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ABSTRACTThis paper is a field study, examining outdoor objects in situ. It aims, specifically, to promote a better understanding of the outdoor shrines referred to as ‘proskynitaria’, which are commonly encountered in Greece. These obscure objects have not only an artistic and religious significance, but reflect human ideas and memories which may have been lost in time but which are closely connected to a site. A recording system has been developed, in order to gather information with regard to the geographic, artistic and scientific characteristics of these unique objects. A case study was used in order to test the efficacy of the system. The data gathered on the physical condition of the ‘proskynitaria’ was evaluated in order to determine the causes of deterioration and any current or future risks assessed. Recommendations for preventive conservation were guided by traditional approaches to construction within the region.

ÖZETBu çalışma bir saha araştırmasıdır, açık alanda duran objeleri yerinde incelemektedir. Belirgin hedefi, Yunanistan’da pek çok yerde görülen ve proskynitaria denen açık alan tapınaklarının daha iyi anlaşılmasıdır. Pek tanınmayan bu objeler sanatsal ve dini önemlerinin dışında, zamanla yitip giden ama sit alanıyla yakından bağlantılı olan insani düşünce ve anıları yansıtmaktadır. Bu eşsiz objelerin coğrafi, sanatsal ve bilimsel özel-likleri hakkında bilgi toplama amacıyla bir kayıt sistemi geliştirilmiştir. Sistemin verimliliğini sınamak için de bir alan araştırması kullanılmıştır. Proskynitaria’nın fiziki durumu hakkında toplanan veriler bozulma nedenlerini belirlemek ve güncel ya da gelecekteki riskleri tahmin etmek için değerlendirilmiştir. Koruyucu konservasyon tavsiyeleri, bölgedeki geleneksel inşaat teknikleri göz önüne alınarak verilmektedir.

INTRODUCTION This paper will consider the terminology used to describe out-door Christian Orthodox shrines followed by a consideration of their function, the materials from which they are made as well as issues regarding their deterioration and preservation. It aims to provide a better understanding and appreciation for this still living tradition, while its future is uncertain (Fig. 1). In a wider

sense, this is a contribution when dealing with objects that have to remain in situ.

Definition of TerminologyThe terminology used in the paper is as follows: the word proskynitarion (pl. proskynitaria), that will be employed here, itself derives from the verb ‘proskyno’ (προσκυνώ = to kneel, to worship) and the ‘arion’ (-άριον or -άρι) that is used to indi-cate something smaller than the standard size. In this context it defines a ‘shrine’, which is a place of worship smaller than a temple.

In Greece, except for the word proskynitarion, there are a number of different, but acceptable, terms that all refer to the same small construction including, iconostasion (stand for a religious icon) and ekklisaki (small church) but which indicate a slightly different function.

THE APPEARANCE OF THE PROSKYNITARIONThe main components of a proskynitarion, include: (a) the base; a pillar, a mount or four metal legs, depending on the construction (b) the iconothesion, a cabinet fixed on the base and (c) the roof, which shelters the iconothesion (Fig. 2).

A local craftsman is generally commissioned to carry out the construction work. The style of the proskynitaria varies accord-ing to their geographic location, the materials available, the craftsman’s skill and finally the taste of the person who places the order and the budget available [1]. There are many stylistic appearances that range from those that resemble boxes through to those that look like miniature churches. The proskynitaria should be seen as an example of Greek folk art rather than eye-pleasing artifacts, as they may not always appear aesthetically elegant [2, p. 594].

PRESERVING OBJECTS IN SITU: THE CASE OF PROSKINITARIA IN THE GREEK LANDSCAPE

Aristotelis Georgios Sakellariou

Fig. 1 A proskynitarion in Sounion peninsula, installed near a country church, possibly indicating a path. Fig. 2 The basic components of a proskynitarion.

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Although the external appearance of the proskynitaria may vary their function remains the same in that they are all designed to act as a point of worship and consequently they will all hold one or more holy icons.

CONSTRUCTION MATERIALS AND INSTALLATIONMarble: Due to the rich geology of Greece it is possible quarry marble throughout the country. Marble is preferred to other stone due to its fine appearance and physical properties, such as durability to weathering and fire. The proskynitaria, are made of marble sheets, usually white, which are bonded together with mortar. Other stones such as limestone, sandstone and river peb-bles are also used in the construction of proskynitaria which can be much cheaper to buy than marble or even freely available in the countryside.

Metals: The metals used in the construction of proskynitaria are usually sheets of iron and, less often, zinc or aluminium. Metal proskynitaria are of cheaper construction, lighter and therefore easier to transport and install than marble versions.

Cement and mortars: Cement construction allows one mould to be used to produce several mortar replicas. Recently, this has been a benefit to construction companies, as it is more economic, requiring almost no craftsmanship. This does not apply to all mortar made cases, as mortar has been used as a main component for traditional handmade proskynitaria as well. Well prepared concrete can have a long life span. However, poor installation and environmental conditions can cause it to crack, become brittle and aesthetically unattractive. Secondary materials that are used include glass, plastics, bricks, ceramic objects, and a variety of metals and resins.

The construction materials used are traditionally those avail-able in the area where the proskynitarion is installed. However, nowadays materials are much more widely available and in some cases it might be possible to construct a proskynitarion more economically using materials from overseas rather than those found within the area where it is to be installed.

The approval of the local authorities is required when consid-ering installing a proskynitarion at a site within a city centre. However, this is not generally required in the outskirts of the city and never when in the countryside. The state and the official Orthodox church tend not to get involved with the proskynitaria and in some cases see them more as symbols of over reaction that are closer to a pagan past. The site of a proskynitarion is commonly considered inviolable. Therefore nobody can move them once they have been installed. However roadworks such as road widening may make it essential to move the proskyni-tarion, in which case it will be moved to a location as close as possible to the original site. Consequently it is often possible to see the remains of original foundations close to relocated proskynitaria. Due to the small size of the proskynitaria they can be installed quickly and easily anywhere in the country. It is quite simple to install a proskynitarion, even at the most rugged and wild location, it can be done in a single night [3, p. 48].

HistoryThe oldest surviving proskynitaria appear to be in the region of 300 years old. However, that does no necessarily mean that they are a ‘recent’ trend. “Until 1926, with little exception, all attention in Byzantine architecture has been given to churches and monasteries, but other elements of the religious surround-ings have been neglected [4, p.1]”. As a result other architectural features including the proskynitaria were left unrecorded. Historic texts make it clear that during the period of Ottoman rule, proskynitaria construction activity was already underway. [2, p. 660].

CategoriesThere does not appear to be a clearly established distinction in regard to the function of the various proskynitaria and their appearance, size, geographic location, construction materials and physical condition. For the purpose of this paper, categories of proskynitaria have been identified that have been determined by their function, or the reason for their installation.

To protect a site: According to the Greek Orthodox folklore beliefs, protection is the primary function of a proskynitarion, and applies in most cases.

When protection is their only function, proskynitaria can be found in many locations, including an exterior wall, a path, the garden of a house, a square, a village, a public service building or a school playground. Proskynitaria are erected on certain pathways, usually remote and rural, in order to protect the travel-ler and give the blessings of the Saint whose holy icon is housed within it. The traveller him or herself may pay his respects by a small prayer or lighting the oil lamp and in return gain the Saint’s favour for the traveller’s trip. For the same reason proskynitaria are also found in bus stations or ports (Fig. 3).

As a tama (τάμα): Tama could be translated from Greek as a vow or a promise to a Saint, that has been made by someone at a time of despair, in return for a favour. This vow could be for themselves, a relative, a lover, a consort or a friend, for example, asking for healing, bringing back a beloved one, or success in a difficult task and in return a proskynitarion is erected dedicated to the Saint concerned.

As a landmark: Proskynitaria can also be installed in signifi-cant places throughout the country and used as landmarks, as in Fig. 1, or to mark the boundaries of properties.

In the foundations of a destroyed sacred site: Proskynitaria can also be used to mark the site of a church or a monastery that has collapsed or been destroyed, when it has not been possible to rebuild the original structure (Fig. 4).

In memory of an accident: The number of proskynitaria erected to mark the site of an accident is increasing rapidly on a daily basis. In most cases, someone has lost their life in a road accident and the relatives have installed a proskinitarion at the site in their memory, but also to purify the site. There are also cases whereby a proskinitarion is installed by someone who ‘miraculously’ survived a road accident that occurred at the location, as an act of thanks for a ‘holy interference’.

EXAMINING, RECORDING AND ANALYSINGIn order to care for an artifact, that has to remain on site, it is necessary to examine it and record its condition. If data gathered from different sites is to be compared, it is essential that the

Fig. 3 Proskynitarion installed by a bus station at Lavion town.

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same careful methodology is used each time. In Greece many different approaches have been taken to documenting proskyni-taria, all of which cover only their aesthetics, and according to the author’s research into the subject, none has been officially published. Creating a methodology of recording the physical condition of the proskynitaria is a start for this type of research, since this has not been attempted before for proskynitaria. This will provide a clearer understanding of an overall pattern of deterioration in order to develop a policy for the most appropriate preventive care. The following section will describe the develop-ment of a methodology for recording the condition of prosky-nitaria and its pilot in a specific region of Greece (the Lavrion peninsula).

The start of the project was to define the geographical area for the research. Due to the size of Greece and the number of proskynitaria involved it was decided to run the pilot project in a smaller specific region. A documentation form was created in order to record the relevant details regarding the respec-tive proskynitaria. Photographic documentation would also be provided for each artifact. The record sheet contained fields for the: Location of the proskynitarion; Construction materials; Physical condition; Orientation; Iconothesion contents; Drawings to contextualize the photographs with the documentation.

Each record took an average of 4 minutes to complete (see Table 1). The collated data was made available using a Microsoft® Excel table, translated into numbers. In this way the information could be interpreted and used to support the research.

It was essential to gain direct access to the proskynitaria in order to examine them. However, this was not always easy since some were located at difficult locations along dangerous stretches of road. Other proskynitaria were difficult to examine because they had been installed on private land and special permission was needed to gain access to them. In addition certain proskynitaria were difficult to reach due to their geo-graphic location hidden within rocks or vegetation and located

in very remote areas. Finally in some instances the proskynitaria were no longer accessible since they had collapsed as a result of their condition or their age.

The content of the proskynitaria should not be neglected since the items are of importance, especially to people who study anthropology and folk culture. It is almost certain that the proskynitaria will contain an icon of a Saint and an oil lamp. The oil lamp is either a common kind with an adjustable wick, or more often a makeshift lamp made from a short drinking glass filled with water and olive oil, where the wick floats on a cork. A third object to be found in the proskynitaria is a metal or ceramic incense burner. The incense used generally consists of certain tree resins found in Greece and used for centuries. However his-torically, good varieties have been imported through the Levant from the southern Arabian Peninsula. In addition to the three objects described, other items might be found, such as food, fruits and offerings, wicks, coal, matches and lighters, flowers and personal items belonging to the person who died (Fig. 5).

SurveyingIn order to evaluate the physical condition of the proskynitaria examined it was necessary to collate and interpret the informa-tion recorded on site. The aspects of deterioration recorded were as follows:

Support problems: Marble and mortar proskynitaria do not generally present problems with regard to the stability of the support. This may be due to the fact that because of the con-siderable weight of the materials they are generally provided with a strong and substantial support when constructed. The proskynitaria made from metal are considered to be the lightest. In most instances they are supported by a single, thin column. However, since this is less durable than a thick concrete base, they are not very stable and can be knocked over.

Mechanical damage: may be caused by a series of factors but is characterized by change to the original surface. In the worst cases it results in breakage and loss of material. Since marble is a rather hard material to break a possible case of damage could result from the expansion of rusting screws used in the construction. The majority of the proskynitaria constructed from mortar appear to have cracked surfaces. This kind of mechanical damage is caused not necessarily by some form of impact, but from intrinsic factors as well, such as the contraction caused while the mortar sets. Metal is chemically the most unstable of the three main construction materials. Oxidation reduces the physical toughness of the metal thereby making the object less resistant to physical impact.

Damaged decorated surfaces: This aspect of deterioration is generally specific to painted surfaces. Due to the aesthetics of marble, covering it with paint is not common. The only case where paint is found on marble is for highlighting inscriptions. Metal proskynitaria are often painted for both aesthetic and protective reasons. It is unusual to leave any bare metal surface, so all metal proskynitaria are considered to have been painted at some time in their existence. With regard to proskynitaria made from mortar the paint can cover small areas or even the entire object, which in turn might be damaged by cracking of the mortar surface as described above.

Metal corrosion: This damage is to be found on metal prosky-nitaria and on screws, hinges and so on, that have been used in the construction of marble or mortar proskynitaria. If the material is not completely covered, corrosion can be observed in the areas of loss. It is interesting to note that in partially cor-roded objects, corrosion generally appears more concentrated within joints of metal [5, p. 8] and on the north-facing sides of the objects. However, on some occasions excessive corrosion is recorded on the sides exposed to the direction of the sea.

Fig. 4 This proskynitarion was installed in the church of Agios Spyridonas in Argasi of Zakynthos immediately after the destruc-tive earthquake of 1953. This proskynitarion no longer exists, as the church was renovated in 2009.

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Dust and soil accumulation: Soiling on the exterior surface of the proskynitaria is generally evenly distributed, but under-standably it can be observed to a greater extent on the side that faces a road. On the interior of the iconothesion surface soiling from soot can often be seen as a result of burning incense and the wicks of the oil lamps, as in Fig. 5.

Biodeterioration, insects and pest damage: This includes any indications of past or present activity from living organisms, for example, mould, fungi, plants, insects, pests, and animals, excluding damage by human intervention. Biodeterioration is a result that can be identified by the presence of the biologi-cal agents or by certain types of loss, stains, frass and drop-pings (Fig. 6). The most common impact of biological activity observed on the exterior of mortar, and sometimes marble, proskynitaria is damage (cracking) caused by lichens, roots and plants. It is interesting to note that there is usually an absence of insects where incense has been used recently, inside the cabinet.

Iconothesion and contents: The interior of the cabinet should be examined individually depending on its content.

Climate affecting the causes of deteriorationAccording to the Hellenic National Meteorological Society (Εθνική Μετεορολογική Υπηρεσία), Greece has the char-acteristics of the Mediterranean climate. This involves mild winters and warm/dry summers. However, this does not mean that the entire country enjoys the same climatic condi-tions. Due to the significant differences in altitude and the short distance between mountains and sea, there can be a sharp contrast in climates, even between two neighbouring locations.

PRESERVATION AND PREVENTIVE CONSERVATIONElements of traditional careIn theory, a proskynitarion is devoted to a Saint and therefore does not belong to any specific person. Generally the person who installs a proskynitarion on a site takes responsibility for its care. If that person no longer exists, or for some reason is unable to continue with maintenance, anyone can take on the task. There are numerous examples where people take care of a proskynitarion just because of its close proximity to their house irrespective of any involvement in its original function.

When considering how best to care for proskynitaria we shall first consider the traditional approaches that have been used. Some of the traditional methods of maintenance are noted below:

Lighting the oil lamp: for the locals, this is the first practice of ‘care’. It is not part of a direct conservation practice, but the action denotes two aspects of preservation. Firstly, someone is giving it attention, therefore it is not forgotten and continues to generate interest, which is an essential component of care. Secondly, the process of lighting the lamp is proof that the intangible heritage is being preserved through the continuation of local customs.

Regular cleaning: if a proskynitarion is the shelter for a holy icon it would be disrespectful to allow it to become dirty. The person taking care of it would at the very least clean the iconothesion. Evidence of regular cleaning can be seen at some proskynitaria where cleaning supplies have been left ready for use. Cleaning can remove soil, dust and eliminate the chance of colonisation of microorganisms and insects. However, if the cleaning is extremely ‘vigorous’ or carried out using a harsh detergent, it is likely to cause damage.

Painting: The traditional motivation for painting is aesthetic renovation. This usually takes place around once a year depend-ing upon the appearance of the object. The new paint is not nec-essarily the same as the previous one, so if a micro-excavation of the paint layers is made, several substances and colours can often be identified (Fig. 7). The metal proskynitaria are those most commonly painted, especially when oxidation starts to occur on their surfaces. The practice of painting metal as a preventive measure is generally acknowledged as an effective procedure [5, p. 34]. Other methods of traditional care that can be considered include: protective bars, dust and wind barriers and a disposable lining for the iconothesia.

Fig. 5 View from the iconothesion of a neglected proskynitarion in Kerataia. Objects such as a bottle of wine, some medicine and flowers have been placed inside. The walls are covered with soot from the oil lamp and incense.

Fig. 6 Lichens and moss cover the ‘roof’ and iconothesion exterior of a stone proskynitarion from Zakynthos.

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The traditional concept of care for a proskynitarion may be slightly, or entirely, different from that defined by museums and cultural organisations. The results can be similar, how-ever. Nevertheless, traditional methods have been the practice for many years, while newer methods remain to be tested and proved.

Preventive conservationThe problem of proskynitaria care arises from the fact that they are installed in thousands of different outdoor locations, and the people who take care of them have no professional conservation knowledge. It is therefore necessary to eschew the luxuries of sophisticated techniques, materials and tools, and to return to an understanding of what can be realistically accomplished [6, p. 62].

Since the location of the proskynitaria is central to their func-tion, it would not be appropriate to consider re-locating them to a less harmful environment since such a move would have an impact on the significance of the object within the context of its location (Fig. 8). Ideally if we were able to determine which proskynitaria were considered to be ‘highly significant’ it might be possible to provide some sort of shelter in order to reduce the impact of weathering. This is not desirable though because the aesthetic result would be disruptive; transfer to a museum would have a similarly major disruptive impact. The aim is therefore to find practical solutions for the preservation of the objects in situ.

The first stage of a preservation strategy should be to raise awareness of the uniqueness of proskynitaria and their impor-tance as part of the cultural heritage. This process should start with the individuals who take care of these artifacts. It could also be a responsibility of an assigned group. Although there is a history of fellowships and ‘brotherhoods’ in Greece it is only in recent years that historical societies (such as those common in other European countries) have begun to appear. The crea-tion of such a society specifically for the care the proskynitaria could help raise local, regional and national awareness of their importance as part of the history and tradition of Greece, and would provide an effective strategy for their preservation.

Generally, it is almost impossible to control temperature, humidity and light when dealing with outdoor non-sheltered objects. Protection can be provided to the iconothesion though, which contains light-sensitive organic objects, by applying UV filters on to its glass components.

Some people put fruit or other foods into the iconothesia as an act of respect that constitutes an important part of their function. Regular cleaning is the most effective way to remove

Fig. 7 Close up view of the dome of a mortar proskynitarion. At least three layers of paint (red, blue, white) can be seen.

Fig. 8 A humble proskynitarion installed at the entrance of the aban-doned fifteenth-century Osios Leontios Monastery at Achaia in the Peloponnese. The object would have no significant value if it was removed from its historical context and placed in a museum display case. Image: Dr Georgios Liakopoulos.

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an accumulation of dirt which would attract microorganisms and insects. However, the use of a biocide within the iconothe-sion would not be recommended for a particular reason: kissing an icon is a Christian Orthodox practice. If the icon in the icono-thesion has been ‘contaminated’ with a biocide, the health of the person kissing it would be placed at risk. It should be noted that the iconothesia which appear to be subjected to regular burning of incense seem to be free of insects.

To keep the iconothesion free of dust, the dust-barriers are an effective means. Synthetic or fibrous sticky bands are fixed to the edges of materials preventing the transportation of airborne particles.

Preventive conservation in practice is not only the province of conservators, but also involves the public, the people who take care of their proskynitaria in this case. It is of the utmost importance to acknowledge that there is no single answer to treatment that can be applied [7, p. 59]. In all cases, it is only by careful regular observation that it is possible to tell whether an object is stable or actively deteriorating [8, p. 56].

It would have been interesting to describe a case-study of treating a proskynitarion in a museum by professionals. However, no case-study appears to have been recorded.

CONCLUSIONSProskynitaria are tangible manifestations of craftsmanship and care from different areas and eras. For many generations they have been used to provide comfort to the inhabitants of the country, hope to those who installed them and continuity to those who take care of them.

In recent years hand-constructed proskynitaria are becoming increasingly rare as more and more often they are mass-produced from concrete moulds. Large numbers are produced on an indus-trial scale, most of which lack the stylistic variety, idiosyncrasy and craftsmanship characteristic of the earlier folklore art. The project described here to map the degradation of proskynitaria in order to develop an appropriate strategy for their care. At the same time it would also appear to have mapped the end of the traditional craft-based approach to their construction that was so typical of Greek folklore art. It is therefore of even greater importance to ensure that as many as possible of the surviving proskynitaria are documented in order to allow future genera-tions to know what was once here [9].

Finally, by using proskynitaria as a case study, this paper raises awareness of the problems that arise when objects have to remain in situ and the challenge that they present in terms of providing an effective and pragmatic preventive conservation strategy.

ACKNOWLEDGMENTS The author wishes to thank Lucia Hroznarova and Stefanos Kalikakis for their help in conducting the site survey, Phaedra Corrigan and Janelle Matz for their work in editing and, last, but not least, my life-long tutor, Ms Jean Brown.

REFERENCES 1 Mikelakis, M., ‘Ars Memoriae: Τέχνη της Μνήμης’ (Memorial Art),

in ΑΡΧΑΙΟΛΟΓΙΑ 95 (2005) 92–97 [in Greek].

2 Konstandinidis, D., ‘Προσκυνητάρια’ Θρησκευτική και Ηθική Εγκυκλοπαίδια (Encyclopaedia of Religion and Ethics) (1968) Vol. 10 657–662 [in Greek].

3 Hollbraad, C., Ελληνικά Εικονοστάσια (Hellenic Iconostasia), Τροχαλία, Athens (1998) [in Greek].

4 Orlandos, A., Μοναστηριακή Αρχιτεκτωνική (Monastery Architec-ture), Hellenic Archaeological Society of Athens, Athens (1999).

5 Walker, B., Technical Advice Notes 29: Corrugated Iron and Other Ferrous Metal Cladding, Historic Scotland, Edinburgh (2004).

6 Barclay, R.L. and C. Antomarchi, ‘PREMA: a conservation strategy for African collections’ in Preventive Conservation: practice, theory and research, ed. A. Roy and P. Smith, IIC, London (1994) 61–64.

7 Drumheller, A. and Kaminitz, M., ‘Traditional care and conserva-tion, the merging of two disciplines and the National Museum of the American Indian’ in Preventive Conservation: practice, theory and research, ed. A. Roy and P. Smith, IIC, London (1994) 58–60.

8 Bradley, S. ‘Do objects have a finite lifetime?’, in Care of Collec-tions, ed. S. Knell, Routledge, New York (1994) 51–59.

9 Sakellariou, A.-G., A Methodology for Preserving Proskynitaria, MA dissertation, Northumbria University (2007) (unpublished).

AUTHORAristotelis Sakellariou has an MA in preventive conservation (Northumbria University) and a BA Hons in conservation and restora-tion (University of Lincoln). He has recently been appointed as the head of conservation at the Islamic Arts Museum of Malaysia. He has been a freelance conservation consultant for the University of Athens, the Hellenic Museum of Folklore Art and the Hellenic Society of Near Eastern Studies. His professional experience extends to both the Eastern Mediterranean and the UK. His interest and research include strategies for the storage and display of objects in their original or historic context.