Naos Metamorfosi Palehori

7/29/2019 Naos Metamorfosi Palehori

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NAO> METAMOPOO>EO>TOY TOTHPOI (Ayui lox{pcr) IIA ADQPIOY

Ioroptc - Appterrowrc{ xcr Td?4vrl

THE CHURCH OF THE TRANSFIGURATIONOF THE SAVIOUR (Hagia Sotera)

History - Architecture and Art


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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]notepopgrlC cvoncpcyoyri, ;retdbool npoq to rotvd, erno[m], petdgpool, 8uoreuri{ dll4 rpoocppoyrl ol6r}.r1pou tou Cpyou ouroil ri ouorrlt8ouq tprjpotdg tou.ISBN: 978-9963 -8998-r-4(i4ryright @ Association for thc Prorection ofthe Monuments of Palaichori 2009, hfkosia

All rightr rcrcncd.No plrt of'rhir publicrtion may bc rcproduccd,ttanrtnittnl or brordcast ro thc public, translaLcd or adaptcd withoutthe Arurtintion'r prirtr wriltett conscnr,

Ap, IOANNHI A. HAIAAHEBu(awwoldyoE - IoroqrchE T*ttqgDr. IOANNIS A. ELIADES

Byzantinist - Art Historian

NAO> METAMOPOO>EO>TOY >OTHPO> (Ay.d lortripo) IIAAAIXOPIOYIo'ropic - AgpterctowKri rcor Tdyvn;

THE CHURCH OF THE TRANSFIGURATIONOF THE SAVIOUR (H"gr. Sotera)

History - Architecture and Art

(Dcotoypogrioerq PhotograPhsPOBEPTO'ANTONIAAH' RO\GRTOSANTONIADISMatd


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Xorpeuop6q flcvtepor


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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 TnqpeioaKat orrllt auirlaory rca regtpdMortog xcipoaThis publication was deooted to the eternallnetnory of KONSTANTINOS LEWNTIS, formnPresident of the Foundation 'A. G. Leoentis"for bis con*ibution to the renooationand kndscapting of tlris monatnent.


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@s w@lepd lrlHTponodlc Tamaooy Kcr 0retuHc

O rcd0e va6g, avtlapqrc cn6 to pdye069 rou, ercgpd(fl orrlv npdfrl ttqol1roeq tou cvOpcirnou lrs ro @s6. Afiote),e( rcctdrpooq tqq rcorvrovicgtou cv0pc6nou fipoq tov ll)dotq rou Kcutcut6Xpovc ouwo'rd dwowltqv pcprup(o t4q oydnrlq rou @eori yro ro nar8rd'rou.H npcoropou).{c yrc t1v irc6ooq tou O8rlyori'rou rcpoil vcori tlq Me'ra-popgcboeolq tou Icorrjpoq (\r.i Iotrjpc) llc),cr1t'rpiou dpletcr vounrlpetr]oer cu'r6 'ro orcon6. Aev anotetrei ro "ptr6, ye(pag" prp),(o ivco6qy6 touptonrcr]q fevdylorlg, olJ,d ).ertoupye( orq epyctre(o orc, y(.pntou 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 ntroritoqtou eivqt otevd ouvugcopdvoq ps to piyeOoq tqq ercrc),4orco'nrcr]gepnetptrcrjg lror1c,.'Erot o rcd0e dvcq nou'rov gntorcdntetor ugio'rcrar lrtocyic ctrIoiooq, un6 trlv dwota 6'rt q0dver oto va6 r,lq ernorcdntlq Korcvclcope{ on6 ou'r6v olg npoorcuqujq.I8tairepo evtunoorci(er an6 'ro vc6 to n),rjOoq rcov ror1oypcgrrilvrou, 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 tdrloypagkgercgpd(ovtot rcot ),et'roupyorSv pe tp6no dr.foyo rotoptrcd, 8oypcurcrircot 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 llpootc-oicg Mqpe(rov lld,crl,rpiou rccr r8roi'repc ouylo(pope rco eulcpro'rorJperouq 1oprlyorjq trlg drc6oor1q cutr]s, rrlv rcupic M6paAepdw4 rcct uq llo).r-rmrrciq Ynlpeo(eq tou Ynoupye(ou flo6e(aq rccr llo)ltoporS qq Kr3npou,rcc0c6q rcct 6trouq'roug ouwe),eotiq'rou ercrc),4orco'nrcoil rcar notrrtrotrrcoJ

MHTPONOI]TH' TAMA'OYKAI OPEI]VH' rc.rc. HXAJA\

+_lbourou rpYou.10


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@* w@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 sametime demonstrates the testimony of the love of God to His children.The initiative for the publication of this guide for the holy church ofTransfiguration of the Saviour (Hagia Sotera) is meant to serve thispurpose. The book you have in your hands is not a tourist guide, butit serves as a mean in the hands of every person in order to understandthe greatnpss of the relation berween God and his creations.The architecture of the church and the whole external form isstrongly connected to narure, while the rich decoration of the interioris 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, follo-wing a splendid iconographical program. Its iconographical subunitspresent the facts of the Holy Bible, as well as of the liturgical life ofthe church and the experience of the saints. Historical, liturgical anddoctrine issues are joined together in a local, iconographical (sryle andcreate in the best way) the admiration of the visitor.tWe welcome this initiative of the Association for the Protection of theMonuments of Palaichori and congratulate and thank specially thesponsors of this publication, Mrs. Mema Leventi and the CulturalServices of the Ministry of Education and Culture of Cyprus, as wellas all the contributors to this ecclesiastical and cultural work.

ESA]AS, METROP OUTAN B ISH O POF TAMASOSAND OREINES11


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O }iv6eopog llpootooicq MvqpeiCIrv fIc),orXop(ou ouveli(ovtcq psouvdrata t4 ouwrjprloli, Trpooroo(a rcat npopotrr] trov pvrqpe(rov tou lla),at-Xorp(ou, napouotd(et tl vio drc8ooq rou ps'r(tlo "Nadq Metcpopqc6oeorqtou Ioltrlpoq (Ayld lcorrjpo) llo).cr1cop(ou, Io'ropic - Aplttarctowrcr] rcatT{yvq".To rcrjpro dpyo nou dXet ent'retreoet p.typt orjpepo o }iv6eo;ioq cn6 tqvi8puoq'rou, B Nosppp(ou, l99l efucn:-A. Me),dreqi'EpeuveglErc66oetq1. Me),dtrq "llc).ct1c6pt, llo),t'rto'rtrcri rccr lleptpc),),ovttrcr] K),r;povoptdllapoJoc Kctdo'rcoq, llpoonurcdg Atdoorolq rcgt Afrono(qoqq"2.'Epevva. otc ApXe(c Itc),(cq, fa).).io.q rcot Mdlrqq yto cveripsorl roro-ptrcriv n),r1pogoprc6rr Trou ovcgipowor oto flo).crXc6pr. Tc oqpowtrc6'repod1rypc


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FOREWORD

The Association for the Protection of the Monuments of Palaichori is conti-nuing its efforts for the preservation, protection and promotion of monumentsin Palaichori by presenting this new edition under the title: The Churchof Transfiguration of the Saviour (Hagia Sotera) in Palaichori, History -Architecture and Art.The main work, which has been accomplished so far by our Association sinceits foundation on November 8, 1991 is:A. Studies/Research/Publicarions:1. Study: "Palaichori. cultural and Environmental Heritage. The presentsituation. Perspectives of resdue and application".2. Research in thefuchives of Italy, France and Malta in order to collect historicalsources regarding Palaichori. The most important traced documenrs have beenincluded 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 Monumenrsof Palaichori.5. Creation of an informative video optic cD on Palaichori, its monumentsand its history in four languages.6. Publication of the book "Palaichoria, centuries of Heritage" (bilingual).7. Publication of the "Guide to the Museum of the Byzantine Heritageof Palaichori" (bilingual).8. Publication of "The Church of Transfiguration of the Saviour (HagiaSotera) 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 Schoolof the Apostle Luke.

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B. Avona).orrioerq/Iuwri pn "l Mrn peiov, TorXoypcgrcbv, Ie pc6v Irceu civrc.)..n.1. Avona),aioor1 rcat tret'roupyfc tou Meostc'lvtrcoil etrt6putrou Kctt rouA4 potrrcor5 IXo).eiou Anoot6),ou Aourcd.2. Iuvtrj pq oll rt'lv ercrcIn; otc6v Ayirrlv Avcpyri pov, Metcpo p gc6oecoq'rou}rltrjpoq (Ayia Iotripc), llovcyicq Xpuoonov'tdvooocq rcct Ay(oufeopyiou.'O).eg or ercrch1oieq e(vorrou 16ou crcirva. 'E1ouv en(o4q ouwr1-pr;Oei rotXoypcgieq, tepd orceriq, fd),weq entn).c6oerq,


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2. Restoration ofthe churches HagioiAnargnoi, Transfiguration ofChrist (HagiaSotera), Holy Virgin Chrysopantanassa and St. George. All these churches dateback to the 16th c. Frescoes, holy vessels, wooden furnishing, icons erc. have beenalso restored.3. Renovation of an old building, which belongs ro rhe church of the HolyVirgin and houses the Museum of the Bfzantine Heritage in Palaichori.All these actions have been realized thanks to the effons of the Association, whichalways used the services of specialists and scientists, and thanks to the financialcontribution of several donors, which we would like to thank once again here.Regarding the monument presented in the presenr publication, we owe itspresent condition and facade mostly to the A. G. Leventis Foundation andto its unforgettable former president, Konstantinos Leventis, and to theDepartment of Antiquities.Essential for the fulfillment of the monument was the contributionof Mrs. Mema Leventis, wife of the late Konstantinos LeventisProf. Vasos Karageorghis, Director of the Foundarion "A. G. Levenris"Dr. Sophocles Hadjisawas, former Direcor of the Deparrmenr ofAntiquitiesDr. Marina Hieronymidou, Curator of Museums, Deparrment ofAntiquitiesIoannisfuistodemou, architect, Member oftheAssociation and project researcherCommunity Council of Palaichori (Oreine$The correct restoration and landscaping of the Monumenr contributed to theapplication made in June 2000 by the Department of Antiquities to UNESCOaiming for the registration of the monument as the tenth Cypriot church in theList of \(orld Heritage. The monument was included to the List in December2001 in Helsinki during the 25th Council of the Committee for the'S(orldHeritage.The presentation of the commemoration stone for the inclusion of the Churchof Transfiguration of Christ to the \(orld Heritage List of UNESCO wasincluded in the celebrations marking the 30th anniversary at the Convenrionof the Protection of UNESCO's \(orld Heritage, organized by the Deparrmentof Antiquities with the cooperation of the Association for the Protectionthe Monuments of Palaichori and the Community Council of Palaichori(Oreines) on the 30th ofAugust 2002 at the churchyard. The revelation of thecommemoration stone was carried out by the former President of the Republic

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r1q Msrcpopqc6osc,lg rou Itor{poq orov rcctd},oyo llcyrc6oprcq lQrlpo-voprtdq qq UNESCO, e(yx nepr).r1g0ei orouq eop.rooporiq \4o ro. 3}ypovaqq }5ppco1q yrc rrqv llpoo'rco(c trqq llcyrc6optoq K),rqpovoprdq rqgUNESCO, nou opycvc6On;rccv otrq 30 Auyorio.rou 2002, or4v cu).r] rnlqErcrc),1o(cq, an6 to TWiWoAplarotrirr,rv lrs rrl ouvepyco(c.rou luv8dopoullpoorco(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 rqgKunprcrcr]q A1porcpcr(cq rcripro f),crjrco K).qp(6q, o onoioq tfprloe touqeoprcopor5q lrs r4v ncpouoio'rou.Merd tqv dvrcfrl tou Mvrqpe(ou o'rov rco.rd),oyo llcyrc6oprcq K),ripovo-prdq rcp(0qrce cvoyrccio vo erc6o0ei dva enro.rqpovtrc6 porlfupc/o6r4y6sc6o're or enrorcdrrteq vc pnoporiv vc dlouv .rq 6uvc.r6.r1rc rqq orrlotrjqfevdyrqoqq rcor pe)dr;qtou ;rv4pre(ou.EuXoprotoripra Oeppd rouq rrro rcd'rco nou eivar or poorrcoi ouweleo.rdq .rqqoft6),oylq cuulq drc6oo4q;Ap. Iardwq A. H).tti64 yro rl oulrypcgrj .rcov rcetpdvroir Kcu tr1 yevrrcr]enip).er.fr1 trlg drc8oo1g.Ap. Xopd),cpno f. Xor(drcoy).ou )4c rIV c1ry).rrcr] petdgpcol tou O6rqyoJ.H.alrrza Hendawi \xo rIV erupd).sra qg qry),rrcr]q perdqpcorlg.Popdpto Awcor.rd8q \4o lq ela(per4 gotoypoqieg Trou Koopor3v q drc6oor1.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 Aepdwrlllo),tuottrciq Ynq peo(e g'rou Ynou pysiou lI at8eioq Kqr flotrrno;rorifta no)),oo'ri qopd 6r1),c6vouv ncpr6v rcct ndwo'rs 0c .rouq euyvc,rpovoripte.

zwlE MotilPotTAtatMNHMEION IlALAIXOPIOY

Ilil.atxdtpr, NoipfEog 2008

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ofCyprus, Mr Glafkos Klerides, who honored the celebrations with his presence.After the inclusion of the monument to rhe List of the \(orld Heritage itwas found necessary to proceed to the publication of a scientific guide, in orderto assist the visitors with an accurare and trusrworthy study to guide them whilevisiting the monument.\fle thank cordially the following persons, who contributed essentially to thepublication of this guide:Dr. Ioannis A. Eliades for the texts and the general supervision of the editionDr. Charalampos G. Chotzakoglou for the English translation of the guideHamza Hendawi for the English EditingDr. Roberto Antoniades for the excellent photographs of the editionMrs. 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 LeventisCultural Services of the Ministry of Education and CultureThey are repeatedly present to our efforts and we will always thank them.Association for the Protection the Monuments of Palaichori

ASS O CATI ON FO R THE P RO TECTI ONOF THE MO]VUME]VTS OF PA],4]CHOR]

PakichorL Nouember 2008

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TO IIAAAIXS'PITo opew6 Xopr6 llc),orXc6pr eup(orcetcrorrlv neproXrj llrtortrrdq, o'rc v6trc trlgenoplicq Aeurcr,loioq rcor yet'rvtd(et petrq encpfeq Adpvarcag rcct Aepeoori. Tollc),o1c6pr anoteleirar an6 6rjo rcorv6-rlrsq, to llclcrryipr Opervriq Kqr roflc),cr1c6pt M6pqou, nou qvlrcav ercrctrr1-otao'nrcd pdlpr np6oqcro oqv Apltent-orconrnl nepr


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PAI"{ICHORIThe mountainous village of Palaichoriis located in the region of Pitsilia, in thesouthern part ofthe prefecture ofkfkosianot far away from the prefectures ofLarnaka and Lemesos. The village com-prises rwo communities, namely Palai-chori Oreines and Palaichori Morfou,which were until 2007 under the juris-diction of the Archbishopric and nowunder the metropolitan Bishopric ofTamassos and Oreines.Palaichori, one of the oldest communi-ties of Cyprus, is found in documents ofthe Frankish period refening to privileges.More specifically, in a document of theking Henry I. Lusignan of Cyprus datedin 1237 is testified, that the village wasgranted to the noble Balian d'lbellinand to his wife, Echive de Montbdliard.This noble couple transferred the fief ofPalaichori to the Order of the Knightsof St. John. Palaichori, after it was againtransferred to the crown of Cyprus, wasgranted by king John II. of Cyprus toHdlAne de Grenier.The majority of its religious monuments,which were founded and adorned withfrescoes by important painters of that era,like the one ofthe Transfiguration Church,reveal its prosperity during the Venetianrule (t489-r570).The reduction of the quantity and theartistic production's weakening of thequaliry during specially the first decadesof Ottoman rule (1570-1878) is con-nected with the attested poverty of the

/dtgrpig oe roaoypagia o-ro ttad rult,4yid,ntAttagyilpatu lla)'atxa.tpiou, I 6o9 antag.

Donors in a wallpainting in the church of HagioiAnargtroi in Palaichori, 16th century.

population, which led to the immigrationof several local artists. The new politicalconditions in the Ottoman Empiresince the end ofthe 18th and through the19th century contributed to a prosperousera for the island. This situation wasalso mirrored in Palaichori through thedecoration of churches with frescoes, iconsand high gilded icon-beams. The churchanifacts were renovated and the icons wereadorned with silver covers.Ofspecial importance are the monurnentsof the religious heritage of Palaichori, sincefour of the five churches of the village(Holy Vrgin Chrysopantanassa, HagioiAnarglnoi, Transfiguration (Hagia Sotera)and St. George were erected and paintedduring Venetian rule (1489-1571). Theartistic value and the variation of the icono-graphic cycles depicted in the Transfig-

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Xigrryg llatratxagiouOgentlg. O wd9 n1gMuapopgr,,toeaErou farrygoganurcoil(wat rdtdtde$ti.Map of PalaichoriOreinis. The churchof the TransJigurationofthe Sauiouris depictedon tbe right hand side.

vcoJq rou Xoploil (llovoyfc Xpuoono-vrdvo,ooo, Ayror Avdpyupot, Msropr6p-grrlon (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),r1p6-rlro rou stKovoypogrrcoil rcilrc).ou 'rrovrorxoypogtc6v rou vooJ qq Mercprop-gc6oeorq rou }oljpoq ouwsldocve c6o'revo svroxeri o vs6g ro 2001 oroy Kcrd-troyo qq llcryrc6optoq llo),ruonrcijq r0,r1-povopldq rqq OuvdoKo (UNESCO). Ondpntoq vc6q rou llc).oryopiou s(votcrprepopdvog orov Ayro Aourcd. llp6-Krlrcn yro rcr(opcr veoyorOrrcoil puOpoil,rcu 1925, rrou ovrtKorrio'ri1os nc),qr6-repo fu),6oreyo vc6 nou crveydpOrl rccrdndoa nt0ov6trltc oulv nep(o6o rilqBevetorcpo'r(aq.

a!t' '::d. .ji:

To're).euto(c 1p6vrc, perd cn6 npr,l-topoutr(eg nou crvdn'rufe o lJv8eoproqll pootooicq Mvq pe(r-ov lla).or1co p(oucnorcq'rco'rd.0r1rccrv rotoprrcd pqpeic rcctotK(rq nopo8oorcrc4q op1lrsKrovtKr]g rcct660r1rce r6rc(repr1 dprqcorl o'rqv cto0qtt-rcri enrpdtrero rtov 6rlpr6orov yiparv. Onc).r6q ypctprrc6g lcpomrjpoq rou fld,sr-lcop(ou, nou 6rcqpri0qKs Kor cvc8eil0rl


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uration's Church contributed hugely tothe inclusion of the monumenr in thelist of the tVorld's Cultural Heritage ofLINESCO. The fifth church of Palaichoriis devoted to St. Luke. This building ofneo-gothic architectural style was erectedin 1925 replacing an older one with acharacteristic wooden roof, which hadbeen possibly built during the Venetianperiod.In recent years, many historical buildingsand traditional mansions were restoredthanks to initiatives of the Associationfor the Protection of the Monumenrs ofPalaichori. In that way the respecr ro rhetraditional architecture and the reha-bilitation of public places in a most sen-sible way was achieved. The preservedand recently promoted old picturesquecharacter of Palaichori in conjunction withthe good climate and the natural beautiesof the village, located in two slopes of theSerrhaches' river valley, attracr every year

AtaVttryonrc( nltirca oro e{orcpzxd nu traolunev2uVi(u onug emoxy'treg du o wdg

o upn e E)"appduu at ont, rcatil,oy o'r ry g lTayrd opmg II o Intmnrf 9 rc)r1 g ov optrig

n7g Ou,iorco (UIVESCO).Heritage pkte outside of tlte churclt reninds

to the uisitors that rhe church ls iitcluded in theL|NESCO World Herirage Lisr.

manylocal and foreign visitors. Palaichoriis not just a beautiful tourist resorr, o{Te-ring relaxation, but also a rich culturalcenter, where visitors c:m trace its medier.alpast and discover rhe mountainoustraditional architecture of our homeland.

'ln o,{ i l l I ;-,;. "z :-':a t : o ;1,-i;1; 6,f l,; l";l;t,6r;

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NAO> METAMOPOO>EO>TOY 'OTHPOIAytri Xr,rtripc) IIAAAD(OPIOYI


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TTrool'l rou voolj rrlq MsroFopgc6os(l)q6ev rcatrrjnter p6vo'rov rcupirog va6, atr)dnpoerre(verot rrpoq'ra avcto),trcd yrovc rco),r5{a trlv crf(6c Kot npoqta 8unrcdrcst v6rta ytrr vc rcchirlet to yoppot6-o14Fo npootc6o.H torlo6op(ctou vaoil oro'rstre(tatcn6 cpyotrrOo8opr] rcot trcionrl c,lq ouv6e-'nrc6 rov{cpc. Xprlotponotorjwattomrcoilpor;rc'notoi triOot, orcav6l'tmou ouvr]0cogopipctoq.'Oncoq Kcu orouq neptoo6'repouq futr6-orsyouq vcoriq rlq Krinpou, crcotrouOei-'rot o'n5noq tqq pov6qu),).Iq 0dpaq pe're'rpdyrovo nopd0upo eyyeypcppdvooro rpryrovtrc6 cdtropc, nou op(fouv ot8orcoi t4q otiyqq ot4 8uurcrj Kot ovoro-hrcrj 6rfr1'rou vaoil rco w6q porcp6o'revouop0oyc6vtou ncpc0r3pou otr;v crf i6o.O va6g, erct6q cn6 touq ptrcporiq opOo-yc6vrouq geyy(teg oto aetc6pcta 8u'nrcdrcor cva'rotrtrcd, gc'lt((erot Kctt an6 rootev6 pov6).opo ncpd0upo rlq ot[(6cq.Ito p6pero rcct v6tto to(1o rcov'rd otoerrcovootdoto dlouv 6tcvot10e( owrKpu-otd tug)d crft8rirpatc, 6nolg ouvq0((e-to oe vootig ttlq Bwetorcpc'ricq ()..1. mouqvcorlq tou Ttpiou ltcupori o'rov Ayto-opd'n rcct otlv Kuneporivtc) rcct 6r;pt-oupyoriv Fto urrorurlci6nl otcuptrcr]rcdrorfq, cgorJtc orft66;rctc pnoporivvo ertrrqg0o$v arq ouventuypdveq rcepc{-rq rou otcupor3.Erct6g an6 t1v rcevrptrcrj e{oo6o o'c4 6urt-rcti 6ftl tou vco$, 8tcvo(yetct 0rlpc otrlv6'nc ntreupdtou vaoil. AvriototXq OrJpoundpler Kot orrl v6tto ntreupd tou npo-otc6ou, rco0r6q eniolq Kat orrl 8uttrcrj.To npootc6o qot((etct eniorlg ;re 6rio

is extended also to the east, in order toprotect the apse and also to the west andthe south for covering the angle-shapedportico.The masonry of the church is made of sim-ple local stones ofvarious colors and shapesconnected with mortar. The type of thesingle-leaved door along with a rectangu-lar window, inscribed in the triangularpediment, created by the beams ofthe roof,is found at the western and eastern fagadeofthe most Cypriot churcheswith awood-en roof, anarrow, verticalwindowis openedon the apse-wall. Tl"oWh these *reewin-dows enters the light into the church.On the north and south wall near t]le imn-beam blind niches have been opened,as usually found in churches of the Venet-ian period (e.g. Holy Cross-church inHagiasmates and in Kyperounta), creat-ing a cross-shaped ground plan, ifone con-siders the niches as compact horizontalparts of the cross.Apart from the central entrance at the west-ern side ofthe church, a second entranceis opened at the southern wall. At the west-ern and the southern sides of the porticothere are similar doors respectively. Twoadditional windows are also opened onboth sides of the southern door of theportico.According to a fragmentary preservedinscription at the lintel over the main west-ern entrance ofthe church, the frescoes onthe western external wall were painted in16i2, while the portico, which was builtlater and protects them, bears the year of1655 inscribed on an inserted over the

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nopdeupo, ro ofioio rup(oKowor tKcrr.t-pro0ev tr;q v6tng 0ripcg tou npoo'rriou.Ir5pgr'lva Fr orroorrco partrca oal(6pernr1enrypcqrj oto undpOupo qq rcevtprrcr]qsto66ou'rou voorj, oto 6u'nrc6'ro(Xo, ortotloypcgieq o'r4v efoteprrcrj n),eupd tou6utrrcor3 to(1ou dlouv ercte),rclt(ro 1612,evc6'ro npoo'rc6o, nou rrio0qrce cpy6ra-po Kot lq rrpooro,reriar gdpa Xpovotroyo1555 yo,payp6v4 oe ),iOo ndv


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voilno),ir1q rc 1453 o8rlysi orlv rrpooqu-1nd 1r)d6eq Korvotcwrvouno),(teg, cpre-roi cn6'roug ono(oug eyrcc0(otcvror orl1yKilnpo petl pori0enqq pu(cvmTq 0oor-),toocq qq Krinpou, E),dvr1g llotrcuo),o-yvag. To 1474nt\sfter o poor),rdq Idrcco-pog B' Aou(nrdv rcarro o'rdppc'n1g Kinpouovctrc;.rpdvet r1 ori(uy6q'rou Atrco.repir.r1Kopvdpo, utoOer4pdq an6 q Arlprorcpo-rfa rrlq Bevericq. To 1489 11 Kinpoq1-6,erct rcar emorlpc n)dov.rprjpro qq fd'r1-vordqg. H rdpl rrlg Kdnpou dpT,ercn oeotsv6tspq enc


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vrrv6 rlq np6oorro, pe 6rio pcotrcd peri-pcro nou 8ngoponotorSr,tcr petcfri tougoro rroooor6 ouyl6veuor;g'rolv 6u'nrcc6vem6pdoe


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Etrc. 2. H @eoilrcog Kugia mtu AyyiTan,Fig. 2. Virgin Maty a: the Lady of the Angell

oprorrpd rlq, rcc),oKreltopivot pe Kcoro-v6fcv0c, oyoupd po),Itd, nou 8dvovtotrrrpr).6q Kor Koro).{youy oupprrprKdorouq 6pouq rouq oe n).efi6eq, gopoJycruroKpcrro ptrcd pu(cv'ilvd evbrS potc(odrcrco, ),c6po rccr lpuod nd6il,a). Me'rooprorsp6 touq 16pr rrportroypdvo npoqro Fdpoq rqq @eot6rcou, ot XopoKrlpt-omj otdor'1 6d4o4q, tq 0u;ncti(ouv pero 6ef{ toug lipr dlovtcg cvorltdq'ngrccotov6lpopsq soortptrcd rcqt notrrj-Xpoprq efoltsptrcd gtepor5yeq touq.Lrlv rno rcdro (cilvrq, nou y,lp((etat oe6rjo ioq prdprl cn6 pov6),opo ncpd0upo

rozxoygagia oro rraerlo(paiEo rryg atltifag.wall painting in the half banel uaub of the apsis.

(fig. 3).The composition of Palaichorifollows the iconographical tipe ofthe HolyVirgin Podythou in Galata with thedouble presentation of Christ. On the leftside under the inscription "AABETEOAfFTF." ('Trk , eaC') (Mt. 26,26) isJausdepicted, followed by the angels-deaconsand placedunder the ciborium, rdro admin-isters the holy bread from the dish, laid onthe holy altar, to the group of the twelveaposdes, which St. Peter leads. AndrewandJudas are the only disciples among thetwelve, who can be distinguished; the firstone covers his hands and the second splits

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Enc. 3. H Koutantia ratt Aroord),o! orry r17,nrci),ntdpo *Jg arltiilag.Fig. j. The Communion ofthe Apostles in the semi-cylind.er of the apsis.

roroeroJwor I Korvrov(a rccr q Metd-),qrfrlrrovAnoor6trov (err. 3). H orjv0e-orl rou flc),ctlopiou orco),ou0e('rov aKo-yoypogrK6 nino nqq llcvcl'(aq t4q floSrj-Oou orrl fa),dta pe tr; 6rn),r; cnerrc5vrorltou Xprotor5. Ito aptotepd o Xpror6qcrcolouOorlpevoq an6 touq c1ryd),oug-6tcrc6vouq, nou pp(orcov'ror pdoo o.rorcrpcipro, petc6{6errov dpto on6 8rorcd-pto,'rono0e'rr;pdvo ndvo orlv c1'rc Tpd-re(o, otouq 6r66erco pc0rpdg tou pe npc6-ro rov ll6rpo, trdyowcg, oilpgrovo lrs rrlverrypcq{ "AABETE QAIETE". An6 rougpc04tdq felorpl(ouv o An6oro),og Av6pd-oq, o ofio(og eivcr o p6voq pz ra, $.pnrcctruppdvc, rccr o Iori6oq, nou cnolorps(rm5owo,qtov dpto oro ldpt rou. Itc 6efrdsnovc),cppdvetcr 11 cyic rpantla,, rorctpc6pro, or dyye),or-5rd,rcovor rcor rq popqrjtou Xprmof vo peta),cppdver rouq Ano-o"r6iouq pe oivo cn6 cpgopdc trdyowoq

the holy bread into his hand. At theright side the holy altar, the ciborium, rheangels-deacons and the image of Christare repeated; Jesus administers the winethrough a jar to the disciples by saying"fiIETE EE AYTOY ILANTEI" (Drinkfrom it all of you) (Mt.26,27).Inthatscene, due to Judas' departure, are paint-ed only eleven disciples. First on the rowis John, followed by Peter; Paul is nor arall depicted. The depiction ofboth episodesof the Communion of the Apostlesseparately, Metadosis (Delivery) andMetalepsis (Reception), the presenra-tion ofall aposdes together in every scene,and not divided into groups ofsix, as wellas the absence ofJudas, can be alsofound in the Asinou church; rhese rareiconographic elemenrs appear also in theSt. Nicolas church in Galataria, pointingto an aftist of the same cvcle.

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"IIIETE EE AYTOY ILANTEI" oupqr,rvaF smypoq{ nrivor on6'ro pov6),opo ncp


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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-rrovoyr6rn, rcc06q, rrr(orlg, Kar sKr(vsqrou mo ouvrqplrrKorj (D0lrmou fou), movAyrcop


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{erct oro rcdwpo qq alf(6cq cy(c Tpd-ne(a pe ra T(prtc Ac6po (errc. 4). Iqv apr-oreprj ntreup 6. qg cyLr.g Tpdne(crq e(vcrronoOeqpwo dyo 8torcdpto rcar mc 6efrdruxcptortcK6q cpgopdcg. H o.nerrc6vror1rlq Xp4olq'rou o(vou Kot rou dp'rou rcor6p rrlg 6o'rtcg rcctd t4 @e(o Eulopr-or(ctov(ot1rce r8taitepc ro'rd rq Aor-vorcpct(o (1192-157 I) otqv Kilrpo, o'rovoyrirvc t49 Op0o6of(oq rcctd t4q npoorl-).wrotrcjq 6pcmr1pt6rr1'roq'rcov Aorivcor'.H tpdne(a e(vot orcencopdvrl ;re no),u-re),dg epu0p6 rcd),up;rc rcst ),eurc6 trrv6rcd),uppo, rrou Xp1orponorcitct p6vo rcctdtrlv rdtreoq r4q @e(cq Eulcprodcq. 'Efrllctdpeq trlg Ercd,4o(ag, an6 rprtq osrd0e n),eupd, tepoupyoriv yripo on6 qvcy(c Tpdne(c, gopc6wcg cpltepctrrcddpgro (orrldprc pre "no'ropoJq", rnr-rpc/;ltc, empcl'rrctc, odrcrcouq Kcrt orcru-porp6pc opoq6ptc), rcot rcpctc6vtaqovcn'ruypdvo er),qtd pa ),ertoupyrrcdq

Etx. 5. O dyngAwdxag, exiorcoxog [IeqyriVou.Fig, 5. Saint An4,pas, bishop of Pergamos.

bishop of Pergamon (fig. 5) is depictedwith inscribed scroll writing: "K\?IE OOEOC HMON COCON TONAAONCOY KAI EYAO|HCON THNKAHPONOMTAN COY. TO.." (Lord,our God, save your people and blessyour heritage), St. Epiphanios, bishopof Constantia in Cyprus: "/TOC A


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Em. 6, O riytog Entgtitttog, eniorconog Kaora.triagKinpou.

Fig. 6. Saint Epiphaniul bishop of Constantiaof Cl,prul

rrrtypcAdq o116 rI Aerroupy(c rou o\4ouIodwou rou Xpuooot6pou. Itc cpto.re-pd qS cycg Tpdne(og onerrcow(owo odyoq Awrincq, en(orconoq llepydpou (etrc.5) nou rcpard er),qt6 ps rrlv enrypcrgrj..KYPIE O @EOC HMON COCONTON AAON COY KAI EYAO|HCONTHN KAHPONOMIAN COY. TO..",o dyoq Enrqdvrog, en(oronog Kr,loro-vtiaq Kilnpou (etrc. 6) pe to rceipevo..


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rrr.r rri.rtro "O O[EO]C O AfllOCl/O E\ .\|IOIC/ AN ANAYO/MENOC/O TPICA|IA/ OONH Y/[O TONCEPA/OIM ANY/MNOYMEN/OCK


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Ezrc. I l. 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 AyroMdpcwc oro Aoupcpd, 6nou 11 @eor6-Koq onflKow(etcr rcc0rjpew1 vc ),cppdveroor{pro p4vupo an6 tov Ayye),o.Erccr6po0ev rou rsroproogctpiou tqgcrl(6cq Kor rlq (6qq Fs rrlv Kotvrovro'rr,lv Anoo'r6trrov anstrcov((ovtcrrdooe-perq npogriteg, ot onoiot cvagipovror perce(pevo nou cvcypdqovror otc er).4r


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Erx. I 2, O npogt1t 4g /auid.Fig. 12. The prophet Dauid.

gijr4q Hooroq (ew. 13) "OI IIPOBI/TONEnl CO/AIHI (sic)". It4 v6rc n),eupdendvo o npogrinlg lo),opcbv (errc. 14) avc-ypdqa mo silnr6 tou "IIOAAL/ OITATE/PE EIII/EICAN AINA/MHN NOA/AEEIHEICAN/ lI OYTON (sic)" rccr rcdraro npogrjrqg Iepepicq (errc. 15) "OAONEI,\ON/ CE IIPOEENON/ COTHPIAC'.H snetrc6vroq llpogrlrriv pe ettrrlrdprc6(n),s cn6 orcr1vdq, 6nog o Euayyelr-op6q rccr o Aoncop6q tr1q @eot6rcoucn6 touq A1rydtroug, 'ug ono(eq ololtd-(ouv, ondrrrqoe r8toiteprl 6rd6oorq rcardqv flolcrotr6yen nep(o6o (1204-1,453)enrlped(owcq r8nitepo t4 percpu(owt-rn.dXun. Ot llporprireq nou onetrcou(o-vror or1'l Mercpr6pgtoorl llc).ctyop(ounpodplovtct cn6'ro tbtcftepo rlKovo-ypc9rrc6 Odpc 'Avo0ev ot flpoq{req" o'roonoio ot llporprjtaq upvoriv tr1 @eor6rco.

Em, 13. O xpogirt1g Hoaiag.Fig. Ij The prophu Isaiah

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I'rr1v rdtro (6"n ttls p6peng d,eupdq tqgorlri8cq anerrov((eto.r ro ruxo,pro'uarc6Oipo tou Me),ropoU (errc. 16), 5r1),o6rj "4npoogopdtou oc6pctogtou Ir;oori rcardrq @efc Korvorv(c. O (roypdgoq tou flolot-1'lpiou rccrvotopei rcor nd),r, cgori nioroan6'ro nopgupd prj),o, ro ono(o o4rcc6-vouv pr Sdoq 613o dyye).or, cnerrcow(er tovXprot6 8rntrd, roq Bpdgoq vo, eupiorcetortaut61povc oto dlnov llo.rr]pro Kor oroAtorcdpro rcparc6wcq erfu1t6 lrs rrlv srrr-ypogf "AABETE


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Etrc. 16. O MefuoVtlg.Fig. 16. Breakingofthe Breadforthe Holy Communion.

o Xprot6q vsKp6q dpnpoo0evtou TdgouTou rcct'r4v emypoq4 O BI


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Nopt6, avay"toa. oe 6Jo oetpdq on6 A1't-ouq orrstKov(lerat ro i6to etrcovoypcqr-rc6 Odpc ps ro Xpto'r6 o),6ocopo 6pnpo-o0evt4q ocprcoqdyou Tou. H aK6vq, rrouncpouord(et rcotvd rs1vorpofi rK a Xa.pc.-rctqpronrcd [ rrlv rot1oypogic tqq Me'rc-popqc6oerog, unoypdgetat an6 (rVpd-go ov6pcr (Di),tnno. H cr"r(orot14 (rir,1ot4 v6'nc ntreupd etrcovi(et rov rrporo-pdptupc Itdrpovo ev6e6updvo pt. ap


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Erc. 18. H @uoia nu Af|padp.Fig. 18. The Sacrifce ofAbraham.

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ntreupd rou rtKovootao(ou {Xu rapa.-oraOei 11 Ouofc rou Appodp (errc. 18) rccrrcdto an6 currjv o prdptupcg Acupd-vrtoq (etrc. 19) pe ).eurcd ap"rpta 6tcrc6-vou. ArcptpcSq ornrr andvcwt ntreupdtoucy(ou Brjparoq, oro v6tto to(Xo, crru-rcov((etcr 4 @r),ofevta tou Appcdp (errc.20): ro enero66to rrlq en(orcerf1g rarvrptr6vAyyd),olv otovAppcdp rcct r1 gil,o-fev(o nou dtulcrv on6 tov Appcdp pe royerSpc orrlv "6puvtou Mo0p4", nou eivatq npoerrc6vroli r4q Ay(oq Tprd.6cg rcctprnc(ver oto rep6 rj64 cn6'rriv nc).oro-Xprorrcvrrcr] enofi, 6nrog ),.1. o'rov AyoBttd),to oq Pcpdr,va. H orjv0eorl currisnov'rdrct notrr3 oulvd oro ttKovoypo,-

Errc. 19. O pdqngagAaupiwtog.Fig. 19. The Martyr Laurence.

tanassa at the same village, the sameiconography appears between the tworows of saints:Jesus is standing in frontofHis emptytomb. This icon, where thesame iconographic characteristics withthe fresco in Palaichori are traced is signedbythe painter Philip. On the correspondingrow in the southern part we recognizeSt. Stephan in deacon vestments. Twoadditional painted zones at the north andat the south wall, similar as in the mainchurch, complete the iconographic pro-gram of the Bema. On the north side ofthe Bema, behind the icon beam, the"Sacrifice of Abraham" (fig. 18) wasdepicted and underneath the martyrLaurentios (fig. 19) with white deacon'svestments. On the opposite side of theBema, in the south wall, is placed the"Hospitality" (fit. 20): the episodeof the visiting of the three Angels toAbraham, their hospitality by Abrahamand the meal they had by the "oak ofMam-re" (Gen. 18.1-B); the iconography is asymbol of the HolyTrinity and it is placedin the Presbperium since the early Chris-tian period, as the example of St. Vitalein Ravenna proves. This compositionappears very often in churches paintedduring Venetian rule, as in Hagiasmate,Louvaras, Galataria, Kourdale, Kami-naria, at the Holy Virgin church and inSt. Sozomenos church in Galata, at theHoly Virgin church in Kakopetria etc.Iconographically, it resembles the com-positions on Galataria and Kourdale,where it seems that they imitated the samemotive. Underneath of this composition

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"4'/a_

Errc. 20. H Qt),0{euia rou Al}gadpFig. 20. The Sarifice ofAbraham.

gtKd npoypdppcrc rlq BryrroKpor(oq,6nog o'rov Ayroopdtq, otov Aoupopd,otrl fo),ctcptd, orc Korip6d,r1, mo Kopr-vdptc, oq flcvcyc rcct o'rovAyo Io{6-psyo orrl fotrdra, orrlv flcvay(c orrlvKcrconstprd rc. c I8rcitepeq srKovoypoqr-rcdq opor6rqrrq no.pouord(er olor6oo partq rropoordostq orrl fctrotcprd Kcu orcrKoilp6c),q, 6nou e(vat nr0ov6 vo dXouvrcotv6 np6runo. Arco).orj0orq cnerrcow(o-wqt Kdro cn6 q Qil,ofeuc or 613o Kr5npr-ot dyot pe treurcd a1t


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A0avdorog o flevtooXorv(qg (errc. 21)rcor ncpcn),eJpr,lq orov avato),rrc6'roiXo,o dryrog Irdgcvoq pe enion;q ),eurcd dpgrc(erc.22).

(p) O rcupiatg Na6gO rcupiroq vaog yap(lzrcu or 6rjo (riveg:n1 dvo (c6vq ncpouotd(et rcup(oq orcriviqan6'ro 1ptorotroytrc6 rcrjrc),o, evr6 q rcdtrrlrotdpeveq popgdq cyiarv. Ito ovo'ro),r-rc6 drcpotou vot(ou ro(1ou 6in),a mo errco-voo'rdoto cnetrcow(etot q orcqvr] pr rnvtcrpri 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 orrctKo-v(luu 8tcyrov(alg vo rce(tat oe dyovo

Em. 21. Or dyrot lailuurlg o Aapnadnnfgrcat A1atdotog o lTnvaoxotuin1g.

Fig. 21. The Saints loannis Lampadistesand Ath anasius Pentas c h o inites.

Em. 22. O dyng Drlgauog.Fig. 22. Saint Stephen.

b. Main charchThe frescoes ofthe main church are divid-ed inro two rows: the upper one pres-ents scenes, mainly from the Christolog-ical rycle, while the one underneath stand-ing saints. On the eastern edge of the southwall, next to the iconostasis is painted theburial of Holy Maria the Egyptian(fig. 23), which is partly damaged dueto the replacement of the icon beamwith a new one. Maria the Egyptian lies

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dEcgoq dlovtoq rc ldpro r1q oroupo-pdvc, dv8etfrl 6rt eivor vercprj. Itc cpr-orepd rrls eupiorerqr o qoKllrijq 6oroqZaou,ng, 'rou ono(ou ro rcegd),r dXer rcoro-orpcqei. Iro 6efrd rilq Ayiaq dvoq ),do-vtcq orcdper 1. ro lrnpoo'rtvd'rou n66ra6puypro ylo rllv toqri rilq Ooicg. llp6-Kttrot )4o lI povobucj lrycDorli pdlpr o{pe-po nopdo'rcoq rou slKovoyporprrcoil curoil

diagonal on the ground having herhan& crossed, which implies fiat she passedaway. On her left stands the hermitZosimas, whose head has been destroyed.On her right a lion is digging with his frontlegs a grave for the burial of Maria theEgyptian. This is a unique presentationbelonging to the iconographic cycle ofMaria the Egyptian. The usual depiction

/

Em. 23. H mgtl n1g Ooiac Mapiag u1g A4tunridgFig. 23. The entombmenr of Holy Mariaof Egtpr.

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rov vrop6v Eppa(rov otr;v otlpo),olo(cnou cpvri0qKov pr ncppqo{c vo rrpo-orcuv{oouv'ro ei6t'l),o rou lldporq pcoildcNcpouloSov6oopc. To etrcovoypcgrrc6cut6 0dpo nou flKovoypogrj0rlrce r]611 orqrcctcrc6ppeg rcct dtule eupe{cq 6rd6oolqrca0c6q ouppo),i(et tn1 or'rqpia Kor rrpo-etrcol't(ett1v Avdorcorl. Ener6r] rl upvo-),o1'(c trrlv Tprriv lloi8alv ouv8de'rcr pe'rr1Idvrlorl tou Xpto'ror3, I oKIrrI outrj 0opnoporioe vo ouppotrt(a en(oqq try llop-Oev(a rcor to


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Ezrc. 26.. H Yranawrf.Fig. 26.. The Presentation in the Temple.

Matcp6pgr,lol llolot1top(ou eivcr 11rropdo-roor1 movAlto Nm6),ao o'q fd.o-r.a"ptd, Trou nopouotd(et ncvopor6tunrlrKovoYp0g(0.To lproto).oyrrc6 rcrirctro, nou dne'ro.r pe'r


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Ynanavni tou lupec6v Afdwq mov AyroIo(6pwo Kqt orrl @aot6rco otq ld.dtc,o),Id pe mo antrotrc61cporctrjpc.It1 orcr;vrj r1q Ynonovr:f;g (erc.25)nou crcotrou0e(, 6eftd an6 t4v cyicTpare(a Kor ro rcrpc6pro, errcov((etor oydpov Iuperirv vc're(ver rov Iqoor5 npoqt4v llavoyio. llioo qn6tov npogr]tr1errcovi(etcr r; npogr]rt8a Avva nou8eilver rf4),d rccr rcpcte( avorrr6 er).r1t6rrou crvcrypdqer "TOYTON TOBPE@/OC OYPANON/ KtArl ftHNl

Prophet Anna, who is pointing at thesky and is holding an inscribed scroll:.TOYTON TO BPEAiOC O\"ANON/K[AI] f[HN] ECTEPIE]/OCEN" (thisinfant secured the sky and the earth).On the left side of the altar the HolyVirgin with covered hands is followedbyJoseph, who is holding two pigeons.This iconography of palaiologan pro-venance is also found in the ArchangelMichael church in Pedoulas.As next scene comes the Baptism of Christ

Enc. 27. H BdmmrJ nu Xpnroi.Fig. 27. The Baptism of Christ.

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ECTEP[E] /OCEN". Ito o,pro'rep


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Tropsilsrot fipoq ro 6efrd. Ot o8etrgdq rouvercpor5 Ao(dpou, Mdp0c rccr Mcpic npo-onintouv o'ro n66ts rou Irqoo$ 6e6peveq,ev


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Awiororpl cn66oor1 rou Odpcroq undp-Xer movTfpro Itaup6 rou Aycopdrrl rccrotov Ayo Mdpcvto Aoupopd, dpyc touQi),tnnou foulIrrl orcr1vr] u1q BaToq6pou (errc. 29),nou orco).ouOe(, o Irlooilq cnarrcov((etorvo rcdOetat oe treurc6 nc6tro nou rcctau0J-vrT0,t Trpoqro 6efrd orco),ou0oripavog cn6 trlv opd-6o 'rrov pc0r1rc6v Tou. O 6p6poq orpo-prdvog pre x)d6ouq pcir,rv o6rlya( mrlv fIU\

Renaissance compositions, as for examplethe figures of the apostles in the apse ofthe HolyVirgin Podythou in Galata. Thesame scene in the Holy Virgin church inGalata, painted by Symeon Axentes imi-tates the painter of the Transfigurationchurch, although he does not understandhis stylistic innovations. The same com-ment could be also made for other scenes,as the Entry to Jerusalem, the Baptism andthe scene of the Transfiguration.

Errc. 29. H Bai'ogdpog.Fig. 29. The Enny into Jerusalem.

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Em. 30. H Merapdpgatory nu Ionrypog.Fig. 30.The Transfiguration of the Sauiour

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tlg Iepouoc),r]p, 6nou ro n).r]0og ouvr'l-9eftst rcpotcbvtoq eniorlq p,iyro. flcp6-poroq srKovoypcgrrc6g'rUnog oncwd.rcro'ro va6 tou Ayrou Nrro),dou oto K),ro-v


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Erc. 31. Touoygagieg fwtrcoi rcixou,Fig. 31. \X/all-paintings of the west wall.

rIV orrsrK6\torl rnq A6fcq rou Xproroil.Ito cdtopc rou 8urlKoJ roixou GnrtKo-w\erui1 lrcJparorl Kcu rrto rcd'rco, oe 6ilo16v4, orc4vdq an6'ra fld04 (en


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'rriooepc rccpgrd, rccrrd'n1 pu(cwrw1 arrco-voypogia, Kor nrprorory(luu cn6toug6rjo ).qotdq 8epdvouq nroOdyrcrovo, XcDp(gva npoo8ropi(etor noroq eivct o rcc).6g rarrroroq o cpetcv6q'roq ),Ior{q. ll},srori6-vrror oro cprotepd an6 q @eor6rco rco.t6rio dJ,eq 1ruva(rceq nou 0pr1voilv, Kor on6dvc orpatc6ril pe evbilprarc unripdrrl nouTou ),oy/(er tc n).eupd Kor oro 6sfrd cn6rov Iardlvi1 KGl rov Porpc(o Ercor6vrap-1o Aoly:vo nou rot'rd(et {r1}d. A(n},c roug

Adam who saves the old one). Above thecross were painted the sun and the moon,the irxcription in Greek "H CTABPOCIC"(The Crusifixion) and on each side ofJesusangels covering their face and mourning.The emphasizing of the Crucifixion iscommon in the Cypriot monuments.Many similarities can be found betweenthat scene and the one in the Holy Crossof Hagiasmate painted by Philip Goul, inspite of the simplification of that

Em. 32. H ltaugaory.Fig, 32. The CrusiJixion.

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Em. 33, O Muonrcdg leinog.Fig. 3j. The La:t Supper.

pro o8ldn/oorq popq{ pr yrvad8o Kotpdoo ncpcndpnet nt0cv6'rc'ro oe np6-oorro oxsrt(6pevo pe'rrqv ovdyepoq rccrrn gilordxqoq rou vaor5 q o'rov i6to rovrcc).trrtd1vr1. Iro pdOoq cnetrcov((ov'rotPr,lpotor mpcrc6req rcorcrei14 qq Iepou-octrrjp, evc6 rcdtr,l an6'ro otaup6 undpletonrj),cro ps rcpcv(o rccr oo'rd, rcctd'r4vncpd8ool tou A6dp (=Xprot6q o vdogA6dp, nou ).u'rprirvst tov na).ot6). lldvr'rcn6'n1v rcepcic tou otcupo$ etrcovr{oworo b(orcoq rou r1).(ou Kor rnq oe).n1vqq rccr4 enrypoqrlH CTABPOCIC rcct trcsr{-

composition, where the bandits, the sol-dier with the lance etc. are missing.In the "Last Supper" (fig. 33), placed inthe first zone under the Crucifixion, Jesusis depicted in th.e centre ofthe scene, behindthe rectangular table of the Supper. Jesusis sitting between the twelve disciples, leav-ing a small part of the table opposite toJesus empty. Christ embraced by Johnlooks at his side. Judas is stretching hishand to the bowl, while the other disci-ples are talking with vivid gestures. Thelast two disciples are turning their backs

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ptoesvrou hloori, Alye).or nou rcc),ilnrouvto np6oarn6 rouq ps o6rivr1. Eivar ev6ro-qdpouoc 11 flapolt4g Ircilpr,lor1q, oupajoe rcunpicrcd prv4pre(c trlq enoplq. H orcq-vrl au{ ncpouotd(er oprcetdg opot6rrlreqpr rIV cvt(ororp tou @r),innou foutrotov Itcupd tou Aytcopdt4, ncpd royeyov6q 6tt erce( q orir,eor1 elvor mo nepto-ptopdvrl, cgori cnouord(ouv or ),4ordg,o ).oyXtotjq rc),n.I'rov Muottrc6 Aainvo (err. 33), nouto'ropei'rct otrlv npcirq (rivr1 rcdrr,l cn614 }cripooli, o Xptot6q errcov((etcroto rcdv'rpo r4q ouv0doeorq, n(oco cn6'ro

to the visitor of the church. The painteris using in this scene the perspective oftheone point and presents iconographicsimilarities with the one in Hagiasmate.In the scene of the \flashing of theApostles' feet (fig. 34) elevendisciples aredepicted on the right side unrying theirsandals. Christ is standing on the left prepar-ing him to sweep the leg of Peter, whichis lying in the basin. Peter is holding hishead in the middle of the scene in thesame way as in the Holy Cross churchof Hagiasmate and in the St. Mamaschurch in Louvaras. The scene was copied

Em.34. O M.mtlpag.Fig. 34 The wa"shing of the Disciples Fea

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op0oycil'to qantlt tou Ae(rrvou. Ercatd-po0ev tou Irloori 8ra'rdooov'ror rrsprpr-'rprrcd ot 6c66erca pcOrpdq Tou, crpr]vowoqdvc pnrcp6 tprjpc tou rpanefrori andvawtcn6'rov Ilooil qrcdlurrro. O Xpm6q 6dXe-ror rov evqrcotrtop6 rou Iodwrq rcorrd-(owog npoq ro prdpoq tou. O Iori8cq ontrcb-Ya ro ldpr rou oq yopd0c rcqt ot un6-),ornor paOrlrdq lerpovopor3v rcct prtrorivpretofJ rouq. Or 6rjo tetrsuta(or pro0rlrdqdlouv mpoppdvo'rc vcbtc'roug o'rov 0sc-tr]. O rcctr),rrd1vqq Xprlorponorci yro tr1orcrlvri outr] trlv npoonttrcr] rou Krwpt-rcoS or;peiou quy{q Kor rropouord(er errco-voypcgtrcdq opot6qreg lre r1v awiotot-14 orovAyaoparq.Itrl orcqvr]tou Ntntr]pc Qw.34) errcov(-(owct mc 6eftd ot 6v6ercc prcOrpdq ouvr,r-o'rtoprdvot otrqv drcpr1 vc pydfouv taoav8dlro touq. O Xprot6q oro optors-pa troty,6(trcu vcr otcounioat ro n66ttou fld'rpou, nou aupiorcrrot orn ),ercdvrype'ro vep6, evri o lldtpoq oto rcdwpo r4qorcrlvrig rcpardet to rcegd),t rou pr rov f6toXopcKrlptottrc6'rp6no, 6noq ottq cw(-ororxsq orcqvdq orov T(pro lroup6 rouAyrcopdll KGt orov Ayro Mdpc orovAoupcpd. Trlv orcrlvrj cwrypdqet rrcvo-pot6'runo o (riypdqoq Iuperiv A(u) E6nngoro vc6 trqq @eot6rcou orrl fa)dta.H orc4rnr1 r4q llpoosux{q orov rcr]no qgfeo0rlpcvrlq (etrc. 35)nou arcotrou0e( anet-rcovrfetcr oe 6So enineba.Iro dvcl pdpoq,orqv rcopugrj tou tr6qou, o Xprot6q cner-rcovt(etct vo npooerilercu or 6So 6rc6o-Xrrcdq orcrlvdq vc npooerila'rct yovc'no'r6qrccr 6p0roq Kcr oro rcdtor pdpoq orrqunripeteq rou ),6qou cnerrcov((etcr o 6pr-),oqtov pc0r1tc6v vc 6yrr cnorcorprl0e(

Em. 35. H llgooeux( ont, rctfno rr1g feo2rypavfe.Fig. 35. The Pray on the Mount of Oliuel

in every detail by the painter SymeonAxentes in the Holy Virgin church inGalata.The scene of the Prayer on the Mount ofOlives (fig.35), which follows, is paint-ed in two levels. On the upper one, Jesusis depicted at the summit of the hilltwice praying, once kneeling and oncestanding. At the lower level, on the footof the hill the group of the aposdes is sleep-ing, except Peter, who is talkingwithJesus,after he returned and reproached them.The iconographic similarity of this scenewith the one in the Holy Virgin churchin Galata makes certain the use of the samesketch ("anthibolon") for the painter.The last scene on the upper zone depictsthe "Betrayal" (fig.36).Jesus walks to theright; Judas embraces Him and givesHim the kiss. The two main figures aresurrounded by soldiers with conical hel-mets and lances. The first soldier on theleft holds a torch and pulls the hand of

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sKr6q 0116 rov lldrpo nou ouvopil.r( prrov Kilpto nou dlet rccrepe( cn6'ro),69o rcar roug entn),r]'r'ret. H srKovoypo-qrrc{ opot6tlro plnlv ncpdotoorl orovo6 rrlq @aor6rcou or4 fa)dtc rcs0rordpipaq rn Xp{oI 'rou (6tou ov0rp6),ou(npoold6to).Itrl orcrlvrj rrlq llpo6ootag (rrrc.36),'rqv'retreu'rcic rnlq dvo (c5vr1g, o Xpr-ot6q nou pc6((et rrpoq ro 6efrd, 8dletortov concop6 rou IoJ6q nou oneri8er npoqro pdpoq rou Kot tov cyrcc),ra,lu. Tooriprn),eypo trov 6rjo popgc6v neptotot/-(ouv o'rpc'rtc6reg pe rcrrlwrcd rcpdvr1 rcor

Jesus, while the other soldier pulls Him tothe other direction. Another soldier is mov-ing to Jesus holding a shield and puts for-ward his lance. Among the soldiers arestanding behind Judas two Pharisee. Onfirst level, on the right, Peter cuts the earof the servant Malchos. Peter is depictedin contraposto looking Jesus at his eyes.This scene presents iconographic simi-larities with the one in St. Mamas in Lou-varas painted by Philip Goul and those bySymeon Axentes in St. Sozomenos andthe Holy Virgin in Galata.In the lower zone and as first scene can

Em. 36. H llgoilooia.Fig 36. The Betraltal.

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tr6y1eq. O npc6toq o'rpcrc6llq oro opr-otepd rcpotder nupo6 rccr rpcpder rovKripto cn6 to 1dpr, evri dvcq dtr),oq tovtpcpder qn6 ra oprorpq. 'Evcq otpo-rc6r4q otc 6efrd pc6((er npog rov Xpr-ot6 rcpctcbvtcq conibc rcar npo'rdooo-v'rcq cneil,ltrrd rr1 ),6yp1tou. Avdpeocorouq orporrc6req 8roqoivowor mo 6efrdn(oco an6 rov IorjSa 6Jo qoprooc(or. Ienpc6ro en(ne6o, rcdro 6efrd, qnerrcovf-(etct'ro enero66ro ps roy fldtpo Kcu rovMd\o, rovtnqpd'r4,tou onoiou o lldtpoqrc6pet to aud. O lldrpoq onerrcovi(etaroe cwtrc(vqoq, vc cvc(r1r 6et pt ra pdna

be seen "Jesus before the High Priests"(fig.37). The two judges, Annas undCaiaphas are discussing sitting on bench-es at the left of the composition, in frontof a building with a double arch. On theright two soldiers with a conical helmetand a military uniform lead to the Prieststhe tiedJesus, escorted by a group ofsol-diers with raised lances. Another Phariseesescorts the Lord, with his face hiddenbehind the halo ofJesus. A similar iconog-raphy is found in the Holy Cross Hagias-mate church, although the painter usedhis sketch reversed.

hrc. 37. O lryooig xgo rot, Agnqian,.Fig. j7 Christ before the High Priests Annas and Caiaphas.

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rov Xptor6. H onivrj au'rrj ncpouotd-fet etrcovoypcgtrcdq opor6trlreq pr rlvcvrio'rorXq otov Ayro Mdprc Aoupcpdtou (Dil.(nnou foutr rcct erceiveq tou lupe-c6v A(u)fdwn orov Ayro }o(6prvo Korot4 @eot6rco oq fcldtc.Iqv rcdro oepd cnerrcolr(etor mrlvnpc6-tq orcqvrj o hlooriq rrpo rov Appepdr'rv(ro ncpdvopo ouvd8pro) (rrrc.37). Or 6rjo8rrccotdq Awog rccr Kcldqaq 6n).dyowctrca0rjpevot oe d8pavc oro cprotepd trlqouvOdoeog pnpomd cn6 rtrlpro pe 6rn).6r6fo. Irc 6efrd 6do otpouc6teq pe ru'rrrc6

In the next composition is shown Pilatuswashing his hands (fig. 38). Pilatus isdepicted seated in a throne, having declaredhis verdict and washing his hands in a bowlwith water, while next to him stands a ser-vant with a jar. Behind Pilatus stands asoldierwith a raised lance and next to hima female figure is seen through the win-dow, obviously the wife of Pilatus namedProkne. On the left the tied Jesus ishearing the verdict of Pilatus, held by asoldier with military uniform and conicalhelmet, while surrounded by a group ofPharisees and other Jews.

Errc. 38. O lTi,tirog t imet rug xeigag-rouFig. 38, Pilare washes his Hantls.

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Errc. 39. HAgtryory rou lfngou.Fig. 39. The Denial of Peter.

Kpdvoq Kcl orpcrrrotrrcrj efdpruol o6q-yo$v orouq op1rsp(q rov 8rpdvo Xprot6nou ouvo8sr5srst on6 oprd8c otpa'nrotrivpe u{t,lprvo 66porc. Tov Iloori ouvo8eileren(or1g popq{ @aptoaiou,tou ono(ouro np6oarno rcpripetor n(oc'r cn6lov qrrno-otdgcvotou Ir;oori. Avriororpi uKovo-ypog(o ncpouorcl(eror KGr oto vs6 rouTrp(ou Itc.uporj otov Ayrcopdll, c),),dFs cwsorpoppdvo cvO(po),o.Iulv en6pevrl orcqvrj onerrovi(e'rct ollr),dtoq va v(nter rag yeipag 'rou (errc.38). O 1ysp6vqq anerrcovr(ercr rccOr]pe,voq or 0p6vo vo d1er rj64 ercgpdosr rrlv

In the next scene can be seen the "Peters'Denial" (fig.39). The painter uses his tal-ent in order to depict the huge buildingand to place the three denials of Petrus, aswell as his regret. The architecturalstructure is painted according to the per-spective of the one central point, whichderives from the Italian painting of the15th century. On the left it was paintedthe episode with the servanr at home, onthe right the one with the soldiers and inthe upper one the scene with the denial ofPeter to the doorkeeper. On the upper sideat the right, in a notable spot stands thecock, which crowed after the third denial

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fiuplyop(q rou Kol vG virrrsr ro Xdpto rouor rrlvdKro ps yrp6 Gn6 Kovdro rrouKpordst dvcq unrlpdtqq. ll(oro on6 rov0p6vo tou llildtou otdrcetcr orpctrc6rrlgpe ur.fopdvo 66pu rcct oto ntrdT rou npo-pdtrtrer pta y.rvcrrce(o popq{ pdoc on6'ronopdOupo, npogavc6g 11 ori(uyog touflrtrd'rou, flp6rcvq. Aprotepd o Xprot6qncpcrcotrou0ei trlv an6goo4 tou flr),d-'rou, dpOrcg rcct 6epdvoq, rcpcroilpwoq cn6orpo'nc6tr1 pe sfdptuoq rcar rcrovrrc6rcpdvog, avri neptpd),Ierqr on6 opd6c(Daptooc(ov rcct dl),olv Eppa(rov.Illv en6pavr; orcqvri cnerrcovl{etor 11fu"n"tf tou lldtpou (etrc. 39). O rcdJ,rrd-

ofPeter, according to the prophecy ofJesus. In the centre is placed the episodewith the regret of Peter, who is leaningagainst a pier sunk in his thoughts.The last scene of the second row pres-ents the "Mockery of Christ" (fig. 40).In the middle ofthe composition is stand-ingJesus, wearing a purple cloak, a thornycrown and holding a cane. He is sunoundedby a group ofJews, who are mocking Him.Among the people we recognize a drum-mer, behind Jesus, while on the rightand left corner, in front of the crowd arestanding two trumpeters with horns,turning their instruments towards Jesus.

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

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Xwlq pre rp6rro oprororsx\xrc6 cftonors(pe rp6no opycvrrc6 ro oyrcc66aq qp1lrs-rr6vr1pa, 6rcp0pr6ver opycvrrcd rrg rprrq6tc6oprcdq cpvr]osrgtou fldrpou Kcr rrlpetdvord'rou. To rcrr]pro ono6(6etor perrlv rrpoorrrrrcrj ev6q rcev'rprrcori oqpe(ou,otor1e(o nou npodpletar sn6'rqv trc),r-rcriforypcrptnj'rou 15ou orc6vo. Ira opr,orepd onerrov((e'rorro ensro66ro p rrl0eponcrv(6c pdoo oro on(tt, orc 6efrderceivo Fr rouq o'rpctrc6teg rccr ndvo qdprnot1 otr; 0uparp6. Avor 6sfrd, oe nspio-ntrl 0dor1, onerrovi(etcr o ne'rerv6q noue),d),r1oe pard rqv tptn),rl dpvrlorl roullftpou or5pgorvc, ps rlvnpoqrprrcn prtoqtou Kup(ou. Ito rcdvrpo qno6(6etsr ro

On His feet are kneeling four figures,worshiping Christ in a mockingway.Similar are depicted the same presenrationsin Louvaras, Hagiasmates and in the HolyVirgin church in Galata.The depiction ofJesus' Passion continuesin the upper zone of the north wall withthe scene of the "Helkomenos" (Via Cru-cis) (fig. 41). Simon from Cyrene on theright carries the cross, followed by Jesus,who is tied and pulled by a Romansoldier. Behind the Lord stand a groupof soldiers with conical helmets and rwoPharisees, who were depicted exactlyin the same way in the episode of the"Pilate washed his hands". The scene of

Erc. 41. O E)"rcdpetog.Fig. 41. The Wayto the Cross.


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Erc. 42. O ErndgroE @qircg.Fig. 42. The Lamentation at the Tomb.errero66ro rlg psrdvorog pr rov fl6tpo,vc oKouprrd os rrroo(oKo pu0ropdvoq orgdllrerq rou.H tatreuta(a oKrlvl qq 8eriteprlq l6vnqenrypdrpetct O EMIIE|MOC (errc.40). Ito rcdvtpo rrlg orcr1v4q o Xprot6ge(var ev6e6updvoq pe nopgup6 pcv6$a,rpdpet orcdlwo megdr,'r rccr rcpcrdet rcc)d-pu. lleprrpryup((ercr on6 n),r]Oog Iou6al-r,lv rrou Tov epnci(ouv. Avdpeoo, orov6/,o felop(lt: {va.g rupno,wor{q noueup(orce'rct nioro 6efrd cn6 tov Xprot6,evc6 ors drcpc rou n),riOouq, 6efrd rccrcpto'repd, etrcov((ovrct 6Jo od,nryrcrdqpourc(vov, nou orpdgouv ra 6pycvd rouqnpoq ro pdpoq tou Iqoori. Ira n66ra Toueup(orcowar tdoosprq dv8peg yowns'raig,fiou rov npoorcuvoJv neprncrrrrrcd..

Helkomenos resembles the scenes inLouvaras and Hagiasmates.The "Entombment" (fig.42) is followingHelkomenos, since the scene ofthe Crusi-fixion was depicted in the triangularpediment of the west wall. The episodeis taking place in Golgotha, in an unfruit-ful landscape, in front ofroclcyhills, wherea cross is standing in-between. In the uncov-ered, stoned sarcophagus lies Jesus onthe white pall of the Descent from theCross. Mary is sitting nexr to the sar-cophagus having in her arms the head ofher Son. Around fie sarcophagus are stand-ing Ioannis andJoseph, who holds the pall,Magdalena, Myrophorae and on the rightside Nicodemus, leaning against the lad-der, used during the Descent from theCross. In front of the sarcophagus lieson the ground a basket with nails and acantharus, symbols of the Crucifixion andthe HolyMass. Identicalwith the iconog-raphy of the scene in Palaichori is the onefound in Hagiasmate, as far as the com-position, the gestures of the figures andthe background concerns, with the onlyexception the figure of Magdalena.After the "Lamentadon" follows rhe "Res-urrection of Christi" out of the tomb (fig.43) according to the western type. Thescene is uking place in a roclly background,where only a small tree on the left can beseen. Out of the rose sarcophagus, withthe lid placed on its left, comesJesus bless-ing with his right hand and holding a big,wooden cross with his left. In front ofthe grave are lying three sleeping Romansoldiers of the group in military uniform

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H orcrlvrj outr] ncpouota.\u rcdnoreqsrKovoypoqrrcdq cwto'ro tykg pe erce(vegoto Aoupopd, o'tov Aytaopdtq Kot orovo6 rqg @eot6rcou ornl fctrdtc.H etrcovoyp.iqnotl t


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Kot rlq @elcq Eulcprodcq. llcvopor6-runl srKovoypagfa ps rov Enrrdqto@prjvo qg Merop6pgoonq flc),arXopi-ou ncpouord(er 11 cwfototXrl orov A1'rc-opdrrl, t6oo c,:q npoq llv odv0eoil rcotordorl torv popqc6v 6oo rcar og rrpoq roton(o oto pd0og, pe povc8trcrj 6rc


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'\' -{"'ir:- : . . ,r' t: 1' i r. : :'. ,. 'l"X*:,-Em. 45. H At,til.tl!ry rou Xgnroi.Fig. 15. The Ascescion of Chrisr.

I :i;.; :p;:r ;d;r;;l;rt!4 ra9r1:::raa*1.:- {et:rt!*1x r;11.-i,,i1;4* rtfg:. :r ::j,Jr lt.tl

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

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sv6 dyoq'r6'rcproq cnetrcov((e'rct orop


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Mstd nq orc1vdq tou Xprmo),oyrcoil rcurLouorcoiou0e( lcop(q 6rcrcoopqtrrc6 6rc1ropr-orrrc6, 6nolq oto v6'uo ro(1o, ro 0criporou cp1c1ryd),ou Mrlcrj). orq X6veq (errc.47) nou oyxrilerat ps rnv unorce(pevr1ncpdotcoq tou Aplolyd),ou oto tug),6r6fo. }ip


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Or 6rio te).eutcieg orcqvdq av4rcouv otovEulopto'norc6 rcilrc),o. Itqv npr6tq etrco-wluat o Acvnj), mov ldmo'rrDv ),e6wr'lv(errc. 4B), dvo 0dpc nou cncwd'rct Kot orovdp0r1rco tou Ay(ou Hpcr).er6(ou oq Mov4Ayou Iordwou Acpnc8totoil. O Aortrj),errcov((erat vq 66etat oe onr]Ioto-trdrcrcopre ldovteg ot onoiot tov oyyi(ouv oton66rs. H orc4vr] nou enrypdqe'rot O[Irca FrTHq AANIFIA EN TO AAKKC)).6yro dMsuJnlq 1c6pou eivcr eD,flrn1q: Anet-rcov(fowcr povdlc ora 6efrd o Ayye).ogKup(ou lre rov npoqrlt4 Apparcorip noutou qdpva rpog{, evd) anouotd(er n1 orcq-vrj pe tov pcoil,dc KJpo rccr rouq ouKo-gdvreq ot onoiot 0c ptX0oJv otouq tr6o-vteg (Acvtrj^ 12.3I-40). flp6rcet'rot yrc6vc etrcovoypcgtrc6 0dpc nou ouv8daratpe erce(vo tov Tptc6v llc(6rov ev tn1 Kcpi-vo,'16oo lncti ouppo),((er q oorrlp(c trlqVu1t1s, 6oo rcqt ycd cnotetre( npoanet-rc6r'ro4 l1g @e(aq Euloptoticg.H retreursio ncpdotcoq tou pope(ou toi-1ou npr on6 'ro etrcovoordoto e(vo r1 orcq-vrj pe ro 6papro tou flclop(ou (etrc.49), nou nopd rq 6td6oor1 nou e(Xe roOdpc otr;v nctrcrotr6yetc rcor percpu(a-l"rrlrq nep(o6o np6rcettct'tr1 povc8rni lvro-orri ncpdotooll oll1v Krinpo. H onlvrioutrj ncpouord(ar q0opdg ),6yo t4q cwt-rcctdo'rooqgtou na),qt6rtpou ttKovo-otqoiou pe'ro uqtotdpevo. O ApXdirye-),og Pagcr]), orc oprortpd, pe dv8upcpeyd,6opprou povcXori, 8eilver ro Kou-rco$D.r6 rou Kcu rcpordet avotrr6 ailqt6nou ovcypdgst "BHOY MONIH] /PO\zHno/TrrrorrN / AEXOY oP[E]/Af f E,AI KON/ IXYMA IIA/XOMIE,/..IIEP" oneuOuv6pevoq orov lloyipto,

is shown prayrng in a cave-pit with lionstouching his feet. The scene bears theuncompleted inscription: "O fIPO@-IHTHC] AANIHA EN TO AAKKC)"(Prophet Daniel in the Den) due to the

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

lack of space. On the right side we seethe angel of the l,ord alongwith the ProphetHabakkuk fetching food to him, while thescene with the king Kyros and the slan-derers, who were put into the lions(Dan.I2.3l-40), is absent. The iconog-raphy ofthe scene is connected to the oneof the "Three Children in the Fiery Fur-nace" because it symbolizes the salvationof the soul and the Holy Mass.The last presentation on the north wall

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Etrc. 50. Ot dytot feogytog rcat lryptpEogFig 50 Saints George and Demeniul

r6pu{ rou KotvoptoKod povoxtopoil, nouppiorcetct oto 6eltd rnq oKI\41q.Iqv rcdro (c6vr1 tou voriou ro(Xou, orotug).6 cr.fi8copc cnetrcovi(ovtot ot drptn-rror mportortrco( dyot fer6pytoq rccr Arlprj-rproq os ep11ptrc6 ton(o(etrc. 50). Odyroq A4prjtptoq oro 6eftd rcd0etct osrccqd d).oyo rou rcqreuOilvsrot rlpoq rocprotepd. A(ntro tou oe yrcp((o dloyo noupc6((er ncpdD,rl).c rcd0etar o dytog fec6p-yoq nou rcond(ei npoq tov dyo Anlprjtpto

before the icon beam is the Vision ofPachomios (fig. 49), a scene widespreadduring the palaiologan and postbrzantineperiod, but the only one preserved inCyprus. Due to the replacement of theolder icon beam through a new one, thefresco was partly damaged. The archangelRaphael on the left dressed in a vestmentof the great schema (megaloschemot) -onk,points at his koukoulion (cowl), turns toPachomios on the right, founder of the

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Kat qKouprrd ro Xdpl rou oro c6;,ro rou. OrSrio vecpof dyrot errcovi(ovtm pe y),urc6sqn1prrc6 np6orono rcat rovrd pra),),rd,vc goporiv rcovtorig ptciveg, rfrltrdq rcd),-toeq (6popr(6eg), evc6 'ra n66ro touqeivct ru),typdvo. or Xpuoonoircilteq nepr-rcv4pi6eq, or ono(eq qdpouv ompoJvrc. OorpqrtcDrtKo( rouq Ocbpcrceg eivor lpuoo(rco.t rcoopoilwor ps Xpuooypcqieq. Or pcv-6rjeg rorv ayov otepecbvowcr dpnpoo0evrou orri0oug, To "ovorretdptv" 'rcovono(olv o.n).dlvetar rrpoq ro n(oro oXrl-pod(owcq t6fo. To ton(o rcc0riq en(oqqro d),oyo'rou oyou fe


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Em. 52. O lyng 2nugi6alFig. 52. Saint Spyridon.

coenobium, and holds open inscribed scrollwriting: "BHOY MON[H]/POYIHno/TrnorrN / AEXOY oP[E]/Af f EAIKON/ IXYMA IIA/XOMIE/..nEP" (Accept the symbol of the lonelylife, the angels' schema, Pachomios...).In the lower zone of the south wall, in theblind arch, are depicted the riding mili-tarysaints George and Demetrios (fig. 50)in a deserted landscape. St. Demetrioson the right side rides a brown horseproceeding to the left. Next to him ridesperallel to him on a grey horse is St. George,looking at St. Demetrios and touchinghisshoulder. The two young saints are depict-ed with a mild, teenage face and shon hair,wearing short tunics, stockings andgolden protectors with spurs. Theirgolden armors are adorned with chryso-graphies. The cloaks of the saints are fas-tened in front oftheir breast and theirwav-ing endings (anapetarin) at the back areshaping an arch. The landscape, as well asthe horse of St. George resemble icono-graphically the presentation of St. Georgein the Holy Virgin Chrysokourdaliotissachurch in Kourdale. Similarities are alsotraced between the horse of St. Georgein Palaichori and in Hagiasmates.Two Cypriot hierarchs, St. Tychon on theright (fig. 51) and St. Spyridon (fig.52)on the left are painted in the piers of thearch.The rest ofthe blind arch is adornedwithgeometric decoration (cosmatesque) ofwestern iconographic origin widespreadin works of Giotto and his cycle during

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

the 14th century in Italy, as well as inthe "Latin Chapel" in the monastery ofSt. John Lampadistes in Kalopanagiotes.Between the blind arch and the southentrance is placed in a dark backgroundand green soil Apostle Paul (fig. 5l). Heis wearing a light blue tunic and a red cloakholding with both his hands a closed gospel.His figure in the Transfiguration churchin Palaichori resembles the one in St.Nicholas in Galataria and in Louvaras,as far as the expression of the saint, as wellas his gesture, concerns. In all three church-es he is placed next to the south entrance.In the thickness of the wall of the southdoor, next to the figure of theAposde Paul,a cross on the place ofsculls is preserved(fig.54). fuound the cross, cryptograph-ic inscriptions are written: Jesus Christus,Son of God \fins. God's light enlight-ens everyone. Christ is offered to the Chris-tian through His grace. Helen found thefinding of the mercy. The place of theentombment is the Holy Cross. Cometo the Martyrdom of Christ. The place ofCrucifixion is the tomb of Christ the placeof the sculls. Underneath ofthe Cross thescull ofAdamwas depicted. Asimilar crosswas painted in the St. Christine churchin Askas, as well as in Hagiasmates.On the west side of the entrance up to theend of the west side of the south wall greatpersonalities of the monastic life weredepicted. First on the left is depicted inbust the holyAnthony (frg. fl. He is hold-ing a stick with his right hand and withhis left hand an opened scroll, bearingan inscription: "EfC) fAP IAON/ TAtIIAII,\AI/ TOY AIABOAOY/ HIIAOME-

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H nopdotcoq rIg Mercpopqc6oeroqllc),ot1cop(ou ncpouordfsr no),)dg opot-6t4teg pe trg aw(otorleq orovAyo Ntrc6-trco orrl fc).crcprd Kor oro Aoupcpd,16oo npog u;v drqpcorl qq ;.ropqr1q touAytou 6oo Kct npoq or4v otdorl 'rou. Henrloyrj rrlq aKoyoypdgnoqs rou Apou6in),a an6t4vv6tto OJpc a(vct rcowri rcsrota tpio pwlpaio.Iro ndlogtou'ro(1ou trlq v6rcg Oripoq,arcprpc6g 6(n),s an6 rq popgi 'rou Ano-ot6trou llciltrou, oc6fetct o'rqv cvc'ro).r-rcrj ntreupd rrlg 0ripcq otcrup6q ndvro oe"rcpcviou 16T10". Ercordpro0ev rou orou-po$ undplouv tc cpprcd ypdprpcrc toupeyd),ou cyye).trcoil opipcroq: I [4ooJ]IX[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], Eh6qlElrjpey] E[dprlpo] Ehdouql, TIAAHI]Tloroll / r[rMroN] EtYl^toNlA [EYTE], XPTITOYI M hPT\"rONl/ IT[A\"OIrI] T[OilOr], XIPTTTOIT[A@Or] / TIOnOI] KIPANTO\|.Kdrto an6'ro otoup6 anetrcov((etat'rorcpcrv(o rou A6dp Gw.54). Avriorotloqmcup6g lre Kpunroyp dplcnaundpler movc6 trlq Ayaq Xpror(vcq o'rov Aorcd rcarorovAyrcopdt4.Iro 8utrcd qg eto66ou rcar pdlpr ro td).oq'rou vor(ou ro(1ou rrpoq rc 8u'urcd qnet-rcovt(owcr peyd),eq Fopgdq tou Op066o-{ou provapopo$. llpc6roq cn6 aptotepdncptordvstcr o 6oroq rcor 0eoq6poqAwri-vroq (errc. 55) ot npo'ropnj, 6p0rog Kol Kqr'evcbmov. Me ro 6ef( rou ldpr orcouprnd oepdp6o, evc6 pre'ro cpro'rep6 rcpo're( cvot-rcr6 ertrrltdpto nou fetu),(ystot n).cy.cotd,6nou pe rcegc).c(c ypdppcrc cvoypdqar

hrc. 54. Enrypagrj yt rcpurnoyprippam.Fig, 54. Inscription wirh cryptograms.

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Erc. 55. O dyrogAwannog.Fig.55. SaintAnthony.

"EfO IA? IAON/ TAI IIA|IAAI/ TOYAIABOAOY/ HIIAOMENA'/ EN THfH". O Ayrog etrcovoypqqs(ror o$pqo-vc pe'r4v Epprpic'rou &owotou sK (Doup-vd og ydpov rcowo8t1ctroydvng, pe yupv6tov ndryolvc, pe olporcdorovo p'rc5vc,rccorcvdpuOpo pcv8rio Kcu ro paOuyd-),c(o rcourcori),ro rcor ovd),opo. Ito rlrlioqtou pe'rc6nou o4percivetcr prrcp6q ).eu-rc6q oraup6q.A(n),q otov dyto Av'rc6l.ro errcovi(eto,r odyroq A0ovdoroq o A0orv(rqq Gtrc. 56),6p0roq rco'r'cvornov, pe p66rvo pov6rio,

NAI/ EN TH fH" (I have seen the trapsof the world spread in the earth). The saintwas painted according to the Hermeneiaof Dionysios from Phournas, as an old per-son with a short beard, wearing a lightbrown tunic, a brown-red cloak and a bluecowl with analabos (scapular) with anembroidered small white cross.Next to St. Anthony stands St. Athana-sius from Athos (fig. 56), frontally andwearing a rose cloak, light-yellow tunicand a blue analabos. He is also depictedaccording to the Hermeneia of Dionysiosfrom Phournas, as an old, bald person witha sharp beard, blessing with his right handand holding a scroll in his left writing:"BAI,NETE MH/ KAHIHTE/ THNIIYAHN/ THt MONHI" (\7atchnot to close the gate of the monastery). St.Sawas (fig.57) stands frontally next to St.Athanasius, as the Hermeneia of the Paint-ing Art dictates: "an old man, with hisbeard splitted in two parts. He is dressedas a monh with an orange tunic, blue anal-abos and grey-green cloak holding in hisleft hand a scroll with the inscription:..{TYXHN OIIVIOEN TOY @[EO]Y/KOAAON NAAAI/ EMIIPOI@ENAY/TOY NHN TIAPIITA/TAII] ".Frontally is also the next monk depicted,St. Theodosius theAbbot (fig. 58), an oldperson with a long, splitted beard, bless-ing with his right hand and holding a scroll,bearing the inscription: "KOINO-BION/EITIN ENI| EIOI/ O\"ANOIAIO Oy KIYPr]O AETTOYPTOYNTIE:]iAIIEAOI OYTC)" (coenobium is the skyon the earth, therefore we celebrate the

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oyorKroK(rptvo Xtrc6vq rcor yo),d{ro cvd-).opo. Anerrcov((etct oJpqarvcr ps rovQoupvd cog "ydpcov


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OKSI ..BAEIIETE MH/ KAHIHTE/THN IIYAHN/ THI MONHI".O d1'roq Lappcqltrc.57) percomrcdq 6(n),oo'rov dyro A0avdoro, errcov((etcr, 6nogtov 0dtret 4 "Epp4ve(c qq (oypoqrrc{qrdXvrlq" ydprov, dXorv ro ydverov erq 613oloptopdvov Kor rov nclyrovo pc6op6v.@ope( povaprcrjv ev8upao(cv - nopro-rcc),61porpro ptc6vc, yc),d(to ovdtrapo rcctyrcpt(onpdorvo prov8Jo rccr rcpo'rder otocprotep6 er),fqr


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_t'j:aa!t'4il'}:; .;5:i

Erc. 59. O tiytogAgoit,tog.Flg. 59. Sdinr Arsenirx.

K[A! rroNoD ItrErP/ KATO L^APTON/@EPLZF. NtYt\l XAI/PON ANC)".Te),euto(og Lrovo16q dyrog oro v6'no roi-Xo srKoviqrror o sp4lrfr1q dyroq Ovoil-gptog(errc. 61), nou noprordvercr o).6-ooLroq, Fsror[K6q lrs r0 xdplo oyorKrd osordol 6dr1or1q. O firoq errcovi(etor ydpcovyupv6q dlcov ro ydverc porcpd drog tougn66oq ;.re rcd'no1vo oc6po nou rco).rjnre-

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

hair and beard holding an inscribed scrollwriting: "EN AAKPYII [PIN/ K[AI]|IONOII IIIEIP/ KATO IAAPION/OEPIZE NDNI XAI/PONANC)" (Downyou were living wifi crying and pain, Hilar-ion, and up you enjoy the happiness).The last monk on the north wall is thestanding St. Onouphrius (fig. 61), paintedfrontally in a gesture of praying. He is

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Etrc, 6L O dyrog Ouoiggrog.Fig. 6L Saint Onuphrius.

ror on6 pryd)q, por5peq rp(Xr,;oK6pnwq,oilp


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Errc, 63. H ayia Maphta.Fig, 63. Saint Marina.

6ud(et rrlv o\no ps rlv rlpdpo rrlq Msyd-),r1q llcpoorceur]q rcct'ro o'rcuptrc6 Odvo-ro rou Xprcro$. @ops( H AyLc rcpa'rd otcXdpra t4g etrc6vtopo pe tovXptot6 vercp6orrlv (6rc rtKovoypog(c, 6notq 11 ArcpoTcne(vororl otrlv rc6y14 tqq llpo0doeoqoto lep6 Brjpc (etrc.17a AITF). H Apcgopei rcootavdpu0po ptrivo Ft ovot-1rorc(tpweq ncpuqdq nou gdpet ta rcoq.nj-

the Saint with the Good Friday and theCrucifixion of Christ. The Saint is hold-ing an icon with the deadJesus, similar tothe iconographical rype of the Man of Sor-rows, depicted in the niche of the Proth-esis, in the altar (fig.l7a and 17b). TheSaint is wearing a brown-red tunic withlight yellow lights with the symbols of hermaidenhood and a light green cloak. Nextto her is shown frontally St. Marina (fig.63) in a bust holding with her right handa cross and raising her left hand as usuallyin the iconography of the martyrs. She iswearing a purple maphorion adorned withpearls at the edges, symbols of her maid-enhood, and a blue tunic. Both saints aredepicted together in several churches ofCyprus, as in Louvaras and in Hagiasmates,presenting iconographic similarities.At the north of the western entrance isdepicted St. Mamas (fig.64), the protec-tor of the Turkish-occupied town ofMor-phou, whose iconography at the same placeof the church was widespread during theVenetian period in Cyprus, as for exam-ple in St. Nicholas church in Galataria andin the HolyVirgin in Kaminaria. St. Mamasis presented as a young, beardless figureriding a blond-brown lion with a raisedtail in a S-shape, going to the left. He iswearing a blue tunic adorned with pre-cious stones at the edge and a purple cloakis fastened on his chest. He is holding across in his right hand and on the left acrosier, as well as awhite sheep. The pres-entation, in spite of some iconographicdifferences, as for example the cross in thehand of the saint and the waythe lion goesresembles the fresco in Hagiasmates (1494)

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psrc rlq rropeevioq rlq Kot oxporrpd-olvo Xrrc6vs. A(n),c trlq etrcov((e'rct rl oytorcar peyctropdptug Mcpivo (etrc. 63)petrontrcrj, oll0cic vc rcpctd pe to 6ef(otaup6 Kqr ycl urfr6ver qv cprotept'l t4qnc),dpn1 oe dv6etf4 pdptupoq. Qope( nop-gup6 pcq6pto W popyoptr6oplpc rcoopnj-poro ottq napurpdg, oilprpo),c rnq rrop-0ev(ag rrlq Ayfcq rccr yc).d(to ptc6vo. Ot6rio oy(sq ncpiorov'ror notrJ ovyva y,al(Ksr or d),).oug vcoriq qg Krinpou, 6norqoto Aoupcpd rcst otov Ayrcopdt4 nounopouord(ouv rcat'nqv (6ta etrcovoypcg(c.Itc p6petc rrlg 8unrcr]g eto66ou ncpt-o'rdvg'rst o dyoq Mdpcq (etrc. 64), no).r-oriloq Ayroq trlq rccte16pevr1q orlpepcn6leo4 trlq M6pgou, nou rcctd'r4vnep(o-6o qq Beve'rorcpct(ag oncwdtct oulvdo'n1v cw(morp1 0dor1 rcqt oe d.Uouq vcoilgrrlq KJnpou, 6noq otov Ayto Nrrc6trcoorq fctrc'rcptd rcot ot4v llavcy(a o:.s"Kaprvdpra. O Ayroq etrov((etct vdoq,cydveroq rccpctrdprlq oe fav0orcdorcvotrrowdpr pre urfoprdrnl oupd os oX.tjpc "S",nou o8eder npoq rc cptmepd. @opeiyo)d-(to pt


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Erc. 65. O dyrog MeprcoiprogFig. 65. Saint Mercury.

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

is holding his shield and his bow. St.Theodor Stratelates (fig. 68), a youngfigure with curly hair is raising with hisright hand his sword and leans withhis left hand against his shield.In the middle of the nonh wall are depict-ed four standing saints in a similariconographic background, with the oneof the soldiers. These saints were wide-spread during the Venetian rule. ApostleAndrew (fig. 69) follows St. Theodore andis represented frontally, according to histraditional iconography, old andwith curlyhair, with a beard splited in the middleand holding a scroll. He is wearing a greentunic and a red cloak blesing with his righthand. Next to him stands also frontallyAposde Luke (fig.70), represented as young,with a small beard, with a red tunic, a bluecloak, blessing with his right hand andholding in his left hand a scroll. He isfollowed by the bald, frontally and round-beard St. Nicholas (fig.71) dressed in bish-ops' vestments: a grey sdcharion, omophori-on (pallium) with embroided big blackcrosses, rose phelonion and an orange epi-trachelion (stole) and epigonation (knee-clothe). He is blessingwith his right handand with his covered left hand holds abrown-red gospel adorned with goldendecorations. An orange border highlightsthe standingAposde Peter (fig.72), depict-ed in a three quarter view, as a bald, withcurly beards figure, holding his 14 Letterstied in a scroll. He is walking to the rightin a praying gesture and wears an orangetunic.In the blind arch of the north wall standthe Archangel Michael (fig. 73) and in the

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Irrqv rcdtro (cirvl rou pope(ou to(1ouarcotro u0orjv'rdooe ptq o'rpc'ttr,l'rtrco(d1not, ot ono(ot cnetrcovt(owct to'rdpevotpe n),r]pr1 orpc'rtortrcrj efdptuol (prorr,r-orcoq, 0c6pcrcoq, cvcf up(6eq, no8ondvta)oe orco'retv6 pd0oq rcct npdotvo d6ogoq:O }1poq dytoq Meprcorjproq (etr. 55)vdoq, cppydv4q, o'rdrcetat oto 6u'rtrc6're-po rprjpc 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 petornrrc6tqra'rolv unotrofTrov ps prc oetpdrcw{oeovnpog rc 6eftd. O aydvetoq vdoqorporrortK6q, etrcov(ferot vo rcpotderpdtrog, to ono(o (uyd(er pre to pdtt.Ain).a rou o dytoq Euord0toq (erc.67)vdoq otpolyutroydwlq, etrcovi(atat pe'rro-rurc6g vc otrlp((etct pe to 6ef( rou oro66pu rou Kot pt ro cptotep6 rou vct Kpc-'rdet'rqv qon(6o KGt ro t6fo tou.O di'roq @e66ropoq o ltpot4)dqq (etrc.68) vdog, oyouporcdqctroq Kot poup),oyd-qg, ur.lrc6ver pe to 6efi rou ro onaO( tourcct oqp([et ro optotep6 tou ldpt otrlvaon(6o'rou.Ito pdoov tou pops(ou to(1ou ctnatrcov(-(ovrat tdooeptq pepovopdvot o),6oopotdyror o'ro (6to pd0oq pe erce(vo'rovo'rpc'nco'nrcc6v cyrov. flp6rcettcr ya dyeqFopqdq nou e(1cv preyd),q 6rd6oon1 tqvnep(o6o'rq g Bevetorc parfu4. O An6oto-),oq Av8pdog (etrc. 69), nou qrco),ou0e(6in),o cn6tov dyro @e66orpo, etrcov((s-ror psrorrtK6q oJpgorvc pe qv rco0tepo-prdrl rou etrcovoypcg(c r'lq ydpolv rcct(c-

Errc, 67. O dyng Euorri2ng.Fig. 67. Saint Eustathiul

intrados St. Cosmas (fig.7a) and St. Dami-- (fig. 75), onthe western pier St. S)'meonthe Stylite (fig.76), while on the easternpier was fragmentary preserved the fol-lowing inscription: "K BA@POYKA /ITOPI@H O NANI-/ AOI TOY K[\"IO]YK[Ar] @lEOlY/ ...HMON rIHIO]Y/ POMOI>KtAIl../ trO@OY KIYPI-olY.../...K[Ar] TH> IIMBYOYA/...BEt K[AI] TON TEK-

,&$s

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Em. 68. O lyrog @edfaryog o ZrganlThrJgFig. 68. Saint Theod.ore the Stratelates.

popd),),4q, erg 6rio lcop((ov'ro ydverov,poorcbv rutrryprdvov 1opd. Qope( rpaovvo rpd'no rcor epu0p6 prc6vo rccr eu),oye(;re ro 6efi tou 1dpr. A{n),c rou emo4q ;retr,l-nrrc6q errcov{luat o An6oto},oq Aourcdq(etrc. 70), en(or1q pe'rr,rmrc6q, v6og oyou-porcdgctroq, o).tyoydvrlg pte epu0p6 tpd-rro Kcu yo)d(to ltrc6vc vo eutroye( pe ro6af( rcctvc rcpctd ps ro aprcrp6 rou ldprrctrerot6 er).r1rdpro. Arco).ou0e( o dyroqNrrc6looq (etrc. 71), pe'rr,rmrc6q gctrcrcp6q,otpolryu),oydqq ev8e8upivoq pe cpxt-

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

.../...@H... " (This venerablechurch of our Lord and God was erectedfrom its fundamentwith the contributionand the great desire of Mr. [...] and hiswife [...]ves and their children [...])(fig.77).All the frescoes belong to the hand of thesame painter and his assistants. Unfonu-nately, due to the damage of the found-ing inscription we are not in a positionto know the names of the donors, thepainter and the date of the erection. Our

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

pGrrKd ay"


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rcp69, poup),oydv4q, prfctn6),tog, pcotc6vrcq 6'emmotrdqtou ru),rypdvcq rccr 6epd-vcq 6trcg opor3. O A1'rog ncpiorctrcu orordorl rptcirv're'rdp'rrrrv oe pnlponop6 npoqrc 6efrd, oe otdoq 6dr1oqq, evSe8updvoqpe prc6vc lpc6pctoq noptorcc).i.Ito 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'nrc6no6cprrc6 o Iuperiv Iru),iqg (trc.76),oto 6s svctotrtrc6 no6cprrc6 ori(etct 4arc6),ou0q ptooKortorpcppdvq Krlropt-rcri snryporpr]: K BA@POY KA/ITOPI@H O |IANI


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Etrc, 74. O dytog Koopdg.Fig. 74. Saint Cosmas.

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

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

4r.are6opry ory {iTwattr errrcpewt(ivOr fu).o6eotdq rccr tc otcupc6poro oroeor,l'reprrc6 rou vqoJ e(vct t6rc('repo rco),a(-oOr1tc Kot rrpoorYpdva rct gdpouv ypc-nr6 gutrc6 8tdrcoopo. H {u},o6eotd orov6rto'ro(1o 6tcoc5(er 6tcrc6opu1or1 rc pop-qdg oprov, evr6'ro peoc(o otcripoprc rpdperrqv orc6trou0r1 cnorponclrc4 enrypcgr]+OYTOC O NAOC ON IPOCEPXE-cTE TTANTEC HKOC TOY OIEO]YK[Ar] nPOCE\XHC. H |rAP[E\|XHMIAHC EA@H MNHCIKAKOCEN@A E K[Ar] AABHN THN APANANTH THC EYAOfIAC (errc. 78).

Errc, 77. KnTroErc( nrypagtf.Fig. 7-. Panonal instiption.

Decaretion af the wxadzm. sr.crfacesThe wooden stretchers and the beams inthe interior of the church are especiallyelegant and with care adorned with flo-ral decoration. The wooden beams ofthe south wall preserves decoration withbusts of saints, while the middle woodenbeam bears the following inscription:"+OYTOC O NAOC ON IIPOCE-DGCTE TTANIEC HKOC TOY @[EO]YK[Ar] nPOCEYXHC. H nAPIEY]XHMIAHC EA@H MNHCIKAKOCEN@AAE K[Ar] AABHN THN APANANTH THC EYAOfIAC" (+ this church,which all ofyou enter, is the house of God

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

Towoygarpieg rrf{ Tovpwsr{Qnries $6 12)h1v efarte prrcr] n),eupd tou 8uttrcorjro(Iou r1q rKKtrIo(oq ocbfowat 6eftd rccrGptorspd qq ero6Sou totloypcq(eq, rlouoilprgovc pr ptooKorootpepdvrl tntypo-qi1 oto rug).6 r6fo ndvo cm6tqv eioo-6o lpovo)'oyoi'r"rct oro 1612.Ito rlpn-rcurctrrrc6 undpOupo etroviierot o Xptor6qarg Mdyoq Appe pdog (eu.79).Or rorloypogieq ercordpo0sv tilq eto66oucnarrcov((ouv 6eftd otov Xptor6 drpovorcsr 6(ntra Toutov dyo irodwl tov flp6-6popo totdpevo, evd ors cpto'repd cnet-rcov((erot 4 @eor6rcoq dv0poul rcqr 6fnlarrlg o dytoq Iodwrlq o @eotr6yoq totd-pwoq (errc. 80). H totloypdgqol rou npo-otcbou 'rou vaoJ pre tr1 oilv0eo4 cutrirrou qnora],s( ouotoottrcd avttypoqrj'rou tuntrcoJ rtKovoypogrrcori npoypdpr-pcroq aKovoo'rqoiou 6ev e(vat ouvr]0r1qoqv Kilnpo crv Kcu oulvd cnetrcolr(owctercctdpoOev rrlq ero66ou o Xpror6q rcorq @eor6rcoq, 6nroq otrlv Aoivou, llo8il-Oou rc.d. Irnlv nep(nroor'l rnq Ma'ra-propgrioeoq llc),cr1op(ou'ro ypant6 eirco-voo'rdoro efunrlpere( cvdyrceg ),etroup-wKdq'

and pray. If anyone resentful enters thisplace let him be cursed) (fig. 78).\Yatrl p aiwtiwgs d.rwing t*e Swsman n'iz(1612)In the external side of the western wallof the church, survive wall paintings onthe left and west side of the entrance.According to the damaged inscription onthe blind arch above the entrance thesewall paintings are dated 1612. On thesemicircular door's lid Christ is depictedas the Great High Priest (fig.76).Both sides of the entrance were decorat-ed with frescoes. On the right is Christenthroned and next to Him the standingSaintJohn the Baptist and on the left sidestands Virgin Mary and next to herSaint John the Evangeli st (fig. 77) .This wall painting composition of an iconos-tasis in the porch of the church, is not usu-al in Cyprus, eyen though Christ and the-Virgin Mary are often depicted in eitherside of the entrance, i.e. in the church ofPanagia Podythou in Galata etc. In thecase of the Church of the Transfiguration

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To riy.d,o K{tx $t rpoEX#g urcdaeETo arrcovootdoro cnotetre(rsr on6 6riooerpdq etrc6vrov: 'rtg 8eonotrrcdq otorcdtro pdpoq nou s(vqr peyd),ov 6roord-os[DV Kot rrpoorcuvoUwst cn6 'rouq mmodq,Kot rtq prrcpdg etrc6veq r1q Meyd),qqAdrloriq (Anoototrrrcd). Itrlv rcopr,rvi8crou rlKovootaoiou eupiorcetcr o Eo'rau-propdvoq rcor 6rjo }unrlpd, errc6veg 6q),c-64 .nq @eot6rcou KCn rou Iafiwltou @eo-tr6you oe otdorl ),ilnrqq (errc. 81).O Eoroupr'rprdvoq lpovotroye(rot ps snr-

at Palaichori the painted iconostasis servedliturgical needs.T/te icansstasis and its XconsThe iconostasis is formed by two icon rows:the despotic icons in the lower level thatare bigger in size and are venerated by thepilgrims and the smaller icons in the upperlevel of the Great Deesis (Apostles withChrist). On the top of the iconostasiscan be seen the Crucified and the twoLypera, which are icons depicting the

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

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Em. 80. Ot rouoygagieg mr1 |wrctf e{a'reErctf ritftrJ nu uaod anercotti(ow [eQd rou Xgznd iv1pouorcat rou dyr.o lailutry nu llpidpopo rcat on aEotqri rryu @eordrco eu1gourl rcaz nt, dyto loiluury @eo).dyo.

2ro rciwgo, zdyat axd n1u eiooto anarcoil(nm o XEndg ag Miyag,4pxzepiag.Fig. 80. Frescoes ofthe westernfacadr drpictingto the right Christ enthroned and SaintJohn the Baptistand 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),6-ytrunto stKorroord,olo, Trou eivcr rcqtc-oKsuoopdyo mqv (6tc teXvorpon(o [ rovEotoupopivo, lpovo),oye(rct otqv (6roXpovrK{ nep(o6o. To etrcovoo'raorc {yetovrtKcrrooljoer npoyevdotepo rtKovo-mdoto, ro onoio urnlp1e mo vo6. H'rono-0drn1o4'rou vdou srrcovoorso(ou, pryo).U-rrpou or 8tootdoerq Gfi6 ro npoyevdo're-po iytt nporcc),doer gOopiq or4v (roypc-grrcri enrgdvsro 1600 oto p6pero 6ooKot oro v6tro ro(Xo. H nc).or6repr1

Virgin Mary and Saint John the Evan-gelist (fig. 81).The Crucified is datedwith an inscriptionin I7}4.Therefore the wood-carved iconos-tasis made in the same sryle with the Cru-cified should be dated in the same period.This iconostasis has replaced an oldericonostasis of the church. The installmentof the newer iconostasis which is bigger insize of the old one has damaged the paint-ings in the north and the south wall.

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aK6vo rou vooJ e(vor ercs(v4 rrlq @eo-r6rcou E),eoilocg (errc. B2), r1 ono(c rropou-otdfercr orjpepa dv'rovo enr(toypcqropid-v'I Kot 6rooc6(er rcovtdpr, ytcr avdpllorlrcotd qvneptqopd orq ),rtcvefeg oe nepr6-6ouq rcp(oetov, crvoppp(cg, oeropcSv rcord)J,r,rv 0aopr1,rc6v. Or sm(arypog(oflg mIVetrc6vq qq @aor6rcou, 6nog rccu q erctd-

The older icon of the church is that ofMr-gin Mary Eleousa (fig. B2), rvhrch todayis over-painted and bears a beam. It is aprocessional icon that was used duringperiods ofcrises, earthquakes and othercalamities.The over-paintings of the icon of VirginEleousa and the painting of the icons of

hrc. 81. To emoyoortioto rou wotl pt nt, Eoraupatpltt0 K/11 'r/i 6io ),unt1gi o-rr7v rcopat,i\aFig. 81. The Iconostasis of the church with the Crucifed and the twl L!?era on the top.

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

treor1 tov AnooroLrKdv lrrropoilv vo orro-6o0orjv orov (oypdqo rou Eotaupropd-vou KGr rov Aunrlpc6v ro,r 1704. H errc6-vo rrlq Mercpopgc6oroq rou }Dtripoq(errc. 83), nou Xpovo),oye(tor pre entypcqr]ro 1714, aivcr 11 oqpov'urc6rep1 rtK6vcrou vood rcct 1dp4 mtg eneppdoetq ouvq-p4o1q tou 1860 8totqpe(tcr oe notrJrcc'rdotaoq. H ncpouo(o orq Mqtp6-notr4 Ktr(ou ol1 Adpvcrcc'rou cytope(-q provclorj Mqr0q(ou Kou'r),oupouotc-voJ, nou pvrlpoveriercr o'n1v errc6vo. o.utrjayopefrtrcl g're1vo'rponioq coq 1opr1y6q,ntotsderot 6tr snavdpylos r'tq o orjv6e-

the Apostles should be ascribed to thepainter of the Crucified and Lypera dat-edin 1704. The icon of the Transfigura-tion of the Saviour (fig. 83), dated dueto an inscriptioninl7l4,is the most impor-tant icon ofthe church and thanks tothe restoration of 1850, is preserved in agood condition.The presence in the Bishopric of Lar-naca of the monk Matthaios from theKoutloumousion Monastery of MountAthos, recorded in the inscription as adonor, suggests that Matthaios was anintermediary for the import to Cyprusof icons from MountAthos. The inscrip-tion of the icon writes: "+AVIA.EY@HNONTAC EIC TON @PONONTHC A|IOTATHC MHTPONOAEOCKYTEON/ K[Ar] TTPOEAPOYAMA@O\NTOC, NEAC IIOAEOCNEMECOY K[AI] KO\"EON K["I OYK[YPI]OY CYABECTPOY/ + AIACYNAPOMHC K[Ai] KOnOYMATOAIOY IEPOMONAXOY EKTHC CEBACMIAC MONHC/ TOYKOYTAOYA4OYCIOY ATIOPHTOY'$171,4 \X,/hile Sylvester is the Bishop of

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Naos Metamorfosi Palehori