Ανάτυπο

ISLANDS OFF THE BEATEN TRACK...

63. Detached wall-painting (not e x h i b i t e d )

Second half of 14 t h century From Halki, church of Ayios Zacharias at Finiki. Rhodes, church of Panayia tou Kastrou, inv. no. 288. Pigments on lime mortar. Flaking and serious damage to the painted surface. H. 162. W. 160.

The Crucifixion is depicted, Η CTA[Y]PΩCIC, as inscribed. In the centre is Christ crucified, with eyes closed and body curved. Under the arms of the cross on the left are depicted the Virgin Mary and Mary Magdelene (or Mary, the mother of James and Joses) while on the right is John with the centurion (destroyed).

C O M M E N T S - BIBLIOGRAPHY: The wall painting was detached from the north section of the vault in the church of Ayios Zacharias at Finiki, Halki. The state of the ruined building necessitated the removal of most of its wall paintings in 1984. After conservation, they are being exhibited temporarily in the church of Panayia tou Kastrou (Our Lady of the Fortress) in the medieval city of Rhodes, until an appropriate place is found on Halki. Regarding the wall paintings in the church see Katsioti 1985. The scene of the Crucifixion, plain and severe, is limited to the central figures. This type with a few figures, established in the 11 t h century, can frequently be found on monuments of the 14 t h century and is common in the Dodecanese (Archontopoulos 2010, 101-106 and n. 240). Architectural background is completely absent; this is a characteristic feature of the wall paintings in this church and indicates the painter's intention to focus the viewer's attention on the event without being distracted by other details (Katsioti 1985, 236-237). The figures have restrained expressions and calm features. Another element of Palaeologan art that is absent is the profound sorrow and pain of the Virgin Mary (Maguire 1977, 144 ff.). The church, with a typical iconographic programme for small churches of the Paleologan period, may be classified stylistically in the group of historiated churches that are indirectly associated with Constantinople or some other major art centre of the period (Archontopoulos 2010, 221-222). The wall paintings in this group of monuments - which include, inter alia, the first layer of the Ayia Ekaterini church in the medieval city of Rhodes, the third layer from the church of Taxiarchis at Empola and the first layer from that of Kyra Hostis in Bathys, both on Kalymnos, and the church of Ayios Prokopios on Symi and others - are characterised by their artistic excellence.

Angeliki Katsioti

64. Detached wall-painting Second half of the 14 t h century From Halki, church of Ayios Zacharias at Finiki. Rhodes, church of Panayia tou Kastrou, inv. no. 287. Pigments on lime mortar. Flaking and serious damage to the painted surface. H. 163. W. 159.

The scene depicted is the Harrowing of Hell, Η [AN]ACTACIC (= The Resurrection), as inscribed. In the centre is the three-quarter figure of Christ standing on the fallen gates of Hell. He is pulling Adam from the grave with his right hand and holding a cross in his left. Behind Adam is Eve, rendered in profile, and another indistinct figure, obviously Abel. To the left, in a sarcophagus decorated with a palmette, are the half-figures of the prophet kings David and Solomon, who are anticipating the redeeming gesture of Christ, while behind them is St John the Baptist. The landscape is rendered schematically with two hills left and right.

C O M M E N T S - BIBLIOGRAPHY: The wall painting was detached from the church of Ayios Zacharias at Finiki, Halki (see previous entry). Regarding the church's wall paintings, see Katsioti 1985. The figure of Christ follows the older and most prevalent type, according to which Christ is turning to the right and, not infrequently, bends down to redeem Adam. Regarding the iconographic types of Christ in the Resurrection see Mouriki 1985, 147 and Weitzmann 1960, 98-102. The iconography of the scenes follows older models, as attested by the depiction of the main figures only in the scene, with no narrative details or buildings. The painter's ability is proven by the monumental character, in scenes that are necessarily painted on a small scale, which he achieves through his symmetrical compositions and the serene, restrained movements of the slender figures. The deeply shaded faces are created with detail and with strong white brushstrokes, reminiscent of the technique of the portable icon (Katsioti 1991, 239-241).

Angeliki Katsioti

65. Detached wall-painting Second half of the 14 t h century From Halki, church of Ayios Zacha-rias at Finiki. Rhodes, church of Panayia tou Kas-trou, inv no. 289. Pigments on lime mortar. Flaking and heavy losses to the painted surface. H. 170. W. 110.

St Gregory the Theologian ([AΓΙOC] ΓΡΗΓΟΡΙΟ[C] Ο [Θ]EOΛOΓO[C]) is depicted, one of four co-ministering bishops who are depicted in the apse of the church, in a three-quarter stance, slightly stooped. He is wearing prelatic vestments: a white sticharion with epimanikion (maniples), a phelonion with many crosses, an omorphorion patterned with crosses and an epitrachelion with decorated finial. He is holding an open scroll inscribed with the prayer of the faithful from the liturgy of Chrysostom, ΠΑΛΗΝ KAI ΠOAAAKIC COY ΔΕΟΜΕΘΑ... (= Again and again we pray to Thee ....).

C O M M E N T S - BIBLIOGRAPHY: The wall painting was detached from the barrel vault over the apse of the church of Ayios Zacharias at Finiki, Halki (see previous entries). For the church's wall paintings, see Katsioti 1985. For the co-ministering bishops and inscribed scrolls, see Konstantinidi 2008, 125-147. For episcopal vestments, see Thierry 1966, 308-315 and Walter 1982, 7-26. For the scroll with the prayer, see Brightman 1896, 376.

Angeliki Katsioti