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A PORTRAIT OF MAINLAND GREECE 21<br />

UNDERSTANDING FRESCOES IN A BYZANTINE CHURCH<br />

The frescoes and mosaics in churches’ interiors were organized<br />

according to a standard scheme. Symbolically, images descended from<br />

heaven (Christ Pantokrátor in the dome) to earth (the saints on the<br />

lowest level). The Virgin was shown in the semi-dome <strong>of</strong> the apse,<br />

with the fathers <strong>of</strong> the church below her.<br />

Prophets<br />

The Virgin and Child<br />

are in the curve <strong>of</strong> the<br />

apse, symbolically between<br />

heaven (the dome) and<br />

earth (the nave).<br />

Archangels Michael<br />

and Gabriel, dressed<br />

like courtiers <strong>of</strong> a<br />

Byzantine emperor,<br />

honour the Virgin.<br />

The Fathers <strong>of</strong><br />

Orthodoxy, here in their<br />

episcopal robes,<br />

defined Orthodoxy in<br />

the early centuries.<br />

Upper register <strong>of</strong><br />

saints<br />

Choirs <strong>of</strong> angels<br />

Windows in drum<br />

Christ Pantokrátor<br />

The dome is symbolically<br />

filled by the figure <strong>of</strong><br />

Christ in Judgment, the<br />

Pantokrátor. Choirs <strong>of</strong><br />

angels swirl around Him,<br />

and outside them stand<br />

the Old Testament<br />

prophets. This dome comes<br />

from Moní Perivléptou in<br />

Mystrás (see p192).<br />

The apse is <strong>of</strong>ten hidden from public<br />

view by an elaborate iconostasis screen,<br />

through whose doors only the clergy<br />

are admitted. This apse is from Agios<br />

Stratigós in the Máni (see p199).<br />

Lower register <strong>of</strong><br />

saints<br />

Sand-filled tray for<br />

votive candles<br />

The side walls are decorated in<br />

registers. On the lowest level<br />

stand life-size portrayals <strong>of</strong> the<br />

saints, their heads illuminated<br />

with haloes. More complex<br />

scenes portraying incidents<br />

from the Gospels or the Day <strong>of</strong><br />

Judgment fill the upper walls<br />

and vaults. This church is at<br />

Miliés in the Pílio (see pp218–20).<br />

THE VIRGIN MARY<br />

Icons <strong>of</strong> the Virgin Mary<br />

abound in every Orthodox<br />

church, where she is<br />

referred to as Panagía, the<br />

All Holy. Her exceptional<br />

status was confirmed in 431<br />

when she was awarded the<br />

title Theotókos “Mother <strong>of</strong><br />

God”, in preference to just<br />

“Mother <strong>of</strong> Christ”.<br />

Eleoúsa, meaning “Our Lady<br />

<strong>of</strong> Tenderness”, shows the<br />

Virgin Mary brushing cheeks<br />

with the Christ Child.<br />

The Virgin seated on a<br />

throne, flanked by two archangels,<br />

is a depiction usually<br />

found in the eastern apse.<br />

Odigítria, meaning the<br />

“Conductress”, shows the<br />

Virgin indicating the Christ<br />

Child with her right arm.

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