv ncpdotoorl oro
sKr6q 0116 rov

Jesus, while the other soldier pulls

Him to

the other direction. Another soldier is mov-

vo6 rrlq @aor6rcou or4



pipaq rn Xp{oI

'rou (6tou ov0rp6),ou

Itrl orcrlvrj rrlq llpo6ootag (rrrc.36), 'rqv'retreu'rcic rnlq dvo (c5vr1g, o Xprot6q nou pc6((et rrpoq ro 6efrd, 8dletor tov concop6 rou IoJ6q nou oneri8er npoq ro pdpoq rou Kot tov cyrcc),ra,lu. To oriprn),eypo trov 6rjo popgc6v neptotot/(ouv o'rpc'rtc6reg pe rcrrlwrcd rcpdvr1 rcor

ing to Jesus holding a shield and puts forward his lance. Among the soldiers are standing behind Judas two Pharisee. On first level, on the right, Peter cuts the ear of the servant Malchos. Peter is depicted in contraposto looking Jesus at his eyes. This scene presents iconographic similarities with the one in St. Mamas in Louvaras painted by

Philip Goul and those by Symeon Axentes in St. Sozomenos and the Holy Virgin in Galata.

In the lower zone and


first scene can

Em. 36. H llgoilooia.

Fig 36.

The Betraltal.


o'rpcrc6llq oro oprotepd rcpotder nupo6 rccr rpcpder rov Kripto cn6 to 1dpr, evri dvcq dtr),oq tov tpcpder qn6 ra oprorpq. 'Evcq otporc6r4q otc 6efrd pc6((er npog rov Xprot6 rcpctcbvtcq conibc rcar npo'rdooov'rcq cneil,ltrrd rr1 ),6yp1tou. Avdpeoc orouq orporrc6req 8roqoivowor mo 6efrd n(oco an6 rov IorjSa 6Jo qoprooc(or. Ie npc6ro en(ne6o, rcdro 6efrd, qnerrcovf(etct'ro enero66ro ps roy fldtpo Kcu rov Md\o, rovtnqpd'r4,tou onoiou o lldtpoq rc6pet to aud. O lldrpoq onerrcovi(etar oe cwtrc(vqoq, vc cvc(r1r 6et pt ra pdna
tr6y1eq. O npc6toq

be seen "Jesus before the

High Priests" (fig.37). The two judges, Annas und


Caiaphas are discussing sitting on benchat the left of the composition, in front

of a building with a double arch. On the right two soldiers with a conical helmet and a military uniform lead to the Priests the tiedJesus, escorted by a group ofsoldiers with raised lances. Another Pharisees escorts the Lord, with his face hidden behind the halo ofJesus. A similar iconography is found in the Holy Cross Hagias-

mate church, although the painter used his sketch reversed.

hrc. 37. O lryooig xgo rot, Agnqian,.



Christ before the High Priests Annas and Caiaphas.


rov Xptor6. H onivrj au'rrj ncpouotdfet etrcovoypcgtrcdq opor6trlreq pr rlv cvrio'rorXq otov Ayro Mdprc Aoupcpd tou (Dil.(nnou foutr rcct erceiveq tou lupec6v A(u)fdwn orov Ayro }o(6prvo Kor ot4 @eot6rco oq fcldtc.

In the next composition is shown Pilatus

washing his hands (fig. 38). Pilatus is
depicted seated in a throne, having declared
his verdict and washing his hands in a bowl


rcdro oepd cnerrcolr(etor mrlvnpc6-

orcqvrj o hlooriq rrpo

rov Appepdr'rv

with water, while next to him stands a servant with a jar. Behind Pilatus stands a soldierwith a raised lance and next to him a female figure is seen through the window, obviously the wife of Pilatus named

(ro ncpdvopo ouvd8pro) (rrrc.37). Or 6rjo

8rrccotdq Awog rccr Kcldqaq 6n).dyowct

rca0rjpevot oe d8pavc oro cprotepd trlq

ouvOdoeog pnpomd cn6 rtrlpro pe 6rn).6

Prokne. On the left the tied Jesus is hearing the verdict of Pilatus, held by a soldier with military uniform and conical helmet, while surrounded by a group of
Pharisees and other Jews.



6efrd 6do otpouc6teq pe ru'rrrc6


38. O lTi,tirog t imet rug xeigag-rou

Fig. 38, Pilare washes his Hantls. 61


39. HAgtryory rou lfngou.



The Denial of Peter.

Kpdvoq Kcl orpcrrrotrrcrj

efdpruol o6q-

yo$v orouq op1rsp(q rov 8rpdvo Xprot6

nou ouvo8sr5srst on6 oprd8c otpa'nrotriv


In the next scene can be seen the "Peters' Denial" (fig.39). The painter uses his talent in order to depict the huge building
and to place the three denials of Petrus,

u{t,lprvo 66porc. Tov Iloori ouvo8eiler

popq{ @aptoaiou,tou ono(ou ro np6oarno rcpripetor n(oc'r cn6lov qrrnootdgcvotou Ir;oori. Avriororpi uKovoypog(o ncpouorcl(eror KGr oto vs6 rou Trp(ou Itc.uporj otov Ayrcopdll, c),),d
Fs cwsorpoppdvo cvO(po),o.



his regret. The architectural

structure is painted according to the perspective of the one central point, which derives from the Italian painting of the 15th century. On the left it was painted the episode with the servanr at home, on the right the one with the soldiers and in
the upper one the scene with the denial of Peter to the doorkeeper. On the upper side at the right, in a notable spot stands the cock, which crowed after the third denial

Iulv en6pevrl orcqvrj onerrovi(e'rct o

llr),dtoq va v(nter rag yeipag 'rou (errc. 38). O 1ysp6vqq anerrcovr(ercr rccOr]pe, voq or 0p6vo vo d1er rj64 ercgpdosr rrlv

fiuplyop(q rou

Kol vG virrrsr

or rrlvdKro ps yrp6 Gn6 Kovdro rrou

Kpordst dvcq unrlpdtqq. ll(oro on6 rov 0p6vo tou llildtou otdrcetcr orpctrc6rrlg pe ur.fopdvo 66pu rcct oto ntrdT rou npo-

ro Xdpto rou

ofPeter, according to the prophecy of Jesus. In the centre is placed the episode with the regret of Peter, who is leaning against a pier sunk in his thoughts. The last scene of the second row presents the "Mockery of Christ" (fig. 40). In the middle ofthe composition is standingJesus, wearing a purple cloak, a thorny
crown and holding
a cane.

popq{ pdoc on6'ro nopdOupo, npogavc6g 11 ori(uyog tou flrtrd'rou, flp6rcvq. Aprotepd o Xprot6q ncpcrcotrou0ei trlv an6goo4 tou flr),d'rou, dpOrcg rcct 6epdvoq, rcpcroilpwoq cn6 orpo'nc6tr1 pe sfdptuoq rcar rcrovrrc6 rcpdvog, avri neptpd),Ierqr on6 opd6c (Daptooc(ov rcct dl),olv Eppa(rov.
pdtrtrer pta y.rvcrrce(o

He is sunounded

by a group ofJews, who are mocking


Among the people we recognize


en6pavr; orcqvri cnerrcovl{etor 11 fu"n"tf tou lldtpou (etrc. 39). O rcdJ,rrd-


mer, behind Jesus, while on the right and left corner, in front of the crowd are standing two trumpeters with horns, turning their instruments towards Jesus.

Em. 40. O Epnaryprlg. Fig. 40. Mockery of Christ.


pre rp6rro oprororsx\xrc6 cftonors( rp6no opycvrrc6 ro oyrcc66aq qp1lrsrr6vr1pa, 6rcp0pr6ver opycvrrcd rrg rprrq 6tc6oprcdq cpvr]osrgtou fldrpou Kcr rrl petdvord'rou. To rcrr]pro ono6(6etor pe rrlv rrpoorrrrrcrj ev6q rcev'rprrcori oqpe(ou, otor1e(o nou npodpletar sn6'rqv trc),rrcriforypcrptnj'rou 15ou orc6vo. Ira opr, orepd onerrov((e'rorro ensro66ro p rrl 0eponcrv(6c pdoo oro on(tt, orc 6efrd erceivo Fr rouq o'rpctrc6teg rccr ndvo q


On His feet are kneeling four figures, worshiping Christ in a mockingway.

Similar are depicted the same presenrations

in Louvaras, Hagiasmates and in the Holy

Virgin church in Galata.

The depiction ofJesus' Passion continues in the upper zone of the north wall with
the scene of the "Helkomenos" (Via Crucis) (fig. 41). Simon from Cyrene on the

right carries the cross, followed by Jesus,

dprnot1 otr; 0uparp6. Avor 6sfrd, oe nspio-

onerrovi(etcr o ne'rerv6q nou e),d),r1oe pard rqv tptn),rl dpvrlorl rou llftpou or5pgorvc, ps rlvnpoqrprrcn prtoq tou Kup(ou. Ito rcdvrpo qno6(6etsr ro


who is tied and pulled by a Roman soldier. Behind the Lord stand a group of soldiers with conical helmets and rwo Pharisees, who were depicted exactly in the same way in the episode of the "Pilate washed his hands". The scene of

Erc. 41. O E)"rcdpetog. Fig. 41. The Way

to the

Helkomenos resembles the scenes in

Louvaras and Hagiasmates.

The "Entombment" (fig.42)



Helkomenos, since the scene ofthe Crusifixion was depicted in the triangular

pediment of the west wall. The episode is taking place in Golgotha, in an unfruitful landscape, in front ofroclcyhills, where
a cross is

standing in-between. In the uncov-

ered, stoned sarcophagus lies Jesus on the white pall of the Descent from the

Cross. Mary is sitting nexr to the sarcophagus having in her arms the head
her Son. Around



sarcophagus are stand-

ing Ioannis andJoseph, who holds the pall, Magdalena, Myrophorae and on the right
side Nicodemus, leaning against the ladErc. 42. O ErndgroE @qircg. Fig. 42. The Lamentation at the Tomb.



psrdvorog pr rov fl6tpo,

vc oKouprrd os rrroo(oKo pu0ropdvoq dllrerq rou.


H tatreuta(a oKrlvl qq 8eriteprlq l6vnq enrypdrpetct O EMIIE|MOC (errc.


der, used during the Descent from the Cross. In front of the sarcophagus lies on the ground a basket with nails and a cantharus, symbols of the Crucifixion and the HolyMass. Identicalwith the iconography of the scene in Palaichori is the one found in Hagiasmate, as far as the composition, the gestures of the figures and
the background concerns, with the only exception the figure of Magdalena. After the "Lamentadon" follows rhe "Resurrection of Christi" out of the tomb (fig.


rcdvtpo rrlg orcr1v4q o Xprot6g

e(var ev6e6updvoq pe nopgup6 pcv6$a,

rpdpet pu.

orcdlwo megdr,'r rccr rcpcrdet rcc)d-

lleprrpryup((ercr on6 n),r]Oog Iou6al{va.g rupno,wor{q nou

r,lv rrou Tov epnci(ouv. Avdpeoo, orov

6/,o felop(lt:

43) according to the western type. The scene is uking place in a roclly background,
where only a small tree on the left can be seen. Out of the rose sarcophagus, with the lid placed on its left, comesJesus blessing with his right hand and holding a big, wooden cross with his left. In front of the grave are lying three sleeping Roman soldiers of the group in military uniform

cn6 tov Xprot6, evc6 ors drcpc rou n),riOouq, 6efrd rccr cpto'repd, etrcov((ovrct 6Jo od,nryrcrdq pourc(vov, nou orpdgouv ra 6pycvd rouq npoq ro pdpoq tou Iqoori. Ira n66ra Tou
eup(orce'rct nioro 6efrd

eup(orcowar tdoosprq dv8peg yowns'raig,

fiou rov npoorcuvoJv neprncrrrrrcd..

orcrlvrj outr] ncpouota.\u rcdnoreq srKovoypoqrrcdq cwto'ro tykg pe erce(veg oto Aoupopd, o'tov Aytaopdtq Kot oro vo6 rqg @eot6rcou ornl fctrdtc.

H etrcovoyp.iqnotl t<'lv fla0c6v ouvef(etcr ourlv ndvo (c6v4 tou popefou to((ei'K. 4l). Xou pr rlv oqurl tou E),rcopwou O I(pr,rv o Kuplvc(oq anatrcov((etat npc6roq an6'ra 6efrd vo patcgdpet to
o'rcup6 rcat crcotrou0e('rct an6 tov Ir;oor5
8epdvo rcat e1rc6;revo cn6 Proprcio otpo-

trcbtr;. flioo qn6 tov Ir1ooil ncpto'tdvercr opd6c otpanolrc6v pe rcovtrcd Kpdvrl rcsr 5r5o dv8peq @cptooo(or nou dlouv cnerrcovro0ei rcqt otrlv orc4vr] ps rrlv An6vrr.fq rou flt),dtou. H orc4vrj tou
E),rcopdvou nopouotd(et opot6tq'req pe

'rtq cvtfotot1tq oro Aoupopd Kot orov


Tov Elrc6pevo arcotrouOe( o Enrtdrptoq @privoq (rrrc.42), aqod q ncpdmaor;qq ItoJpoorlq dXet rj6q oretrcovto0ai oto cd'ropo'rou 8u'nrcorj to(1ou. H onlv{ tou @prjvou Stc8popcti(trcn oro fo).yo0d, dvc dyovo'ron(o, pnpootd cn6 ppcXc66erq tr6qouq, pe to o'rcup6 ovdpeod toug.

Etrc. 43.

H Attdomoyroa Xqmroil ard ntt Tdgo (rcaui rou 6ntxd ilno).

The Resunection of Christ (western type).



and with conical helmets. The resemblance

ofthis composition to similar

Sozomenos and in the

scenes in St.

HolyVirgin church
of the same sketch,


crcdtruntr1 ),(0rvr1 ocprcogdyo rcefte-

in Galata proves the Disciples' feet".


tor o Iqoo$q ndvo mq treunj ow66q q9 Anorcc0{}oo1q. H @eot6rcoq rcdOstcr 6(n).a on6 r'IV oopKoqdyo rcat dler otqv cyrctrrd rlg ro rcerpdlr rou lrloori. fripcr an6 t4 ooprcogdyo 8tcrcpivowot o I<ldvvrlg rcct o Iooriq nou rcpctda tq ow66w1, r; Mcy6o),4vr], pupog6ptq Kot o Ntrc66qpog orc 6efrd crcoupnropdvog oq orcd),o nou Xplorpofiorrj04rce o'rr1v Anorcc04).r'roq. Mnpootd cn6 q ocprcogdyo
cnerrcovr(etct dva rca)dOr pe rccpgrd rccr
dvcq rcalopoq, orippotro tqq

as in the case of the "\Tashing of the

In the scene of the Empty Tomb (fig. 44),

which follows, the "Three \(omen at

the Tomb" are standing astonished in front

of the empry monument and the angel, who is sitting on the removed lid, showing to them the sheets and the soudarion. In a first level are depicted bushes and
near to the lid three sleeping soldiers, while
a fourth is placed behind the sarcophagus. This scene, as the previous one, is found


llcvopor6runl srKovoypagfa ps rov Enrrdqto @prjvo qg Merop6pgoonq flc),arXopiou ncpouord(er 11 cwfototXrl orov A1'rcopdrrl, t6oo c,:q npoq llv odv0eoil rcot ordorl torv popqc6v 6oo rcar og rrpoq ro ton(o oto pd0og, pe povc8trcrj 6rc<popd avdpeoo orq 6rio orqvdq rr1 ordorl qg
Kot @elcq Eulcprodcq.


Mcp(cg Mcy6c),r1vqq.
'rou XproroJ on6 rov

Merd'ro @privo qrcolou0ei 11 Avdotaorl Tdgo (rcatd rov 6u'rtrc6 dno) (etrc. 43).H onlvrj 6rc6pcy.ari\uu oe ppc1c66eq'ron(o oro onoio 8rorcp(vetor povaya dva 6evrpU).1o oro cprorepd. An6 p66rvrT ocprcogdyo, trlq ono(cq 4 tc96nlcrc a tyu perucnnl0si rccr
eivot tonoOerqpdvrl ).ofd orrlv cprotepri





peurrrcd o Kilproq eu),oycbwaq pe

ro 6sfi

rccr rcpcrc6waq peyd),o filtrrvo o'rcup6

Erc. 14. O li1os. Fig. 44, The \X/omen at the Tomb.

ro cptotap6. 'Epnpoo0ev tou Tdgou

anerrcovt(owct rcotpc6pevot rprlq Popo(ot otpalc6teq rlg Kouoro8ioq pe ntrripn efdptuorl rat rcorvtrcd rcpdvr1. H errcovoyporprni opot6rqrc nou no.pouord(er q orcqvri cutri pe nq cw(o'rotleq rou Ayou Iofopdvou Kcrl rrlq @eor6rcou olnv lc).dtc, rca'ro8etrcvJouv, 6nr'lq Kor orl nepintoorq qg orcrivrjq rou Nrntrjpc, 6n dlat 1'(ver Xprjon 'rou i6tou ov0rp6).ou.

in the HolyVirgin Chrysokourdaliotissa church in Kourdale, although in different iconography and style.
sceneJesus is assumpted to the

At the next

heaven in a spherical mandorla, raised by two angels in contraposto (fig. 45).In the middle of the composition are stand-



rou A(0ou (errc. 44), nou

cKotrou0ei, rperg Mupoq6pes otdrcouv drcntrr1<teg pnpoord o'ro rcev6 pvrlpeio rccr rov Alye),o nou rcd0arat ndvro mqv petc-

nvrlpdvrl rc96ntrcrco Kor rouq 8eflver 'rq o06vtq Kol ro oou8dpro. Ie npc6ro enine8o anerrcow(owo 0dprvor rcor ),iyo nro n(oor, rcowd o'rr1vtcq6n),crcc, cnetrov((owcr tperq
rcorpc6pevor o'rpc'ncirreq,

ing on the ground two angels pointing atJesus. In front ofthe angels stands the Holy Virgin between the Apostles, who are divided in two groups. Paul on the left and Peter on the right are standing ahead of every group. The gestures of
the disciples demonstrate embarrassment

and surprise, depicting with realism the human reaction to the Theophany, taking place. Iconographic similarities are


-{"'ir:: ' i r. : :'. ,.

,r' 'l"X*:,-




:i;.; :p;:r ;d;r;;l;rt!4 ra9 r;11.{et:rt!*1x rtfg:. :r ::j,Jr

Em. 45. H At,!ry rou Xgnroi. Fig. 15. The Ascescion of Chrisr. 68

Etx.46. H llewTrcoortj.
Fig. 46. The Pentecost. 69

sv6 dyoq'r6'rcproq cnetrcov((e'rct oro p<i0oq nioro cn6 q ocprcogdyo. H orcr1vrj ourrj, 6nr,lg rccrr q npoqyoripevnl cncvrriwar Kor oro vo6 qs llcvcyicq Xpuooroupbc),tcbttoocq otc Korip6ctrr1,
c),),<i pe 8rcgoperrcr] etrcovoypctpic rcct

traced in the Hagiasmates and Louvaras.

The scene of the Pentecost (fig. 46) completes the Christological rycle. In a room painted with the perspective of the
central point are depicted the welveApostles, placing Peter and Paul in front, while





o h1ooilq ovotrop-

they are receiving the tongues of the


pdvetct orouq oupcvoriq oe ogctptrcrj 56fc, trlv onoic urlrdrvouv 5r5o dyyetror oe owrrcivqorl @w.45).I'ro pdoov, mo d6crpog, rcd'rcl sn6 tovxpto'r6, 8tctdooowqt
6rjo ),eurcovrupdvor dyye),ot nou 6e(1vouv

Spirit, falling in

a radiant

form from the

heaven. The personification of the


under the sTnthronon, in a first level, holds

the lots of the disciples on a cloth. Great

VnI,i. Mnpootd cn6'rouq cyyd),ouq

errcov((etot q @eor6rcog cvdpeoc o'rouq

similarities can be found between that scene and the one in Hagiasmate.

Anoot6),ouq, nou eivct potpoopdvot oe 613o 11pt16ptc. Entrceqo),r]g trov 615o opd8covtov Anom6),rDv eivat o llcr5),oq
cprorepd rcor o lldtpoq 6efd. Ot nv(oeig 'rov Anoo'r6trrov nou 8eilvouv opqlov(c
rcar ircn),r1fr1 ano6(6ouv pe pec),top6

After the Christological scenes follows without any dividing border, as in the
south wall, the miracle of the fuchangel Michael in Chonai (fig.47), connected


cv0pc6nrvo 6doq orq @eogdvetc nou ouwetra{rct. Etrcovoypcrprrcdq opot6t4teq

rqg orcqvriq outriq cnav'rrirv'rar orov Ayraopdtl Kor oro Aoupcpd.

O lproto),oyrc6q rcrirc),og otrorctrr1pc6vetct pe tr; orc1vrj tqq liewqrcootrjq Gw.45). Ie rc),erot6 8opdno nou ano6(6erot pt rrlv rrpoonrtrcri ev6q rcev'rptrcoil olpe(ou, or 6r66srcaAn6oto),or pe emrcsqc),eiq

orrl pdo4 touq llftpo rcct llorjtro, 6d1owcrnq nr3pweq ytr6ooeq tou Ayfou flverjpcroq nou rcc'repc(vouv crrtvolrd an6 tov oupcv6. H npooolnonoiqo4 tou
K6opou onerrcovr(ercr oe npcil'ro sn(ne6o, rcdto cn6'ro or3v0povo, vc rcpctd touq rc).ripoug 'rrov Anoor6trrov pioa ox o06w1. H o.nrn cutr] ncpouotd(ei no)}.dg

Em. 47. To 1aiparou apxayyil"ou Mmatfl"

Fig. 47. The Miracle ofArchangel Michael

opodqteq pe'n1v cw(otorp Aytcopdtrl.



at Chonai.

Mstd nq


tou Xprmo),oyrcoil rcurLou

orcoiou0e( lcop(q 6rcrcoopqtrrc6 6rc1roprorrrc6, 6nolq oto v6'uo ro(1o, ro 0cripo

rou cp1c1ryd),ou Mrlcrj). orq X6veq (errc. 47) nou oyxrilerat ps rnv unorce(pevr1

ncpdotcoq tou Aplolyd),ou oto tug),6 r6fo. }ip<p<,lvc pe qvnopdSoo4 or edr,r).oldrpeq


n6).eog Xc6vrq rrlq Mtrcpdq

Aoiaq efXav ercrpdlfer notdpr


rlq nrpro-

tou Mtlor]),. Msrcl on6 8erjoerg rou povc1ori Aplfnnou o ApXdlrye),oq Mrlorj), oc6(er ro va6 on6 qv n),1ppripc, cvo(yovtcq pc0rd lcpd8pc pe tr'1 tr6yXn rou orrl{4, 6nou livetot ro oppr'lrtrc6 notdpr. llcp6proreq ncpcotdoerg qncrvrdvrcr otov Ayrcopdt1 rcr o'rouq

Xf q yto vG Kcrrcrorpdr.fouv'ro vo6

with the presenrarion underneath, which shows the figure ofthe standingfuchangel in the blind niche. According to the tradition, the pagans of the town Chonai in Asia Minor had diverted the river of the region in order to destroy the church of the Archangel Michael. After the suppli, cations of tle monk fudrippos, the Ardangel Michael saves the church hitting with his lance on the ground crearing a gap,
where the river was falling in. Similar pre-

sentations are found in Hagiasmate and in St. Anargyroi in Palaichori.

The last two scenes belong to the Eucharistic cycle. The first depicts "Daniel in the Lions' Den" (fig. 48), apresentarion found also in the namhex of St. Herakleidios in
the St. John lampadistes monastery. Daniel

Ay(oug Avcpyupoug



48. O latnrf)" moy )"drcrc0 ran


Fig, 48. Daniel in the Lion's Den.


Or 6rio te).eutcieg orcqvdq av4rcouv otov Eulopto'norc6 rcilrc),o. Itqv npr6tq etrcowluat o Acvnj), mov ldmo'rrDv ),e6wr'lv (errc. 4B), dvo 0dpc nou cncwd'rct Kot oro vdp0r1rco tou Ay(ou Hpcr).er6(ou oq Mov4 Ayou Iordwou Acpnc8totoil. O Aortrj), errcov((erat vq 66etat oe onr]Ioto-trdrcrco pre ldovteg ot onoiot tov oyyi(ouv oto n66rs. H orc4vr] nou enrypdqe'rot O

is shown prayrng in a cave-pit with lions touching his feet. The scene bears the

uncompleted inscription: "O fIPO@-


(Prophet Daniel in the Den) due to the



).6yro dMsuJnlq 1c6pou eivcr eD,flrn1q: Anet-

rcov(fowcr povdlc ora 6efrd o Ayye).og Kup(ou lre rov npoqrlt4 Apparcorip nou tou qdpva rpog{, evd) anouotd(er n1 orcq-

vrj pe tov pcoil,dc KJpo rccr rouq ouKogdvreq ot onoiot 0c ptX0oJv otouq tr6ovteg (Acvtrj^ 12.3I-40). flp6rcet'rot yrc 6vc etrcovoypcgtrc6 0dpc nou ouv8darat pe erce(vo tov Tptc6v llc(6rov ev tn1 Kcpivo,'16oo lncti ouppo),((er q oorrlp(c trlq Vu1t1s, 6oo rcqt ycd cnotetre( npoanetrc6r'ro4 l1g @e(aq Euloptoticg. H retreursio ncpdotcoq tou pope(ou toi-

npr on6 'ro etrcovoordoto e(vo r1 orcqvrj pe ro 6papro tou flclop(ou (etrc. 49), nou nopd rq 6td6oor1 nou e(Xe ro
1ou Odpc otr;v nctrcrotr6yetc rcor percpu(al"rrlrq nep(o6o np6rcettct'tr1 povc8rni lvro-

Erc, 49. To dpapa nu llaxapiou. Fig. 49. The uision of Saint Pachomius,

orri ncpdotooll oll1v Krinpo. H onlvri outrj ncpouord(ar q0opdg ),6yo t4q cwtrcctdo'rooqgtou na),qt6rtpou ttKovootqoiou pe'ro uqtotdpevo. O ApXdirye),og Pagcr]), orc oprortpd, pe dv8upc peyd,6opprou povcXori, 8eilver ro Kourco$D.r6 rou Kcu rcpordet avotrr6 ailqt6 nou ovcypdgst "BHOY MONIH] /PO\z Hno/TrrrorrN / AEXOY oP[E]/ Af f E,AI KON/ IXYMA IIA/XOMIE,/ ..IIEP" oneuOuv6pevoq orov lloyipto,

lack of space. On the right side we


the angel of the l,ord alongwith the Prophet

Habakkuk fetching food to him, while the scene with the king Kyros and the slan-

derers, who were put into the lions (Dan.I2.3l-40), is absent. The iconography ofthe scene is connected to the one of the "Three Children in the Fiery Furnace" because it symbolizes the salvation of the soul and the Holy Mass.
The last presentation on the north wall


50. Ot dytot feogytog



Fig 50 Saints George and Demeniul

r6pu{ rou KotvoptoKod povoxtopoil, nou ppiorcetct oto 6eltd rnq oKI\41q.

before the icon beam is the Vision


Pachomios (fig. 49), a scene widespread during the palaiologan and postbrzantine period, but the only one preserved in




tou voriou ro(Xou, oro

tug).6 cr.fi8copc cnetrcovi(ovtot ot drptnrror mportortrco( dyot fer6pytoq rccr Arlprjrproq os ep11ptrc6 ton(o(etrc. 50). O dyroq A4prjtptoq oro 6eftd rcd0etct os
rccqd d).oyo rou rcqreuOilvsrot rlpoq ro cprotepd. A(ntro tou oe yrcp((o dloyo nou
pc6((er ncpdD,rl).c rcd0etar o dytog fec6p-

Cyprus. Due to the replacement of the older icon beam through a new one, the
fresco was partly damaged. The archangel

Raphael on the left dressed in


of the great schema (megaloschemot)


yoq nou rcond(ei npoq tov dyo Anlprjtpto


points at his koukoulion (cowl), turns to Pachomios on the right, founder of the

Kat qKouprrd ro Xdpl rou oro c6;,ro rou. Or Srio vecpof dyrot errcovi(ovtm pe y),urc6 sqn1prrc6 np6orono rcat rovrd pra),),rd, vc goporiv rcovtorig ptciveg, rfrltrdq rcd),toeq (6popr(6eg), evc6 'ra n66ro touq eivct ru),typdvo. or Xpuoonoircilteq neprrcv4pi6eq, or ono(eq qdpouv ompoJvrc. O

orpqrtcDrtKo( rouq Ocbpcrceg eivor lpuoo( rco.t rcoopoilwor ps Xpuooypcqieq. Or pcv-

ayov otepecbvowcr dpnpoo0ev rou orri0oug, To "ovorretdptv" 'rcov ono(olv o.n).dlvetar rrpoq ro n(oro oXrlpod(owcq t6fo. To ton(o rcc0riq en(oqq ro d),oyo'rou oyou fe<lpyiou ncpouotd(ouv etrcovoypcqrrcdq opor6rqreq ps rqv napdorcorltou cy(ou feropy(ou orqv
6rjeg rorv

llcvoy(o Xpuoorcoup6q),t6'nooa o'ro

Korjp6d,r1. Awrotor1teq ncpouord(owct

enio4q pe to dtroyo tou cpou fer,lpy(ou o'r1v ow(otot14 ncpdotcorl orov Ayo-


Itc noDcprrcd 'rou r6fou cnetrcovi(ovrqt 6Jo Krinpror rc.papyeg, orc 6eftd o dyroq Tr11ov (errc. 51) Kcu oro cprotepd o dyroq Inup(8orv (rrrc.52). To olf(6opo oupn),4pc6vrror pr ye<,lpetprrc6 8rarco-

op4trrc6 (rcoopctdorco), 8utrnjq npoitreuoqq, nou cnav'rdrol orIV Ird,(s oe dpyc rou Giotto Kor rcDv pc0r1rr6v tou

rccrd'rov I4o stdvo-, rcc0c6q en(or1q rcor oto Aa'rwtrc6 llcpercr),r]or oq povriAyiou kodr,vou Aapnc8rotoJ orov Kc),onavapc6tq.

Avdpeoo oto rugtr6 crf(8roprc Kor orli

v6'rto, efoo8o cnerrcov((e'rar, o orcoterv6 pd0og rcor npdowo d6c9oq, o An6oro),og

flof),og (etrc.53). O An6oroloq pr


KUoErc. 51 . O dytog Tixan Fig,

vorj ltrc6vo rco epu0p6 rutc6vc rpc'ref rcor


6ilo rou


r),eror6 Euoyyd),ro.

5L Saint


coenobium, and holds open inscribed scroll

writing: "BHOY MON[H]/POYI Hno/TrnorrN / AEXOY oP[E]/

Af f EAIKON/ IXYMA IIA/XOMIE/ ..nEP" (Accept the symbol of the lonely
life, the angels' schema, Pachomios...). In the lower zone of the south wall, in the

blind arch, are depicted the riding militarysaints George and Demetrios (fig. 50)

in a deserted landscape. St. Demetrios on the right side rides a brown horse proceeding to the left. Next to him rides
perallel to him on a grey horse is St. George,

looking at St. Demetrios and touchinghis

shoulder. The two young saints are depicted

with a mild,

teenage face and shon hair,

wearing short tunics, stockings and golden protectors with spurs. Their golden armors are adorned with chrysographies. The cloaks of the saints are fastened in front oftheir breast and theirwav-

ing endings (anapetarin) at the back are

shaping an arch. The landscape,



the horse of St. George resemble iconographically the presentation of St. George

in the Holy Virgin Chrysokourdaliotissa

church in Kourdale. Similarities are also traced between the horse of St. George

in Palaichori and in Hagiasmates.

Two Cypriot hierarchs, St. Tychon on the right (fig. 51) and St. Spyridon (fig.52) on the left are painted in the piers of the

The rest ofthe blind arch is adornedwith geometric decoration (cosmatesque) of

Em. 52. O lyng


Fig. 52. Saint Spyridon.

western iconographic origin widespread in works of Giotto and his cycle during

the 14th century in Italy, as well as in the "Latin Chapel" in the monastery of St. John Lampadistes in Kalopanagiotes.
Between the blind arch and the south
entrance is placed in a dark background and green soil Apostle Paul (fig. 5l). He


light blue tunic and

red cloak

holding with both his hands

a closed gospel.

His figure in the Transfiguration church in Palaichori resembles the one in St. Nicholas in Galataria and in Louvaras, as far as the expression of the saint, as well

his gesture, concerns. In all three churchhe is placed next to the south entrance.


In the thickness of the wall of the south

door, next to the figure of theAposde Paul,
a cross on the place ofsculls is preserved

(fig.54). fuound the cross, cryptographic inscriptions are written: Jesus Christus, Son of God \fins. God's light enlightens everyone.

Christ is offered to the Chris-

tian through His grace. Helen found the finding of the mercy. The place of the entombment is the Holy Cross. Come to the Martyrdom of Christ. The place of Crucifixion is the tomb of Christ the place
of the sculls. Underneath ofthe Cross the
scull ofAdamwas depicted. Asimilar cross was painted

in Askas,



in the St. Christine church as in Hagiasmates.

On the west side of the entrance up to the

end of the west side of the south wall great

Em. 53. O Ailoril,og lfail,og, Fig. 53. Apoxle Paul.

personalities of the monastic life were depicted. First on the left is depicted in bust the holyAnthony (frg. fl. He is holding a stick with his right hand and with his left hand an opened scroll, bearing
an inscription: "EfC)



H nopdotcoq rIg Mercpopqc6oeroq

llc),ot1cop(ou ncpouordfsr no),)dg opot6t4teg pe trg aw(otorleq orovAyo Ntrc6-

trco orrl fc).crcprd Kor oro Aoupcpd, 16oo npog u;v drqpcorl qq ;.ropqr1q tou Aytou 6oo Kct npoq or4v otdorl 'rou. H enrloyrj rrlq aKoyoypdgnoqs rou Apou

an6t4vv6tto OJpc a(vct rcowri rcsr ota tpio pwlpaio.


Iro ndlogtou'ro(1ou
arcprpc6g 6(n),s

trlq v6rcg


an6 rq popgi

'rou Ano-

ot6trou llciltrou, oc6fetct o'rqv cvc'ro).rrcrj ntreupd rrlg 0ripcq otcrup6q ndvro oe
"rcpcviou 16T10". Ercordpro0ev rou oroupo$ undplouv


cpprcd ypdprpcrc tou

peyd),ou cyye).trcoil opipcroq: I [4ooJ]I

X[pm6]I, Y[6q]

@[eoil], N[t]K[d], Q[roq] X[proro]Y, @[civer] lI[dor]. X[prot6q] Xfpmavo(s] X[.lpw] X[cp((etar], Eh6ql Elrjpey] E[dprlpo] Ehdouql, TIAAHI]


/ r[rMroN] EtYl^toNl XPTITOYI M hPT\"rONl [EYTE], / IT[A\"OIrI] T[OilOr], XIPTTTOI T[A@Or] / TIOnOI] KIPANTO\|. Kdrto an6'ro otoup6 anetrcov((etat'ro rcpcrv(o rou A6dp Gw.54). Avriorotloq
mcup6g lre Kpunroyp dplcnaundpler mo vc6 trlq Ayaq Xpror(vcq o'rov Aorcd rcar


Iro 8utrcd qg eto66ou rcar pdlpr ro td).oq 'rou vor(ou ro(1ou rrpoq rc 8u'urcd qnetrcovt(owcr peyd),eq Fopgdq tou Op066o{ou provapopo$. llpc6roq cn6 aptotepd

ncptordvstcr o 6oroq rcor 0eoq6poqAwrivroq (errc. 55) ot npo'ropnj, 6p0rog Kol Kqr' evcbmov. Me ro 6ef( rou ldpr orcouprnd oe pdp6o, evc6 pre'ro cpro'rep6 rcpo're( cvotrcr6 ertrrltdpto nou fetu),(ystot n).cy.cotd,
6nou pe rcegc).c(c ypdppcrc cvoypdqar

hrc. 54. Enrypagrj



Fig, 54. Inscription wirh cryptograms.




(I have seen the traps

of the world spread in the earth). The saint

was painted according to the Hermeneia

of Dionysios from Phournas,

as an

old per-

son with a short beard, wearing a light brown tunic,


brown-red cloak and a blue

cowl with analabos (scapular) with an embroidered small white cross.

Next to St. Anthony stands St. Athanasius from Athos (fig. 56), frontally and wearing a rose cloak, light-yellow tunic and a blue analabos. He is also depicted
according to the Hermeneia of Dionysios

from Phournas,


an old, bald person


sharp beard, blessing with his right hand

and holding a scroll in his left writing:


not to close the gate of the monastery). St.
Sawas (fig.57) stands frontally next to St. Athanasius,
Erc. 55. O dyrogAwannog.

the Hermeneia of the Paint-

ing Art dictates: "an old man, with his

beard splitted in two parts. He is dressed
as a

Fig.55. SaintAnthony.

monh with

an orange tunic, blue anal-

"EfO IA? IAON/ TAI IIA|IAAI/ TOY AIABOAOY/ HIIAOMENA'/ EN TH fH". O Ayrog etrcovoypqqs(ror o$pqovc pe'r4v Epprpic'rou &owotou vd og ydpov rcowo8t1ctroydvng,
sK (Doup-

abos and grey-green cloak holding in his



a scroll

left hand

tov ndryolvc, pe olporcdorovo p'rc5vc, rccorcvdpuOpo pcv8rio Kcu ro paOuyd),c(o


rcourcori),ro rcor ovd),opo.

Ito rlrlioq

Frontally is also the next monk depicted, St. Theodosius theAbbot (fig. 58), an old person with a long, splitted beard, blessing with his right hand and holding a scroll,

tou pe'rc6nou o4percivetcr


prrcp6q ).eu-

A(n),q otov dyto Av' errcovi(eto,r o

dyroq A0ovdoroq o A0orv(rqq Gtrc. 56), 6p0roq rco'r'cvornov, pe p66rvo pov6rio,

bearing the inscription: "KOINOBION/EITIN ENI| EIOI/ O\"ANOI




AIIEAOI OYTC)" (coenobium is the sky

on the earth, therefore we celebrate the

oyorKroK(rptvo Xtrc6vq rcor yo),d{ro cvd).opo. Anerrcov((etct oJpqarvcr ps rov Qoupvd


Mass as the angels to the Lord). He is wear-

"ydpcov <polcrcp6q rcor oluyd-

ing a light-green tunic, a red cloak.

blue analabos and

r,1g", vo eu).oyei pr

to 6efi Kot vo rcporsi

Xdpr et).r'1r6 nou 6r6d-

St. Arsenius (fig. 59) is also depicted accord-

ro oprorsp6 tou

ing to the Hermeneia of Dionysios from


.& q"{h, B

56. O dyngA1atdotog o A1anirrTg.

Erc. 57. O ,iytog Inffas.

Fig 55 Saint Athanasius Athonite.


Fig 57 Saint





O d1'roq Lappcqltrc.57) percomrcdq 6(n),o o'rov dyro A0avdoro, errcov((etcr, 6nog

4 "Epp4ve(c qq (oypoqrrc{q rdXvrlq" ydprov, dXorv ro ydverov erq 613o loptopdvov Kor rov nclyrovo pc6op6v. @ope( povaprcrjv ev8upao(cv - nopro-



rcc),61porpro ptc6vc, yc),d(to ovdtrapo rcct

yrcpt(onpdorvo prov8Jo rccr rcpo'rder oto

cprotep6 er),fqr<ipro Fr rljv enrypcqr] "\[t1(HN Orrr/IOEN TOY O [EO] Y/


Metorurc6q a(vcr rcar o en6pevoq povo.X6g, o dpoq @eo66oroq o Kowoprdppg
(em. 5B), nou noptmdvstcrydpoq pe pcrcpri

6t1d,ror6 ydvr, eu),oyc6woq ps to 6ef( rccr rcpc'rc6vtoq avorrr6 ertrrp6 pe re(pevo:


AEITOYP|O\NTIEII / ATTEAOT Oylft" Qope( r,rXponpdorvo Xrrc6vc, yo).d(to
cvd),opo rccr epu0p6 pcv6$c.

O dyroq Apodwog (errc. 59) ydprov oyouporcdqo),oq, pcrcponlcruydrlq, oripqovo pe rov AtovJoro src (Doupvd, qopei noptorcctr61porpo 1ttr6vc,

Em. 58, O tiytog


@eoddorcg o KontoprdpxrTg,

ydd(ro ovd),cpo
nou 6dvsr og
6rio tou ldpro


Sainr Theodosius the Abbot.

rccr yrcpr[onpdorvo pcv8rla


orqpe(c rcat rcpctef pe


rctretot6 ertrry6.

O dyroq I),op(r,:v o pdycg

a,rco),ou0e(, gope( epu0p6

(etrc. 60) nou

Phourna as an old man with curled hair and a bright beard. He is wearing an orange tunic, a blue analabos and a grey-green

pav8ila nou 6wer

cloak tied in two spors and holds

closed scroll.

yovdtrovtou oy(ou, oXponpdorvo lttcSvc rccr yold(ro cvdtrcpo, noprotdvercr ydpog pe treurcd pc),),rd rccr yrivrc rcar rcpard cvorrr6 eil,qr6nou cvcypdrper "ENMKPYII [PIN/




St. Hilarion the Great (fig. 60) is wearing


red cloak tied at the knees of the saint,

a light-green tunic, a blue analabos and is depicted as an old man with white



Erc. 59. O tiytogAgoit,tog.

Flg. 59. Sdinr Arsenirx.

Erc. 60, O dytog l)"agiat. Fig. 60. Saint Hllarion.


Te),euto(og Lrovo16q dyrog oro v6'no

hair and beard holding an inscribed scroll


Xo srKoviqrror o sp4lrfr1q dyroq Ovoilgptog(errc. 61), nou noprordvercr o).6ooLroq, Fsror[K6q lrs r0 xdplo oyorKrd os ordol 6dr1or1q. O firoq errcovi(etor ydpcov yupv6q dlcov ro ydverc porcpd drog toug n66oq ;.re rcd'no1vo oc6po nou rco).rjnre8t

writing: "EN AAKPYII [PIN/ K[AI] |IONOII IIIEIP/ KATO IAAPION/ OEPIZE NDNI XAI/PONANC)" (Down you were living wifi crying and pain, Hilarion, and up you enjoy the happiness).

The last monk on the north wall is the

standing St. Onouphrius (fig. 61), painted frontally in a gesture of praying. He is



O dyrog Ouoiggrog.

Errc. 62.

H ayia lfagaorceaf.

Fig. 6L Saint Onuphrius.

Fig. 62. Saint Parasceue.

ror on6 pryd)q,

por5peq rp(Xr,;oK6pnwq,

presented as an old, naked manwith along beard falling to his toes, very thin and

oilp<povc lrr rov B(o'rou Kot r1v rca0tepr'lpdvq rou rKoyoypcg(c. Trl y"rpwc tou rcp$pet, ercr6q cn6 q parcpdywetd8q rou,
nep(fr,rpc crn6 rc).o6td yupr,r cn6


some hairs on his body, according to the

traditional iconography. His naked body

is covered by his long beard and by some


YI rou.

branches around his waist.


v6trc'n1g 8urrcrig 0ripaq etrcovi(owcr

q cy(a flapcorceurj Gtrc.62) oro Xopcrn1prmtrc6 rlKovoypogtrc6'nino, rrou ouv82

At the southern part of the west door was painted St. Paraskeve (fig. 62) according
to the usual iconography, which combines

the Saint with the Good Friday and the Crucifixion of Christ. The Saint is holding an icon with the deadJesus, similar to the iconographical rype of the Man of Sorrows, depicted in the niche of the Prothesis, in the altar (fig.l7a and 17b). The Saint is wearing a brown-red tunic with light yellow lights with the symbols of her maidenhood and a light green cloak. Next to her is shown frontally St. Marina (fig. 63) in a bust holding with her right hand a cross and raising her left hand as usually in the iconography of the martyrs. She is

purple maphorion adorned with

pearls at the edges, symbols of her maid-

enhood, and a blue tunic. Both saints are depicted together in several churches of Cyprus, as in Louvaras and in Hagiasmates,
presenting iconographic similarities.

At the north of the western entrance


depicted St. Mamas (fig.64), the protector of the Turkish-occupied town ofMorphou, whose iconography at the same place

of the church was widespread during the Venetian period in Cyprus, as for example in St. Nicholas church in Galataria and
Errc, 63.

ayia Maphta.

in the HolyVirgin in Kaminaria. St. Mamas is presented as a young, beardless figure

Fig, 63. Saint Marina.

6ud(et rrlv o\no ps



rlpdpo rrlq Msyd-

riding a blond-brown lion with a raised tail in a S-shape, going to the left. He is wearing a blue tunic adorned with precious stones at the edge and a purple cloak

llcpoorceur]q rcct'ro o'rcuptrc6 Odvoro rou Xprcro$. @ops( H AyLc rcpa'rd otc
Xdpra t4g etrc6vtopo pe

is fastened on his chest. He is holding a



orrlv (6rc rtKovoypog(c, 6notq 11 Arcpo Tcne(vororl otrlv rc6y14 tqq llpo0doeoq

oto lep6 Brjpc (etrc.17a AITF). H Apc gopei rcootavdpu0po ptrivo Ft ovot1rorc(tpweq ncpuqdq nou gdpet ta rcoq.nj83

in his right hand and on the left a as well as awhite sheep. The presentation, in spite of some iconographic differences, as for example the cross in the hand of the saint and the waythe lion goes resembles the fresco in Hagiasmates (1494)


psrc rlq rropeevioq rlq Kot oxporrpdolvo Xrrc6vs. A(n),c trlq etrcov((e'rct rl oyto rcar peyctropdptug Mcpivo (etrc. 63)

oll0cic vc rcpctd pe to 6ef( otaup6 Kqr ycl urfr6ver qv cprotept'l t4q

nc),dpn1 oe dv6etf4 pdptupoq. Qope( nop-

gup6 pcq6pto W popyoptr6oplpc rcoopnjporo ottq napurpdg, oilprpo),c rnq rrop0ev(ag rrlq Ayfcq rccr yc).d(to ptc6vo.


6rio oy(sq ncpiorov'ror notrJ ovyva y,al( Ksr or d),).oug vcoriq qg Krinpou, 6norq

oto Aoupcpd rcst otov Ayrcopdt4 nou

nopouord(ouv rcat'nqv (6ta etrcovoypcg(c.


p6petc rrlg 8unrcr]g eto66ou ncpto'rdvg'rst o dyoq Mdpcq (etrc. 64), no).r-

Em. 64. O dytog Mdpag. Fig. 64. Saint Mamas,

oriloq Ayroq trlq rccte16pevr1q orlpepc n6leo4 trlq M6pgou, nou rcctd'r4vnep(o6o qq Beve'rorcpct(ag oncwdtct oulvd
o'n1v cw(morp1 0dor1 rcqt oe d.Uouq vcoilg

and in Louvaras (1495). Several similarities are also traced in the later composi-

rrlq KJnpou, 6noq otov Ayto Nrrc6trco orq fctrc'rcptd rcot ot4v llavcy(a o:.s" Kaprvdpra. O Ayroq etrov((etct vdoq,
cydveroq rccpctrdprlq oe fav0orcdorcvo trrowdpr pre urfoprdrnl oupd os oX.tjpc "S", nou o8eder npoq rc cptmepd. @opeiyo)d(to pt<ivc pe 6td),t0n1 ntrq'rerd ncpugri rcar rc6rc,rvo pov6r5c nou nopnrivrror dlttpooOsv'rou otr]Oouq. Me to 6efi tou ldpt urfc6ver otcup6 Kst lrs to cptotep6 rcpcts(norprar."un1 pdp6o rcct prcp6 treurc6 np6-

tion of St. Mamas in the St. Christine

church in Askas
(1 5

i 8).

In the lower zone of the north wall follow

four military saints, depicted in military uniform (cloak, breastplate, trousers, leg-towels) in a dark background and a green soil: St. Mercury (fig. 55) from Syria, a young with a short beard figure stands
frontally on the west pan of the nonh wall. He is leaning with his right hand against his lance and with his left hand, where his shield hangs, on his sword.
St. Nestor (fig. 66) in contrast to the oth-

pcro. H napdotcorl nopd trq 8rdqopeq aKovoypoqtrcdq ncpctrtrcydg tr.1 o orcup6q oto ldpn rou Ay(ou rcot gopd p4pcropori rou trtowcptor5 nopouotdlu aprc.rdq opor6trqteq pe erce(veq orovAl.rcopdtrl 0494) Kct oro Aoupopd (1495). Aprcepetcyevdotep4 nopdorcoq rou A1.(ou oro vc6 rrlg Aycq Xpror(vcg otov Aorcd (1518).

er frontally saints is represented turning

to the right. This beardless young soldier is depicted holding an arrow, which he carefully observes. Next to him St. Eustathius (fig. 67),young and with curly beard stands frontally and leans with his right hand against lance and with his left

rdq opor6t4teq ncpouord(er

is holding his shield and his bow. St. Theodor Stratelates (fig. 68), a young figure with curly hair is raising with his right hand his sword and leans with his left hand against his shield. In the middle of the nonh wall
are depict-

ed four standing saints in a similar iconographic background, with the one of the soldiers. These saints were widespread during the Venetian rule. Apostle
Andrew (fig. 69) follows St. Theodore and is represented frontally, according to his traditional iconography, old andwith curly hair, with a beard splited in the middle and holding a scroll. He is wearing a green tunic and a red cloak blesing with his right

hand. Next to him stands also frontally

Erc. 65. O dyrog Meprcoiprog Fig. 65. Saint Mercury.

Aposde Luke (fig.70), represented



with a small beard, with a red tunic, a blue cloak, blessing with his right hand and holding in his left hand a scroll. He is followed by the bald, frontally and roundbeard St. Nicholas (fig.71) dressed in bishops' vestments: a grey sdcharion, omophori-

on (pallium) with embroided big black

crosses, rose phelonion and an orange epi-

trachelion (stole) and epigonation (kneeclothe). He is blessingwith his right hand and with his covered left hand holds a brown-red gospel adorned with golden decorations. An orange border highlights the standingAposde Peter (fig.72), depicted in a three quarter view, as a bald,


curly beards figure, holding his 14 Letters tied in a scroll. He is walking to the right in a praying gesture and wears an orange

Em. 66. O dyng lVfmag. Fig. 66. Saint Nestor.

In the blind arch of the north wall stand

the Archangel Michael (fig. 73) and in the


rcdtro (cirvl

rou pope(ou to(1ou

arcotro u0orjv'rdooe ptq o'rpc'ttr,l'rtrco( d1not, ot ono(ot cnetrcovt(owct to'rdpevot

pe n),r]pr1 orpc'rtortrcrj orcoq, 0c6pcrcoq,

efdptuol (prorr,r-

cvcf up(6eq, no8ondvta)

oe orco'retv6 pd0oq rcct npdotvo d6ogoq:

O }1poq dytoq Meprcorjproq (etr. 55) vdoq, cppydv4q, o'rdrcetat oto 6u'rtrc6'rerprjpc tou pope(ou'ro(1ou, pretc'lntrc6q. It4p((ercr pre to 6ef( oto 56pu Kot lrs

'ro cpto'rep6 tou Xdpt, oro ono(o rcpdpe'rar 11 coni8c rou, oro onaO('rou.

H otdo4 rou a1'tou Ndotopoq (errc. 66) nou orco),ou0 tl onilutqv on6).uq petor
nrrc6tqra'rolv unotrofTrov ps prc oetpd rcw{oeovnpog rc 6eftd. O aydvetoq vdoq orporrortK6q, etrcov(ferot vo rcpotder pdtrog, to ono(o (uyd(er pre to pdtt.
Ain).a rou o dytoq Euord0toq (erc.67) vdoq otpolyutroydwlq, etrcovi(atat pe'rrorurc6g

vc otrlp((etct pe to 6ef( rou oro 66pu rou Kot pt ro cptotep6 rou vct Kpc'rdet'rqv qon(6o KGt ro t6fo tou.
O di'roq @e66ropoq o ltpot4)dqq


Errc, 67. O dyng Euorri2ng.

68) vdog, oyouporcdqctroq Kot poup),oyd-


to 6efi rou ro onaO( tou oqp([et ro optotep6 tou ldpt otrlv

ur.lrc6ver pe

Fig. 67. Saint Eustathiul


intrados St. Cosmas (fig.7a) and St. Dami(fig. 75), onthe western pier St. S)'meon


pdoov tou pops(ou to(1ou ctnatrcov(-

the Stylite (fig.76), while on the eastern

(ovrat tdooeptq pepovopdvot o),6oopot dyror o'ro (6to pd0oq pe erce(vo'rov

o'rpc'nco'nrcc6v cyrov. flp6rcettcr

pier was fragmentary preserved the following inscription: "<E>K BA@POY

Fopqdq nou e(1cv preyd),q

ya dyeq 6rd6oon1 tqv

nep(o6o'rq g Bevetorc parfu4. O An6oto),oq Av8pdog (etrc. 69), nou qrco),ou0e(

KtAIl../ <noAAOY> trO@OY KIYPI-


cn6tov dyro @e66orpo, etrcov((s-

ror psrorrtK6q oJpgorvc pe qv rco0tepoprdrl rou etrcovoypcg(c r'lq ydpolv rcct(c86

olY.../...K[Ar] TH> IIMBYOY


Em. 68. O lyrog @edfaryog


Em, 69. O Andnil"ogAttdpfag. Fig. 59. Apostle Andrew.

Fig. 68. Saint Theod.ore the Stratelates.

popd),),4q, erg 6rio lcop((ov'ro ydverov, poorcbv rutrryprdvov 1opd. Qope( rpaov vo rpd'no rcor epu0p6 prc6vo rccr eu),oye(

<NON>.../...@H... " (This venerable

church of our Lord and God was erected from its fundamentwith the contribution and the great desire of Mr. [...] and his

ro 6efi tou 1dpr. A{n),c rou emo4q ;retr,l-

nrrc6q errcov{luat o An6oto},oq Aourcdq

wife [...]ves and their children [...])

(fig.77). All the frescoes belong to the hand of the same painter and his assistants. Unfonunately, due to the damage of the founding inscription we are not in a position to know the names of the donors, the painter and the date of the erection. Our

70), en(or1q pe'rr,rmrc6q, v6og oyouporcdgctroq, o).tyoydvrlg pte epu0p6 tpdrro Kcu yo)d(to ltrc6vc vo eutroye( pe ro 6af( rcctvc rcpctd ps ro aprcrp6 rou ldpr rctrerot6 er).r1rdpro. Arco).ou0e( o dyroq



71), pe'rr,rmrc6q gctrcrcp6q,

otpolryu),oydqq ev8e8upivoq pe cpxt-

Em. 70. O Andmil"og AourcdE. Fig. 70. Apostle Luke.

Em. 71. O lytog lVncdlaog. Fig. 71. Saint Nichola:.

pGrrKd ay"<ptc: rsgp6).tuKo orrxdpto Kot

trlpoq6pro ps Fsyd),oug FoJpouq oroupor3q, p66tvo qstr6v1o Kot noproKotr6X.popo enrrpclr]).to rcct entyovdtto. Me to 6ef( ldpr eu).oye( Kol lis to cptorep6
rcc).uppdvo rcpcte( prptrio rc),etot6, oto,-

painted must have been very close to the artistic creation of Philip Goul and his cycle. The frescoes are dated between 149415 (frescoes of Philip Goul in Hrgt^mates and Louvaras)

lorpdvo oe lpcilpc rccotcvdpu0po


lpuodq 8rorcoopnloerq. Anoprovoprivoq oe r6n(repo 6tdlopo, nou oppad(erat sn6 noptorco),61propo ntrc(oto, cnetrcovi(e'rat o An6o'ro),oq fldrpoq Grc.72) gc).o88

andI5l3l4 (frescoes of Symeon Axentes in both churches in Galata). Our church can be possibly dated in the first decade of the 16th

rcp69, poup),oydv4q, prfctn6),tog, pcotc6v

rcq 6'emmotrdqtou ru),rypdvcq

rccr 6epd-

vcq 6trcg opor3. O A1'rog ncpiorctrcu or

ordorl rptcirv're'rdp'rrrrv oe pnlponop6 npoq

rc 6efrd,


otdoq 6dr1oqq, evSe8updvoq

pe prc6vc lpc6pctoq noptorcc).i.


rugtr6 t6fo tou pope(outo(Xou etrco-

v((ercr o cp1d1rye).oq MrXcr]), (erc.73) Kqr oro eoolpdpo ot dyot Koopdq (errc. 74) rcn Aaptcv6g (ttrc.75), oto 6u'nrc6 no6cprrc6 o Iuperiv Iru),iqg (trc.76),

oto 6s svctotrtrc6 no6cprrc6 ori(etct 4 arc6),ou0q ptooKortorpcppdvq Krlroptrcri snryporpr]: <E>K BA@POY KA<I>




Errc. 72. O AndonTog

IMBYOYA<YTOY>/...BEI K[AI] TON TEK<NON>.../...@H... Grc. 77).

llirpog. 'Otreg or totloypaq(eq cvrircouv orov i6to

(oypdgo Kcrl rouq pro04tdq'rou. Auotu16q 11 rcctoorpoq{ rrlq Krrlroptrcrjg entypogrjq pog otdprloe'rc ov6poto rov 6rop4rcbv Kcu rou [olypdgou, 6noq rcot tr; lpovo),oy(c. O Zaypagog ;rag npdner vc 0eorpe(tot no),S rcowd o'tov Qfltnno foutr Kcrl rov nep(yup6'rou. Ot torloypcg(eq lpovo),oyorivtct petcfri ro'a I 49 4-149 5 (rorXoypcq(sq rou (Di),tnnou fou), o'rov Aytcopdrrq Kot oro Aoupcpd) Kor rou t513-1514 (torloypcq(eqtou Iupec6v Afdvrrl oe 6ilo vcoilq otq fotrdtc). To pvqpe(o pnopei vc lpovotroyq0ei rcctd ndoo nr0ov6'rqtc otrlv npc6t4 6ercaer(a rou 16ou atc6va.

Fig.72. Apostle Peter.

hrc. 73. O agxin's)-o: J[:x";,i," Fig. 73. Arclnngl .'t[i.i:-;i..

Etrc, 74. O dytog Koopdg.

Erc. 75. O tiytog /apuudg. Fig. 75. Saint Damian. 90

Fig. 74. Saint Cosmas.

Erc. 76. O iytog Eapeatt Eril.i'rEg. Fig. 76. Saint Simeon Stylites.

Errc, 77.

KnTroErc( nrypagtf.

Fig. 7-. Panonal instiption.

4r.are6opry ory

{iTwattr errrcpewt(iv

Decaretion af the wxadzm.


Or fu).o6eotdq rccr tc otcupc6poro oro


The wooden stretchers and the beams in

rou vqoJ e(vct t6rc('repo rco),a(-

the interior of the church are especially

elegant and with care adorned with floral decoration. The wooden beams of the south wall preserves decoration with busts of saints, while the middle wooden

oOr1tc Kot rrpoorYpdva

nr6 gutrc6 8tdrcoopo.

v6rto'ro(1o 6tcoc5(er

rct gdpouv ypcH {u},o6eotd oro

rc pop-


qdg oprov, evr6'ro peoc(o otcripoprc rpdper


beam bears the following inscription:


which all ofyou enter,

the house of God

Em. 78. fpamdg iluircooVog {tiLn,ot, rcaraoxeuatv, Fig. 78. The Painted Decoration of the tVood.en Structures

Towoygarpieg rrf{ Tovpwsr{Qnries




efarte prrcr] n),eupd tou 8uttrcorj ro(Iou r1q rKKtrIo(oq ocbfowat 6eftd rccr Gptorspd qq ero6Sou totloypcq(eq, rlou

and pray. If anyone resentful enters this place let him be cursed) (fig. 78).
\Yatrl p aiwtiwgs d.rwing t*e Swsman


oilprgovc pr ptooKorootpepdvrl tntypoqi1 oto rug).6 r6fo ndvo cm6tqv eioo6o lpovo)'oyoi'r"rct oro



In the external side of the western wall

of the church, survive wall paintings on the left and west side of the entrance. According to the damaged inscription on the blind arch above the entrance these wall paintings are dated 1612. On the semicircular door's lid Christ is depicted


etroviierot o Xptor6q arg Mdyoq Appe pdog (eu.79).


Or rorloypogieq ercordpo0sv tilq eto66ou cnarrcov((ouv 6eftd otov Xptor6 drpovo

Toutov dyo irodwl tov flp66popo totdpevo, evd ors cpto'repd cnetrcov((erot 4 @eor6rcoq dv0poul rcqr 6fnla rrlg o dytoq Iodwrlq o @eotr6yoq totdpwoq (errc. 80). H totloypdgqol rou npootcbou 'rou vaoJ pre tr1 oilv0eo4 cutri rrou qnora],s( ouotoottrcd avttypoqrj


the Great High Priest (fig.76).

Both sides of the entrance were decorated with frescoes. On the right is Christ enthroned and next to Him the standing
SaintJohn the Baptist and on the left side


Virgin Mary and next to her


'rou tuntrcoJ rtKovoypogrrcori npoypdprpcroq aKovoo'rqoiou 6ev e(vat ouvr]0r1q

Saint John the Evangeli st (fig. 77)

oqv Kilnpo crv Kcu oulvd cnetrcolr(owct

ercctdpoOev rrlq ero66ou o Xpror6q rcor

This wall painting composition of an iconostasis in the porch of the church, is not usual

q @eor6rcoq, 6nroq otrlv Aoivou, llo8ilOou rc.d. Irnlv nep(nroor'l rnq Ma'rapropgrioeoq llc),cr1op(ou'ro ypant6 eircovoo'rdoro efunrlpere( cvdyrceg ),etroupwKdq'

in Cyprus, eyen though Christ and theare often depicted

Virgin Mary

in either in the church of Panagia Podythou in Galata etc. In the case of the Church of the Transfiguration
side of the entrance, i.e.



K{tx $t rpoEX#g urcdaeE

at Palaichori the painted iconostasis served

To arrcovootdoro cnotetre(rsr on6 6rio oerpdq etrc6vrov: 'rtg 8eonotrrcdq oto

rcdtro pdpoq nou s(vqr peyd),ov 6roordos[DV Kot

liturgical needs.
T/te icansstasis and its Xcons The iconostasis
are bigger

rrpoorcuvoUwst cn6 'rouq mmodq,

formed by two icon rows:

Kot rtq prrcpdg etrc6veq r1q Meyd),qq Adrloriq (Anoototrrrcd). Itrlv rcopr,rvi8c rou rlKovootaoiou eupiorcetcr o Eo'raupropdvoq rcor 6rjo }unrlpd, errc6veg 6q),c64 .nq @eot6rcou KCn rou Iafiwltou @eotr6you oe otdorl ),ilnrqq (errc. 81).

the despotic icons in the lower level that


size and are venerated by the

pilgrims and the smaller icons in the upper level of the Great Deesis (Apostles with

O Eoroupr'rprdvoq lpovotroye(rot ps snr-

Christ). On the top of the iconostasis can be seen the Crucified and the two Lypera, which are icons depicting the

Em. 79. O XEndg ag Mfyag Aqnryiag, 1612. Fig. 79. Christ as the Great High Priest, 1512. 93

rcat rou dyr.o

Em. 80. Ot rouoygagieg mr1 |wrctf e{a'reErctf ritftrJ nu uaod anercotti(ow [eQd rou Xgznd iv1pouo lailutry nu llpidpopo rcat on aEotqri rryu @eordrco eu1gourl rcaz nt, dyto loiluury @eo).dyo.

2ro rciwgo, zdyat axd

n1u eiooto


XEndg ag Miyag,4pxzepiag.

Fig. 80. Frescoes ofthe westernfacadr drpictingto the right Christ enthroned and SaintJohn the Baptist and to the hfi Virgin Mary enthroned and Saint John the Eaangelist. In the center, aboue the entrance,
Christ as the Great High Priest is drpicted.

ypog4 1704.Ksra, ouv6nac ro fu),6ytrunto stKorroord,olo, Trou eivcr rcqtcoKsuoopdyo mqv (6tc teXvorpon(o [ rov Eotoupopivo, lpovo),oye(rct otqv (6ro XpovrK{ nep(o6o. To etrcovoo'raorc {yet ovrtKcrrooljoer npoyevdotepo rtKovomdoto, ro onoio urnlp1e mo vo6. H'rono0drn1o4'rou vdou srrcovoorso(ou, pryo).U-

Virgin Mary and Saint John the Evangelist (fig. 81).

The Crucified is datedwith an inscription in I7}4.Therefore the wood-carved iconostasis made

in the

same sryle

with the Cru-

cified should be dated in the same period.

This iconostasis has replaced an older

iconostasis of the church. The installment

rrpou or 8tootdoerq Gfi6 ro npoyevdo'repo iytt nporcc),doer gOopiq or4v (roypcgrrcri enrgdvsro 1600 oto p6pero 6oo Kot oro v6tro ro(Xo. H nc).or6repr1

of the newer iconostasis which is bigger in

size of the old one has damaged the paint-

ings in the north and the south wall.

aK6vo rou vooJ e(vor ercs(v4 rrlq @eor6rcou E),eoilocg (errc. B2),

The older icon of the church




ono(c rropou-

gin Mary Eleousa (fig. B2), rvhrch today

is over-painted and bears a beam. It is a processional icon that was used during periods ofcrises, earthquakes and other calamities.

otdfercr orjpepa dv'rovo enr(toypcqropid-

v'I Kot 6rooc6(er rcovtdpr, ytcr avdpllorl

rcotd qvneptqopd orq ),rtcvefeg oe nepr6-

6ouq rcp(oetov, crvoppp(cg, oeropcSv rcor

d)J,r,rv 0aopr1,rc6v. Or sm(arypog(oflg




@aor6rcou, 6nog rccu q erctd-

The over-paintings of the icon of Virgin Eleousa and the painting of the icons of

hrc. 81. To emoyoortioto rou wotl pt Fig. 81.




'r/i 6io ),unt1gi o-rr7v rcopat,i\a

The Iconostasis of the church

with the Crucifed and the twl L!?era on the top.


the Apostles should be ascribed to the painter of the Crucified and Lypera datedin 1704. The icon of the Transfiguration of the Saviour (fig. 83), dated due
to an inscriptioninl7l4,is the most impor-

tant icon ofthe church and thanks to the restoration of 1850, is preserved in a
good condition.

The presence in the Bishopric of Larnaca of the monk Matthaios from the Koutloumousion Monastery of Mount Athos, recorded in the inscription as a donor, suggests that Matthaios was an intermediary for the import to Cyprus of icons from MountAthos. The inscrip-

tion of the icon writes: "+AVIA.


Em, 82. Ercdta @nilrcou E)'nioag, 17" awag. Fig. 82. Icon of the Vergin Eleousa, 17 " century.


tov AnooroLrKdv lrrropoilv vo orro6o0orjv orov (oypdqo rou Eotaupropdvou KGr rov Aunrlpc6v ro,r 1704. H errc6vo rrlq Mercpopgc6oroq rou }Dtripoq
treor1 (errc.




KOYTAOYA4OYCIOY ATIOPHTOY' $171,4 \X,/hile Sylvester is the Bishop of Kition and President of the new town of Limassol and Curium. \fith the contribution and assistance ofthe monkMatthaios

83), nou Xpovo),oye(tor





1714, aivcr

oqpov'urc6rep1 rtK6vc

rou vood rcct 1dp4 mtg eneppdoetq


tou 1860 8totqpe(tcr oe notrJ rcc'rdotaoq. H ncpouo(o orq Mqtp6p4o1q notr4 Ktr(ou ol1 Adpvcrcc'rou cytope(-

provclorj Mqr0q(ou Kou'r),oupouotccoq

voJ, nou pvrlpoveriercr o'n1v errc6vo. o.utrj

ayopefrtrcl g're1vo'rponioq

from the Holy Monastery of Koutloumousion ofMountAthos) (fig. 84). In the lower part of the icon there is another inscription with the following: "AIA EEOAOY TON THMIOTATON MEPI


ntotsderot 6tr snavdpylos r'tq o orjv6e96



opoq Kot rropoyyrllo86trqq errc6vov on6

to Ayov Opoq.To rce(pevo rrlq sfirypo<prlg tp.t r,rq efrjq: "+AIPIA. EY@HNONTAC EIC TON OPONON THC

KOYIAOYMOYCI OY AIIO PHTOY' (errc. 84). Iro rcdrro pdpoq trlg errc6vcg pvrqpoveriovtot ot Xoplyoi: "AIA EEOAOY TON THMIOTATON MEPI



XPICTOOH META CYMBIAC KIAI TEIC\ON AOE" (errc. 85). Try (6ra Xpovtd o Mot0oioq cvotpipsrot lrs rrrlypogrj orlv etrc6va tou flpoSp6pou o'ro
vc6 rou Ay(ou Bqoileiou oro Kc),6 Xropr6
Adpvorcoq roq 8rdrcovoq. H enroraoiq rou

Mar0aiou Kour),oupouorovoJ cvcgdperot emo19 oe 6ilo npoorcuwlrdpta.rc 1730 o'ro vo6 tou }rltrlpoq ot4 AdpvcKcr Kcu rc 1735 oe ercsfvo'rou kodwou @ao),6you ornv (6ra n6),r1. H etrc6vo rrlq Msropopgc6oeoq tou Ioltripoq, oripgr'rvc pe rIV tfitypog rl, npo(.pyrrat sn6'ro prlrpono),trtrc6 va6'rou lo{poq otrl Adpvcrcc rcct petcgdp0rlrce oro lld,orlc6pr pretd trl ouvqpr;orjrqg,'ro 1860. To oplpc dil,oorr r4q errc6vcq nou efvcr 8rc9opetrrc6

Erc. 83. Ercdua ryg Mempoggdtotdtg

an6 'rc 6tdlopc'rou ugrotdpsrrou

aKovoorcroiou, nporcdleoe perctponr] tou tstrsurc(ou yta rqv cvdptqorl r1q

nu Ianigog, 1714. Fig. 83. lrcn of the Transfgurarion

ofthe Sauiour, 1714.

Erc. 84. AEegdryarmrj mryqagtf on dva p{qog rEg errcdvag


Mnapoqgaoeary rou Xan(p0g1714.

Fig 84. Dedicatory insniption on the


part ofthe icon ofthe Transfiguration ofthe Sauiour,


srK6ycq (errc. 81). llp6rcertcr )4o rrK6vo ouwlpl]TtK(6v o\rops{rrK(l)v spycorn p(ov
rrou oKotroueorfu
pou Kor


X?ICTO@H META CYMBIAC KIAI TEIC\ON AOE" (A, the expenses of the
honored Meri Miser Georgi and other rich


(roypcqtrcr] trlq


rlq Armrc4q Mare8ovicg. H teTyorponio ourli XopoKrrlpiluat cn6 (rorlpd

ysripara, dwovq 8torcooprqnn] 6rd0eor;,
'runonorqprivc o6Jlu'cnc- rccr popqdq, pov6-

men of this parish of the Savior. It

is repaired


now at the o<penses of Cluistofu,




etq, orou p61po po rrspl-

his wife and children) (fig. 85).

In the same

ypdprpcrc npooc6nou rcct ntulotroy(cq rcct

year Matthaios is recorded in inscription

lpuooriq, orrrrorJq goroo'regdvouq.

Or ex6veq tou Xproror5 (em(roypcrp(otn1rce

on another icon of Saint John the Baptist in the church of Saint Basil in Kalo Chorio of Larnaca as a deacon. His superintendence is also mentioned in two

ro 1855)

Kst rou c1'tou k'ldwou'rou @eo-

tr6you nou Xpovotroye(rct

oto 1 850 dlouv

1.(ver orqvtelvorpon(c qq l1o).4q Kop-

vdpou nou XopoKrqp(leru an6 dva


in 1730 inthe church of the Transfiguration in Larnaca and 1735 in the church of Saint John the
icon holders dated

r6r6tuno pu0p6 8unrcorj

rcar ovc'ro).trcod

pncp6rc rccr rqv itrtrerrfr; (owdvrcq oqoU

Evangelist in the same town. The icon of the Transfiguration was originally in
Palaichori according to the inscription, in

encvc).cppdvouv stKovoypogucd 0dparc

tou Iodvv4 Kopvdpou Xclpk rccptd

npco'ro'run(c(etrc. 86).

the Cathedral of Larnaca - at the church of the Transfiguration, and was sent to
Palaichori after its reparation in 1860. The iconwas notfitedto the icons beam because of its different shape; therefore the iconostasis was adjusted to the icon (fig. 81).

To rdpntro,'ro onoio rcatd'ro peyc),r5tep6 tou pdpoq cvrircsr orqy nep(o6o rqq Bevetorcpat( ss 0489-157 I) iyaunoo're( g0opdq Kcu rpoTTorrotr]oetq \to vo 6e10e( vdeq errc6veq, 6noq erce(v4 trlg Metcp6pqoorlq nou riqtaoa oro llatrcryilpr


1860, o orcup6g Kot rcr


orqv Kopov(6c tou rtKovooroo(outou I704.To tdpn).o pxd ar.6 rcd,norc m0av{ B}.dBq, 'ro rcd'ro pdpoq rou tyu ent-

This icon was painted in the conservative painting-workshops of Mount Athos and follows the painting sryle of Epirus and \(estern Macedonia. The characteristics are consisted on the bright colors,
the intense decorative temper, the standard

:lts$.,p _NTZOJ IiN/TTIG T6 / GOTHf f I t \ / TT * 'H,IIETAITIIBI.AX .t(

Erx. 85. Enrypag( oro
rcdrat plgog nJg eucwag n1g Merapopgooeatg

nu Xanipog

pe'rr1 xqoviluoyia endrd p1aot1 g I 860.

Fig. 85. Inscription on the hwer part ofthe icon ofthe Transfiguration ofthe Sauiour

with the date ofreparation 1860.


ypomd 0opdrcto nou dyrvcv, rco'rd ndoo nrOav6tqtc, perd'ro 1860, pe lopilyic rou
6top0r'l0e( Kot owtKorctoto0ei pe

shapes and figures, the dull repetitions, the

dark contour lines of the faces and the

draperies and dotted, golden haloes.

rcpdc Mr1cr1). oJpg<,rvc l"tt

rlv emypcrq4 oro 6efi 0r'lpdrcro nou cvoqdpet


The icons of Christ (over-painted in 1855)




and of Saint John the Evangelist dated in 1860 were painted according to the iconography ofthe painting School of
Ioannis Kornaros, characterized by


liar combination of western and eastern baroque and the lack of liveliness, since

it's a repetition of the iconographical cycle of Ioannis Kornaros without any

innovation (fig. 86).
was made,

The Iconostasis, which was preserved, it in its bigger part, during the

period of Venetian Rule (1489-1571.), ir, was destroyed and it transformed in order to bear new icons, like the icon of the Transfiguration of the Savior (reached Palaichori after 1860), the cross and the
and SaintJohn the Evan(Lypera) next to it on the top of gelist icons the iconostasis dated


inl704.The iconos-

tasis, after a possible damage, it was restored

Erc, 86. Emdva nu XEontl Eu)'oyoivrog

nou nt(dtypagiorryxe



Fig. 86. Icon of Crist Bhsing. on 1855.

was ouerpainted

on its lower part and the parapet were replaced by painted ones, made maybe after 1860, with the financial contribution of the priest Michael, according to an inscription on the right parapet: "MNHr,@HTI KILIE TOYAIOY O\']/

roY MrxA[H]A rEPEO[I]



<...> AYTOY <..>" (Lord remember your slave priest-Michael and his mother) (fig. 87).


, S:&;
'4r ll .f#r,


Eut. B7. Atmopipua and lpani, 1apircn nu ru 1860. Xopryyia rcpla Muatfl.

iprlou, pt:ri

Fig. 871. Detail ofthe pdinted Parapet, dated aJier 1860, uirh

fnancial conrribution of the priest Michael.


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