ΧΡΙΣΤΙΑΝΙΚΑ ΜΝΗΜΕΙΑ Ι.Μ.Ι.Σ. ENG

Monastery of
Faneromi
Trachela
Mesa Mouliana
Skopi
Siteia
Kato Episkopi
Eremoupolis
Monastery of
Toplou
Vai
H O L Y M E TR O P O L I S O F
I E R A P E T R A
A N D
S I T E I A
Tel.: +30 28420 22400
e-mail: imis@imis.gr
www.imis.gr
Malles
Apano Symi
Monastery
of Panagia
Exakousti
Monastery of
Faneromeni
Ierapetras
Meseleroi
Stavros
Anatoli
Ierapetra
Kavousi
Episkopi
Makrys Gialos
Apano Episkopi
Voilas
Lithines
Chandras
Adromyloi
Monastery
of Kapsa
Myrtos
CRETE

H O L Y M E TR O P O L I S O F
I E R A P E T R A A N D S I T E I A
44
The present Metropolis of Ierapetra and Siteia with its seat in the city
of Ierapetra occupies the southern and eastern part of the county
of Lasithi and includes the former provinces of Iera petra and Siteia
as well as the communities of Kalo Chorio of Merambellou and Kato (Lower)
Symi of Viannos. The Metropolis originated from the union of the Diocese of 45
Ierapetra, which is one of the oldest dioceses of Crete with its bishop already
participating in the Synod of Sardica in AD 343, and the Diocese of Siteia
which was founded already from the 7th or 8th centuries. The Diocese of
Ierapetra included the provinces of Merambellou, Lasithi, and Viannos.
However, with the creation of the Diocese of Petra which appears already in
the 10th century, the Diocese of Ierapetra was named Ieras while a part of
its district was detached to be incorporated into that of Petra. The Dioceses
of Ierapetra and Siteia were consolidated in the 19th century, initially with
the name Ierositeia, while from 1962, they are known as the Metropolis of
Ierapetra and Siteia.
In the middle Byzantine period, the cathedral church of Ierapetra was the
church of the All-Holy Virgin of the Seven Domes, in the settlement of
Episkopi, while it seems that the church of the All-Holy Virgin in Apano
(Upper) Episkopi and the church of the Holy Apostles in Kato (Lower) Episkopi
were used alternately as the cathedral churches of the Diocese of Siteia.
Left: The Entrance of the Theotokos into the Temple. Saint George, Kavousi.

48
The monastery, which celebrates on the Dormition of the Theotokos, is located on
the north side of Mount Stavros, a steep elevation west of the archaeological area
of Gournies. Its foundation date is unknown even though non-extant sources mention it
already at the end of the 13th century, connecting it with the revolution of the Kallergi
against the Venetians in 1299.
The monastery is structured incrementally on two main levels.
On the lower level, around an elongated courtyard with entrance
from the west, are relatively simple two-and three-storey
buildings which received a radical restoration in the second half
of the 19th century. The cavernous church dedicated to the Dormition of the Theotokos
and the Zoodochos Pigi [the Life-giving Spring] is located on the second, highest level.
The church, which is the oldest surviving part of the monastery, dates to the period of
the late Venetian occupation. It consists of the narthex, the main church, roofed with a
pointed vault, as well as the area of the
agiasma [holy water]. Despite the
interpolations received by the complex
during the 20th century, its fortified and
defensive character, which was structured
in the 18th and 19th centuries, is evident
not only from the solid ordering of the
HOLY MONASTERY OF
FANEROMENI
AT IERAPETRA
buildings but also from the very small windows and the three semi-circular watchtowers
which are located on the north side. The monastery, built in a particularly advantageous
location that offers a panoramic view of the bay of Merambellou, is one of the most
important pilgrimage sites of eastern Crete with hundreds of pilgrims arriving and
spending the fifteen days of the fast there prior to the celebration of the feast of the
Dormition of the Theotokos on August 15.
The church of St. George was the catholicon of a monastic complex, a dependency
of the Monastery of the All-Holy Virgin Faneromeni [‘She who is Revealed’] to its
south east and at a distance of around four kilometres. The complete absence of written
sources does not allow the reconstruction of the early history of the monastery, which
was already abandoned by the end of the 19th century, and its buildings had been
SAINT
GEORGE
AT ASSARI
converted into homes for the farmers of the area. The single-nave,
restored, small church is dated on the basis of its wall painting decoration
to the 14th century. In its iconographic programme, apart from the
scenes from the Gospel cycle, of which the large representation of the
Birth stands out, the scene of the Sacrifice of Abraham on the north
wall of the sanctuary as well as six scenes from the cycle of St. George, are included. The
representation of the Dormition of St. Ephraim the Syrian on the south part of the barrelvault
is of particular interest, a theme which is repeated in Crete only in the church of St.
John at Kapetaniana, on the south coasts of the province of Heraklion. 49
The Dormition of St. Ephraim the Syrian.

THE CHURCHES
AT IERAPETRA
50
The twin-naved church, dedicated to Christ the Master and St. Charalambos, which
is located in the port, to the west of the medieval fortress of Kales, is the oldest
church of the city. Its architectural form is the result of interpolations to a barrel-vaulted,
single-nave church of the Venetian period to which, during the early 17th century, one
more aisle to the south was added, the one dedicated today to St.
Charalambos. A group of
three icons of the first half
of the 18th century on the
altar screen of the church which have been
attributed to the famous painter, George
Kastrophylakas, are of interest. A narthex
with two domes was added in later years to
the west of the church, which subsequently
was expanded. This surviving church is
possibly identified with the church of the
Saviour, for which rich archival material
survives, and which had been the object of
dispute between the Orthodox and Roman
Catholic Christians of the city, since it housed
both denominations. The dispute was
created when the Franciscan hieromonk,
Paul Mudarro, who served in the church,
decided to appropriate it on behalf of the
Franciscan order, abolishing the Orthodox
altar screen and building a chapel which is
probably identical to the present south aisle.
The dispute ended after the intervention of
the general provedditore of Crete, Francesco
Morosini, with more beneficial terms for the The Dormition of the Theotokos. Christ the Saviour.
Roman Catholics as it was suggested that
the south chapel be used exclusively by them, while the church of the Saviour by both
denominations, after the area of the sanctuary was
suitably structured.
The barrel-vaulted, single-nave church of St.
Nicholas is located further to the west of Christ
the Master. It is also clear that this is a building of
the Venetian period, even though it has been
subjected to interpolations during later years, such
as the opening of the western entrance. In the
interior a signed icon of the Holy Trinity of the 18th
century, is preserved, work of the painter George
Kastrophylakas.
Church of St. Nicholas.
The most important church of the city
is the metropolitan church of St. George,
who is also the patron saint of Ierapetra
due to his wonderworking interventions
during the period of Turkish occupation.
The church, which is also located in the
historical centre of Kato (Lower) Mera,
was built in the 19th century in place of
an older church. This original church, as
was recently discovered during
excavation research, was single-nave
with an orientation to the northwestsoutheast
and had two phases. Probably
Metropolitan Church of St. George.
a building of the Venetian period it
should be identified with the church of St. George in the homonymous neighbourhood
which is mentioned in inventory catalogues of the 17th century. The present church,
which was built in 1856 by the architect Chatzi-Manolis, belongs to the three-aisled
domed plan in which the upper structure is built from bagdati, i.e., a wooden frame
covered with mortar. In 1936 various extensive interpolations to the church took place,
of which the most important was its expansion by 3.20 metres to the east. The church,
relatively spacious, is particularly elaborate in individual elements, such as the fine-spun
columns with the different capitals that may originate from ancient monuments of the
city, but also in the monumentally structured doorframes and the decorative reliefs which
were highlighted and conserved after its recent restoration by the local Metropolis that
was completed in 2000.
Interior of Metropolitan Church.
51

he cathedral church of the diocese of Ierapetra, known as the All-Holy Virgin of the
Seven Domes, in the settlement of Episkopi, close to Ierapetra, was demolished at the
beginning of the 20th century so that the present church could be built in its place. From the
name and the few photos preserved by Gerola it appears to have been a large church of the
SAINT GEORGE &
SAINT CHARALAMBOS
AT EPISKOPI
52
architectural plan of the cross-in-square with a central
dome and smaller domes, or domes on pendentives,
with many and important sculptures and columns from
various periods. The double church of Saints George
and Charalambos survives across from the church. The
aisle of St. George is a middle Byzantine building with a large mastoid dome which rests on
a rectangular base. To the east and west the church ends in two semi-circular apses, in the
shape of a hoof in the interior, while to the north, it connects to a rectangular, barrel-vaulted
space. The eastern apse is used as the sanctuary of the church while its later central entrance
has been opened in the west one. The drum of the large dome is divided into two bands of
which the lower one is unadorned while the upper one is plastically structured with blind
arcades, built with the recessed brick technique, and are crowned by a band with decorative
ceramic rosettes. Two rectangular windows open on the north and south sides of the dome.
Corresponding blind arcades adorn the upper parts of the semi-circular apses. The roofs
are covered by a thick layer of masonry cement, consisting of lime mixed with earthenware
(or brick) and sand. Parts of off-white mortar survive externally on which are double incisions
in imitation of opus isodomum masonry. These elements contribute to the dating of the
monument to the 11th century. The barrel-vaulted, single-nave church of St. Charalambos
was added on the south side, during the 16th century. The narrow fronts end in triangular
pediments that form parapets and the roof is covered by a thick layer of masonry cement
consisting of lime mixed with earthenware/brick and sand, as is customary generally in
eastern Crete.
From excavation research which took place in the interior of the church and underneath the
more recent floors and graves, constructions and plumbing were discovered incorporated in
the masonry which show that the church was originally a middle Byzantine bath which was
transformed into a church in the years of the late Venetian occupation, with the demolition
of the south compartment and the erection, in its place, of a second aisle, the opening of the
west door and other modifications so that it could respond to its new use. It seems that,
originally, the north section played the role of the “frigidarium, cold,” the central the role of
the “caldarium, hot” and the south one the role of the “tepidarium, lukewarm.” It presents
close typological similarity with other middle Byzantine baths, such as in the Monastery of
Kaisariani and the Zoodochos Pigi [Life-giving Spring] at Dervenosali. It obviously predates
the smaller, similarly formed, bath of Kato [Lower] Episkopi in Siteia which was also converted
into the church of the Holy Apostles in the same period. The bath of Episkopi at Ierapetra
appears to be directly connected with the Episcopal complex which probably existed close
to the demolished cathedral church of the All-Holy Virgin of the Seven Domes. [M. A.]
53
The large number of churches within and without the settlement of Kavousi is evidence
of its flourishing, mainly during the period of Venetian occupation.
St. George, in the centre of the settlement, belongs to the architectural plan of the singlenave
church with a transverse, tripartite narthex. It has two layers of wall painting decoration
of the 14th and 15th centuries, of which the later one is the most
extensively preserved in the main church and the central section of
the narthex. The iconographic programme includes, apart from the
usual Christological cycle, a compact Marian cycle and the cycle of
St. George. The west wall and parts of the lateral walls are occupied by the large representation
of the Second Coming with its miniature and particularly graphic figures of the damned in its
lower part. From the remaining representations, Abba Zosimas with St. Mary of Egypt in the
intrados of the north arch of the narthex as well as the western-style depiction of the All-
Holy Virgin the Galaktotrofousa [Milk-giver] on the north wall close to the altar screen, are
noteworthy.
The single-nave church of the Holy Apostles, 100 metres to the south of St. George, also
has two layers of wall paintings of the 14th and 15th centuries respectively. From the first
layer very few forms can be discerned, such as the full-length figure of the woman donor on
the north wall who has the attributive “presvyterysa” [wife of a priest]. The second layer,
THE CHURCHES
AT KAVOUSI

54
which is dated to the beginning of the 15th century, and is partially
preserved has scenes from the Gospel cycle and the exceptionally
large representation of the
Second Coming which
covers the west, a large
part of the south and a part
of the north walls.
From the remaining
representations, the multiperson
scene of the Birth,
with the western-style All-
Holy Virgin the
Galaktotrofousa on the
south wall of the main
The apostles from the Second Coming,
St. George.
church, as well as the large
and graphic depiction of
the Three Holy Youths in
the Fiery Furnace on the south wall of the sanctuary, are noteworthy.
The twin-naved church, dedicated to the Dormition of the Theotokos
and to St. John the Theologian, is located at the centre of the
settlement, and was built in 1847. This is a particularly elaborate
church with a triple-light belfry, which has a small wooden zenana
in the interior and very artful wood-carved altar screens with
characteristics of the late 19th century, created by the famous
craftsmen of the wood-carving school of Mesa in Lasithi. Of interest
is the large draft in red ink of the dragon of the sorrowful upon the
south altar screen on the south wall of the south aisle. An interesting
collection of icons of the 17th – 19th centuries is on display in the
church, from which the icon of the Crowning of the All-Holy Virgin
Vrefokratousa [She who holds the Child] of the early 17th century
is the most distinct, in which the orders of the Angelic Powers and
the choirs of the saints and the blessed are depicted.
The single-nave church of St. Eirini, which is located outside the
settlement in the place of Avgos, is dated to 1410/11. Particular
reference should be made to the rare scene of the Second Coming
of Christ, or “to the Coming upon the clouds,” where the Elder of
Days is depicted in glory, seated on the Throne of the Cherubim,
while around Him are the symbols of the Apostles, angels with the
symbols of the Passion, and, on either side, the Apostles-Judges.
55
Soldier from the martyrdom of a saint, Holy Apostles.

THE CHURCHES
AT STAVROS
56
Asignificant number of churches, with wall paintings and without, are preserved
in the surrounding area of the settlement of Stavros (Kapistri).
Lower (Kato) St. George is located on the south side of the settlement, a single-nave
church to which was later added a transverse, barrel-vaulted narthex. The main church,
which is dated, on the basis of its wall painting decoration, to the 14th
century, is shaped in its longitudinal sides with blind brick arcades that
have zigzag ceramoplastic decoration on their intermediate surfaces as
well as on the apse of
the sanctuary. The iconographic
programme that does not survive
intact includes scenes from the
Christo logical cycle and the cycle of
St. George with emphasis on scenes
of his martyrdom. Special reference
should be made to the full-length figure
of St. George with the relief wreath that
Lower (Kato) St. George.
has the place of a pilgrimage icon on the south wall next to the altar screen as well as to
the partially surviving Evangelists on the north wall that are depicted seated, writing
their Gospels.
Three kilometres to the northwest of the settlement, the twin-naved church of the All-
Holy Virgin at Gourni, dedicated to the Dormition of the Theotokos (August 15) and the
Transfiguration of the Saviour (August 6),
may have been the catholicon of a small
monastery as we can determine from the
ruins of one-storey buildings to its north
and west.
Its architectural plan is the result of the
addition to the original single-nave, small
church of the end of the 14th– beginning
All-Holy Virgin at Gourni.
of the 15th century, of a barrel-vaulted
aisle to the north and of a narthex,
probably of the late Venetian occupation period. At an even later period, the narthex was
demolished, the two arches connecting its aisles were walled in and two rectangular
doorframes were built in their place. The good quality, partially preserved, wall painting
decoration that is dated to the beginning of the 15th century, has scenes from the
Christological cycle in its eastern section, in which the large scene of the Ascension
dominates, and scenes from the Marian cycle in its western section. The single-nave
church of St. Mamas, with an expansion to the west, is located close to the All-Holy
Virgin. It preserves parts of high quality wall decoration of the beginning of the 14th
century. Of interest are the depictions of the two donors, facing each other in the corners
of the north and south walls of the original church, St. Mamas on the south wall next to
the sanctuary, in the usual place where the eponymous saint is presented, and, in the 57
Joseph thinking, from the Birth. Lower (Kato) St. George.
Christ Enthroned, detail. All-Holy Virgin at Gourni.

58
same representation, St.
George the Dragon-slayer, and
a frontal monastic saint on the
north wall.
The church of the All-Holy
Virgin Keragrammeni [‘the
Decorated Lady’], dedicated to
the Birth of the Theotokos
(September 8), is located at a
distance of seven kilometres
at a higher elevation from the
previous churches. The singlenave
church has high quality All-Holy Virgin Keragrammeni.
wall painting decoration in its
interior, which dates to the beginning of the 15th century. Its iconographic programme
includes an extensive Christological cycle as well as an equally developed Marian cycle.
The depictions of Christ enthroned, with the eponym ‘Giver of Light’ on the south wall as
well as the All-Holy Virgin the Vrefokratousa [holding the Child] on the north, accompanied
by two angels, are indicative of the high quality of the church’s mural paintings. The two
representations next to the altar screen hold the place of a pilgrimage icon.
Even though the exact date of the foundation of the monastery is unknown, its
function is witnessed already from the 16th century while the catholicon of the
early 15th century shows the use of the space from the late Byzantine period. The
monastery is built on a rocky outcrop, east of the settlement of
Meseleroi, while the single-nave catholicon is located in the
west section of its exterior area. The extant one-storey buildings
of the monastery develop around it after a phase of rebuilding
in the late 20th century. The wall painting decoration, which
was completed in 1401/2 by the monk Myron Kalodrosios,
was partially destroyed during the later expansion to the west.
The wall painting decoration is an
excellent specimen of Palaeologan
art; it includes scenes from the
Christological cycle, with particular
emphasis on the cycle of the
Passions, as well as the Birth and
the Entrance into the Temple from
the Marian cycle. In the exterior of
particular interest is the relief
decoration of the base of the single-light belfry with vegetal decoration and three masks,
features of Renaissance art at the end of the 16th century, a period during which the west
section of the church was added.
HOLY MONASTERY
OF THE ALL-HOLY VIRGIN
VRYOMENI [‘THE ABUNDANT’]
AT MESELEROI
Concelebrating hierarchs.
The Pantocrator, detail. St. Mamas.

The single-nave church of St. George is located
at the centre of the settlement of Meseleroi. Its
wall painting decoration dates to around 1300
and is partially preserved. The large representation
of the Ascension develops on the east section of the
barrel-vault, while on the west, are a few
SAINT GEORGE
AT MESELEROI
re presentations
from the cycle
of the Passions
of Christ as well
as three representations from the Life of St. George.
On the north wall, apart from the individual saints,
such as the monastics Ephraim the Syrian and
Euthymios, the particularly extensive representation
of the Second Coming is depicted on the upper part
with Christ the Judge, the twelve Apostles and the
Choir of Angels while, on the lower part of the wall, is
the depiction of hell. The kings and the hierarchs,
among the others of the damned, are characteristic
figures, recognisable by the signs of their office.
The All-Holy Virgin with Christ as pupil in
front of the teacher, Forerunner.
The single-nave church of St. Marina, whose south side is formed with a large
buttress, is located on the east corner of the settlement of Meseleroi. It is dated
according to the wall painting decoration, the work of an anonymous but excellent painter,
to the first quarter of the 14th century. Its iconographic programme presents a peculiarity
in the barrel-vault of the sanctuary. The Birth and the Descent
SAINT MARINA
AT MESELEROI
into Hades are depicted in place of the Ascension, themes,
however, which are appropriate for the position they hold, since
they stress the dogma of the Incarnation of the Word as well as
that of the salvation of man. In the main church, on the barrel-vault, only a few, but large,
Gospel scenes are depicted. Both scenes in the lower band of the church are extremely
rare: on the north wall, the recognition and the witness of the Forerunner to the presence
of Christ on earth is in the type which depicts the All-Holy Virgin leading Christ, as a
student holding a tablet with the alphabet, towards the teacher Forerunner, and, on the
south wall, next to St. Marina, who holds the place of the pilgrimage icon, the All-Holy
Virgin, upright, mourns in front of the small Christ.
The Apostles from the Second Coming. St. George.

62
The twin-naved church of All-Saints, which was erected in 1873, is located on the
south side of the settlement of Anatoli and in a location with a panoramic view of
the plain. A series of three columns divides the two aisles whose roof forms four saucer
domes above each one. The collection of ecclesiastical artefacts that is on display in the
ECCLESIASTICAL
COLLECTION
OF ALL-SAINTS
AT ANATOLI
All-Holy Virgin Odegetria.
Aside from these icons, the
collection of sanctuary
doors from old altar
screens or other later
icons, such as the depiction
of the Divine Liturgy from
the 18th century, of the
renowned painter from
works in the churches of
the city of Heraklion,
George Kastrophylakas,
are of interest.
Christ Pantocrator.
church includes icons, from the 15th to the 20th centuries,
which have been gathered from the churches of the
settlement and the chapels of the surrounding area.
Exceptional among them are the two despotic icons of
Christ Pantocrator [Almighty] and the All-Holy Virgin
Odegetria [‘She who leads the Way’] that originate from
the altar screen of the presently dissolved monastery of
Karkasia. These two icons of worship date to around
1400, a time when the scholar monk, Neilos Damilas,
had lived at the monastery. They have been connected to
Constantinopolitan painters who were active in Crete from
the end of the 14th century because of their obvious
classicising character and their impeccable execution.
The church of the Holy Apostles which is located to the south of the settlement of
Anatoli was the catholicon of a small, female monastic complex, from which very
few ruins survive to the south of the church. The monastery of Karkasia, as it is referred
to in the sources of the end of the 14th century, was the area of habitation of the scholar
hieromonk, Neilos Damilas, known for his writings and his
polemical activity against the pro-Western theologians of
the time. The barrel-vaulted, single-nave catholicon has
wall painting decoration of the 15th century. Apart from
the Christological cycle with particular emphasis
on the cycle of the Passions, the cycle of the life
of the Apostles Peter and Paul, to whom the church
is dedicated, is developed on the north wall.
Special reference should be made to the –inactive
today– monastery of the All-Holy Virgin Vagionea
[‘of the area of the Palms’] which is located
further to the south of the Holy Apostles and
which was also founded by Neilos Damilas around
1400. A school operated in the monastery, since
according to the typikon of the monastery, which
was composed by Neilos, the nuns were taught
religious studies as well as lessons in social
activity. Today only its catholicon survives, a
small single-nave church, which has a square
narthex on its south side with a peculiar taper
dome.
HOLY APOSTLES
AT KATO KARKASA
The Betrayal (detail). Holy Apostles.
The church of the Saviour Christ, entirely covered in wall paintings, that is located to
the southwest of the village of Anatoli at a distance of around five kilometres, was
the catholicon of a male monastery. Its location in the immediate vicinity of the Monastery
of the Holy Apostles as well as the fact that they both have the common eponym of the
Monastery of Karkasia in the sources, indicates that both probably had a dependent
relationship. Only the single-nave catholicon survives
CHRIST THE SAVIOUR
AT PANO KARKASA
today from the monastery since the buildings to the west
and north are more recent constructions of residence of
the farmers who cultivated monastic dependency fields
in the 20th century. The wall painting decoration of the
church of the late 14th century has the usual scenes from the Christological cycle, with
the Deesis on the semi-dome and the Second Coming dominating the other
representations. The scene with the Righteous Abraham in Paradise stands out from the
latter because of its white background, which accentuates that the scene is not taking
place on earth but in heaven.

64
T
he Monastery of Exakousti [‘the Renowned’] is located in the northwest part of the
province of Ierapetra between the settlements of Anatoli and Malles. Compared
with other monasteries in the vicinity, such as the All-Holy Virgin of Armos at Malles and
the All-Holy Virgin the Karydiani [‘of the Walnuts’] at Mythoi, it is a relatively recent
monastic foundation since it was founded at the end of the 19th century. Of course, the
existence, already during the period of its foundation, of the small
cavernous church of the Transfiguration of Christ, as well as some
local traditions, offer an indication that there may have been an
older monastery in the same location. The foundation of the
monastery during the late 19th century has been inextricably connected with its first
monk and, later abbot, Chatzi-Ananias Barberakis, who, in 1882, completed the singlenave
catholicon, dedicated to the All-Holy Virgin while at the same time he built the
ne cessary buildings for his and the other monks’ habitation. The monastery was deemed
to be in dissolution in the year 1935 and
was abandoned until 1963 when it
became active again for a short time. Its
final reconstitution took place in 1976
when, after its conversion into a female
monastery, the first nuns became resident
in the space. The building complex
develops around a courtyard with the
catholicon at its centre. Noteworthy is the
very well crafted wood-carved altar
screen, work of the noted artisans, P. and
I. Makrakis, and X. Farsaris, from the
settlement of Mesa in Lasithi.
HOLY MONASTERY
OF EXAKOUSTI
Christ the Saviour. Upper (Pano) Karkasa.
T
he single-nave, particularly spacious, church of St. George is located
on the eastern boundary of the ruined and long-abandoned village
of Loutra, a kilometre to the south of the settlement of Malles.
Externally, on its north side, it
forms three semi-circular blind
arcades while former sections
are incorporated in the lower
section of the walls, an indication
SAINT GEORGE
AT MALLES
that it was built in place of a previous building, possibly middle Byzantine.
In the interior, it is formed with three pointed, blind arcades on each of the
longitudinal sides and has wall painting decoration of the 14th century.
The iconographic programme of the church includes a large Gospel cycle
with emphasis on the cycle of the Passions. From the remaining
representations, of particular interest is the representation of the imposing
dragon-slayer St. George, whose miniature scenes of martyrdom are
depicted on the intrados of the arch; next to them, on the pier, is the All-
Holy Virgin the Galaktotrofousa [‘the Milk-giver’], and, on the east arch,
the realistic depiction of the haggard St. Onoufrios. Also worthy of mention
is the representation of the communion of St. Mary of Egypt by Abba
Zosimas on the west arch of the south wall, with the figures flanking either
side of the doorframe.
Right: St. George the Dragon-slayer.

66
The single-nave church of the All-Holy Virgin, in the centre of the settlement, was
expanded to the west during a second phase. The two construction phases
correspond also to the two layers of wall painting decoration that adorn its interior. The
older, in the east and central sections, dates to the early
ALL-HOLY VIRGIN
THE MESOCHORITISSA
[‘of the Middle Land’]
AT MALLES
14th century, a period during which the church was founded.
Its iconographic programme includes Gospel scenes with the
cycle of the Passions on the north side. A large part of the
first layer has been hammered in order to achieve the better
adhesion of the next layer of wall painting. The peculiarities
in technique and iconography, especially of the scenes of
the Passions, have connected the painting of the church with an artist also knowledgeable
of the Venetian art of the 14th century, in relation also to a small group of similar
monuments of the island. The later layer, which
develops in the west section of the church and
appears not to have covered the east wall, was
painted in 1431/32 funded by of the family of
George Markatatos. An extensive Marian cycle
occupies a large part of it, which begins with the
scene of the Offering of Joachim and ends with
the Annunciation of the All-Holy Virgin in the Well.
The icon of the great painter of the Cretan School,
Angelos, of the second half of the 15th century,
which depicts Christ as the Vine according to the
relevant passage from the Gospel of John (15.1–
7), which is kept in the central church of the
settlement, may orginate from this church.
All-Holy Virgin ‘taking Seven Steps.’
St. George is located at the entrance of the deserted settlement of Apano [Upper]
Symi, and a little outside the settlement of Kato [Lower] Symi of Viannos. The
architectural plan of the church is the result of the addition of a spacious transept to the
original, single-nave church, which is not far in date from the erection of the original church,
as can be documented from the dedicatory inscription.
The inscription clearly distinguishes between George, the
sponsor of the interior church decoration, and the donor
of the transept, “Constantine Fourlas and his son, Thomas.”
The wall painting of the first church compared to other monuments, which were painted by
SAINT GEORGE
AT APANO SYMI
Right: Venerating Angels. Saint George.

68
Manuel Phokas, such as St. George in Embaros and St. Constantine at Avdou, should be
placed a little before the middle of the 15th century.
The wall painting decoration of the transept, which was completed in 1453, the year of
the Fall of Constantinople, is the last confirmed work of the painter Manuel Phokas, while
it is part of the so-called academic current of the Palaeologan period. The iconographic
programme of the church includes, in the original aisle, scenes from the Gospel cycle with
emphasis on the miracles of Christ, three of which are depicted on the barrel-vault of the
main church, as well as the scene in front of the Magistrate from the life of St. George.
Scenes from the Twelve Great Feasts and the cycle of the saint were added later to the
transept, whose wall paintings are partially preserved.
The monastery of Kapsas is located in the southerneast corner of Crete, on the west
side of the exit from the gorge of Pervolakia towards the sea. Even though the date
of its foundation is unknown to us, the existence of wall painting decoration, possibly of
the 13th–14th centuries, in the aisle of St. John the Forerunner, as well as the engravings
HOLY
MONASTERY
OF KAPSAS
which cover a long period, the oldest from 1512 until the more recent in
the 18th century, give us secure facts for an early dating of the monument.
The existence of a small monastery, at least, is also demonstrated by
testimonials, according to which there were two ruined cells next to the
church during its reestablishment in the middle of the 19th century.
The contemporary history of the monastery is
inextricably linked to John Vitsentzos or
Gerontogiannis, who in 1844, decided to
become a monk in the area, originally living as
an ascetic in an adjacent cave for seventeen
years and later repairing the existing cells. The
sanctity of his life and his fame drew other
ascetics, resulting in the creation of a monastic
community and the construction of additional
buildings. After the passing of Gerontogiannis,
his grandson, Joseph Gerontakis, who became
the abbot of the monastery in 1866, continued
the construction work of his predecessor, as
can be confirmed from the inscription on the
entrance to the catholicon, of 1882, which
mentions both the first donor, Gerontogiannis,
and Joseph. The building complex of the
monastery develops incrementally due to the
sloping ground of the steep slope, with the
cavernous church of St. John as the centre,
which is formed externally as a twin-naved,
barrel-vaulted church. The grave of The Holy Forerunner.
Gerontogiannis, who was officially included in
the list of saints of the Orthodox Church in the year 2004, is located in the interior, in the
southwest corner.
Excellent icons of the Cretan School are preserved in the church, such as the All-Holy
Virgin the Vrefokratousa, in the type of the Dexiokratousa [‘holding the Child on the right’],
of the beginning of the 15th century, and St. John the Forerunner of the 16th century.
69
Atwin-naved church was added to the south side of the single-nave church of the
All-Holy Virgin, in the middle of the settlement, during the 1950s. The wall
painting decoration of the old aisle, of the 14th century, has scenes from the Christological
and Marian cycles with the scene of the Second Coming occupying the entire west wall.
The representations of Christ on the south wall and of the All-Holy
Virgin Vrefokratousa [‘holding the Child’] on the north, next to the altar
screen, have the place of pilgrimage icons. The floor of the church made
from hexagonal limestone tiles, which date to the Venetian period, as
well as the series of glazed bowls on the exterior side of the south wall, are of interest.
ALL-HOLY VIRGIN
AT LITHINES

Chorus of Hierarchs from the Second Coming.
71
All-Holy Virgin Vrefokratousa, the miraculous icon of Lithines.
The wood-carved altar screen of the church has noteworthy icons, among which are
distinguished the All-Holy Virgin the Vrefokratous of the second half of the 14th century,
which is honoured as a miracle-working icon, as well as the icons of the Dragon-slayer St.
George and the Crucifixion of the 15th century.

where its connecting arch to the south aisle is located, is of interest. The depiction of
a foliate cross and vegetal decoration, considerably faded, on the upper section of the
wall as well as two archangels, on the lower section, indicate that this aisle may have
had a funerary use.
72
The Incredulity of Thomas.
The twin-naved church, dedicated to St. George and to St. John is located southeast
of the settlement of Chandras and next to the ruined settlement of Voilas which is
dominated by the magnificent medieval tower. The architectural type of the church has
emerged as a result of the successive interpolations to the original, single-nave church,
the present south aisle, which was originally expanded to
the west and to which the north aisle was added later. On
the south wall of the western expansion is a funerary
monument-arcosolium that has the worn representation of
SAINT GEORGE
AT VOILA
the enthroned All-Holy Virgin the Vrefokratousa with the donors, members of the Salomon
family, on its drum. George Salomon in 1518 and members of his family in 1560 were
buried here, according to the two written inscriptions. A very interesting miniature
representation accompanies the second inscription on the west wall, in which a scene of
funeral mourning is depicted, in a monotone colour scheme, with the dead woman on the
deathbed and, around it, the threnodists and, probably, relatives lamenting.
73
The church of the Holy Apostles is located three kilometres to the north of the
settlement of Adromyloi. It is a twin-naved church whose north aisle is an addition
to the original, single-nave church, wall-painted in 1415. The iconographic programme
includes Gospel scenes with emphasis on the cycle of the Passions with a total of sixteen
HOLY APOSTLES
AT ADROMYLOI
They are either placed correspondingly on
the sides of the barrel-vault or misplaced
chronologically, like the representation of
the Myrrh-bearers that follows the
Transfiguration. A large part of the wallpainted
surface is occupied by the Second
Coming on the western section of the wall.
The fact that the later north aisle has wall
painting decoration only on its south wall,
representations. However, it deviates from the
esta blished programme since the usual development of
the scenes according to chronological order is not
followed.
Detail from the representation of the Tomb.
All-Holy Virgin Vrefokratousa. The grave of the Salomon family.

he wall painting decoration of the single-nave church of the Saviour Christ at
Panteli (Chandras), which is dated to the middle of the 15th century, is chara cterised
by the variety of its iconographic cycles. Apart from the established Twelve Great Feasts,
the cycle of the Passions is depicted and Old Testament scenes from Genesis. The
particularly developed cycle of the Passions, composed
THE SAVIOUR CHRIST
AT PANTELI
of eighteen scenes, includes two extremely rare, for
Cretan iconography, scenes on the north wall: the Return
of the Thirty Pieces of Silver to the High Priests and
the Hanging of Judas. The large cycle of Adam and Eve also demands special reference,
a subject that is only found in four Cretan churches of the period. The cycle of Adam and
Eve at the Saviour includes eleven scenes, beginning with the Creation of the World and
of Adam and Eve, and ending with their Exile from Paradise.
Judas returns the pieces of silver and “then he went away and hanged himself.”
The church of the Holy Apostles on the western boundaries of the small settlement
of Kato [Lower] Episkopi, where the seat of the Diocese of Siteia may have been
transferred during the second Byzantine period, is a tripartite building with a dome. The
central, larger space is covered by an octagonal dome, which rests on alternating arches
and rudimentary squinches, while the narrower spaces,
HOLY APOSTLES
AT KATO EPISKOPI
east and west, are covered by a semi-circular barrel-vault.
In the middle of the long sides are five-sided conches with
blind arcades. The masonry is covered by off-white mortar
with incisions that imitate opus pseudo-isodomum. The arches are built with the recessed
brick technique. The ceramoplastic decoration consists of quatrefoil ceramic rosettes
that surround the arches and bricks that were positioned to form a cross or sunrays. The
building was originally a bath, similar in form to the corresponding one in Episkopi of
Ierapetra, as was discovered during the recent restoration work. During the 15th century,
the bath with small modifications was converted into the church of the Holy Apostles.
The original entrance of the bath opened in the west wall and led to the changing area
and perhaps to the “cold room” (frigidarium). The central space, where the embedded
underfloor ducts are located and from which the hot air came, was the ‘hot house’
(caldarium) of the bath. The side conches, where there were built seats, appear to have
been used as individual bathtubs. The
eastern annex, in the lower section of
which were found an arched opening
and traces of fire, was probably the
cistern and the heating area for the
water. The architectural elements,
which can be connected to the
tradition of Constantinople, lead to the
dating of the monument to the 11th
century. The existence of crosses on
the external surfaces in conjunction
with the fact that the settlement was
the seat of the diocese lead to the
suggestion that the existence of the
bath is connected to the bishop’s
palace as also happened in the
corresponding case of Ierapetra where
it was built opposite the cathedral
church. [M. A.]
75

The church of the All-Holy Virgin in the small settlement of Apano [Upper] Episkopi
of Siteia, which appears to have been used, alternatively, as the seat of the
homonymous Orthodox diocese during the second Byzantine period and as a Latin
diocese during the Venetian occupation, is built in the architectural plan of the threeaisled,
barrel-vaulted basilica. The bishop of Siteia, Gaspare
ALL-HOLY VIRGIN
AT PANO EPISKOPI
76
Viviani, and four priests lived in Apano Episkopi in 1566.
The seat of the diocese was transferred to the city of Siteia
subsequently. The crest of the Latin bishop, who was
responsible for the interpolations in this period, survives above
the central door. The three aisles, of which the nave is far larger
than the side ones, is roofed by pointed barrel-vaults, covered
externally by mortar. The barrel-vault of the nave is reinforced
by four buttressing arches with imposts. The wall to the east
ends in three semi-circular apses, the larger of which is the
central one. A simple grave in the form of an arcosolium has
been incorporated in the thickness of the north wall, while traces
of wall painting decoration can be discerned at various points. It
appears that the church was built during the second Byzantine
period from the remains of walls, embedded in the lower section of the present church.
The church initially was, probably, built according to the architectural plan of the threeaisled,
timber-roofed basilica. The three semi-circular apses appear to result from this
original construction phase. Low on the west and south walls remains of double, blind
arcades, which shaped the surfaces plastically, can be seen, as was usual in other basilicas
and cross-in-square churches of Crete during the middle Byzantine period, under the
influence of the architectural tradition of Constantinople. [M. A.]
he monastery of Toplou or the Akrotiriani [All-Holy Virgin of the Cape], as it is
called due to its position in the eastern corner of Crete, is one of the most renowned
and important monasteries of the island. Its establishment probably dates to the late
14th century, a period during which the original catholicon was erected, dedicated to the
Birth of the Theotokos. The monastery acquired its fortified form after its
systematic plundering by Turkish pirates that raided eastern Crete at the
end of the 15th century. Its reconstruction is connected to the Venetian-
Cretan families of the Kornaroi and the Metzoi of Siteia according to
tradition. The great earthquake of 1612
caused serious damage to the monastic
complex, which was restored anew by the
scholar abbot, Gabriel Pantogalos, and with
the contribution of the Venetian state. The
church of the All-Holy Virgin was extended
in this period with the expansion of the
original aisle and the addition of the aisle
of St. John the Theologian to the south.
According to the historical testimonials, the
17th century was a period of prosperity
for the monastery that possessed large
property, not only in eastern Crete, but also
in the city of Chandakas. During the Turkish
occupation, its function continued seamlessly, despite the fact that it endured many raids
and damages, due to the participation of its monks in the liberation struggles. Its building
complex, with a strong fort-like character, develops on three floors around a small
courtyard to the south side of which is
located the catholicon. The renaissance,
two-storey belfry which rises on the roof
of the western wing and the façade of
the catholicon in which ancient, and
contemporary with its erection,
inscriptions have been embedded, such
as that of the abbot, Gabriel Pantogalos,
in elegiac couplets, are characteristic of
the period during which the monastery
received its final form. The interior of
the catholicon whose original building
today occupies the place of the
sanctuary, presents special interest and
has wall painting decoration of the
second half of the 14th century with
scenes from the cycles of Christ and the
All-Holy Virgin.
All-Holy Virgin ‘the Lady of the Cape.’
HOLY MONASTERY OF
TOPLOU
77

78
Several excellent icons are displayed in the church, such as
Christ Pantocrator of the second half of the 15th century,
which is connected with one of the most important painters of
the Cretan School, Andreas Ritzos, and the icon “Great Art
Thou, O Lord…” of 1770 of the painter Ioannes Kornaros, in
which is depicted almost the total of the verses of the prayers
of the Great Blessing of the Waters. Important icons,
manuscripts, early printed books, and engravings that cover a
lengthy period, from the 15th to the 19th centuries, are
displayed in the two adjacent spaces of the basement of the
monastery that are arranged as a museum.
TThe ruins of the ancient city of Itanos, whose continuous habitation is testified
until the early Byzantine years, are located in the coastal place of Eremoupolis,
east of the monastery of Toplou. The early Byzantine settlement, partially excavated, is
built around a bay and develops atop two hills as well as the space between them. Three
ecclesiastical buildings are witnesses to the
prosperity of the city in this period: Basilica A on
the north hill, Basilica B on the south, and a centrally
planned building to the east of Basilica B.
The most important of the three buildings was
Basilica A, on the south boundary of the settlement,
divided by a narrow path from its houses. The
building, part of a larger ecclesiastical complex,
has four main phases between the 5th and the
middle of the 7th centuries. The original building
of the 5th century, a three-aisled, timber-roofed
basilica with a narthex to the west, was expanded
towards the southeast, probably during the 6th
century. The two walls, which today define the nave,
were added first in two later phases, then the arches
were formed in the middle of the aforementioned
walls. The approach to the church was either
through the narthex or through the door of the
south wall. This appears to have been the main
entrance, since a street that probably began from
EARLY CHRISTIAN
BASILICAS
AT ITANOS
Basilica A.
the beach to the south, ended on this side in the atrium of the basilica. Its use as the
main entrance is confirmed also by the engraved names of pilgrims on its doorframe.
Basilica B was also three-aisled with a narthex and a horseshoe-shaped apse that had a
synthronon with three steps in its interior, and a baptistery in its southwest corner,
partially excavated.
The Arab raids and the great
earthquakes of the period,
around the middle of the 7th
century, meant the final
abandonment of the religious
buildings and the coastal
settlement of Itanos when the
French archaeologist, J.
Demargne, pulled them out of
the oblivion of time in 1900.
79
Great Art Thou, O Lord.
Work of Ioannes
Kornaros.
Basilica B.

The –presently dissolved– monastery of the All-Holy Virgin Faneromeni [‘She who
is Revealed’] is located at a distance of twelve kilometres to the north of the
settlement of Skopi. Until recently, it was a dependency of the Monastery of Toplou. Built
on the west corner of the gorge of Skopi, the monastery develops on two levels. On the
HOLY MONASTERY
OF FANEROMENI
AT SKOPI
80
rock, apses communicating with each
other. The inscription in archaic language
and in six elegiac couplets, engraved in
marble, on the entrance of the church
mentions its establishment by the monk
Ioannikios and its restoration by the monk,
Gennadios Galeros, in June of 1620. The
church has wall painting decoration in two
phases quite damaged, possibly of the
14th-15th centuries, with scenes from the
Christological and Marian cycles. The uncial
upper level, in the shape of an L, the building complex, which
consists of simple ground floor buildings, mainly of the 18th
century, is developed. A small, single-nave catholicon rises on
the lower level, which belongs to the rare – for Crete – plan of
the double-apse church with both, partially carved in the natural
The dedicatory inscription.
inscription with the kontakion of the Sunday of Orthodoxy, on the west wall of the church,
which probably relates to the depicted saints below it, relevant to the theology and
restoration of icons, deserves special reference.
The original three-aisled church, dedicated to St. John, the All-Holy Virgin and the
Holy Trinity is the result of three successive interpolations to a single-nave, domed
church of the middle Byzantine period. The church was expanded in the period of Venetian
occupation with the addition of the south aisle, dedicated today to St. Charalambos. The
two existing aisles were extended to the west in the 19th century
and the north aisle was added at the same time, dedicated to the
Holy Trinity. Three new doorframes were opened on the west
side of the church, one for each aisle, of which the central one
was formed monumentally being the base for the twin-lobed, tall,
belfry. The church preserves wall painting decoration in its interior
SAINT
JOHN THE
THEOLOGIAN
AT MESA MOULIANA
only in the apse of the sanctuary, which probably dates to the 14th century. The Deesis
is depicted on the semi-dome of the apse and, on the semi-circle, five hierarchs with
multi-cross chasubles who hold closed Gospels as well as St. Jacob, in the north corner,
who appears to be accompanying the hierarchs, turned facing right, wearing the garment
of an apostle and not of a hierarch as we find him in corresponding representations.
81