Byzantine Art      

The church Sveti Andreja near Treska Lake

About eighteen kilometres southwest from Skopje near the village of Glumovo stands a church dedicated to Andreas[1]. It is only on a short distance from the left shore of the artificial Lake Matka, and can be reached from the dam along a narrow stony path carved into the rock.

The church and monastery are at a height of about 320 metres and, before the Treska River was dammed, they were difficult to reach on a plateau of the steep mountains of the Treska Canyon. Nowadays the lower course of the fast streaming Treska River, downstream of the dam is a popular resort, particularly for wild-water canoe games. In 2002 the area behind the dam was under military control, because of the threat of terrorist attack on the dam and access to it was consequently restricted. Close to the church there is a small restaurant, one of the former buildings of the monastery.

The instruction to build the church was given by Prince Andreaš, a younger brother of prince and later King Marko, both sons of Tsar Vukašin and Queen Jelena, in 1389 the year of the Battle at Kosovo, in which the Turks defeated the allied armies under Prince Lazar. Little is known of Prince Andreaš. Some time after the Turkish conquest he left the country and went, most probably, to Hungary. It is not known when, where and how he died. The church is dedicated to the Apostle Andreas[2] (pict. XVI 1). A founder’s inscription has been painted on the west wall above the door. It is a relatively small church, from the outside it appears to have a cruciform ground plan, but inside it is trefoil. The church has an octagonal cupola with a tall drum on the central part of the church, resting on four pillars. A narthex was added to the church in 1559. The cupola and roof of the church are covered with lead.

The interior of the church has been covered with wall paintings, which according to an inscription above the niche of the prothesis were made by the metropolitan Jovan with the assistance of the monk Gligorije. It is said that Jovan came from the monastery at Zrze where he had worked together with his brother Makarije. A similar inscription above the niche of the diaconicon records that the first abbot of the monastery was Kalest Kyril.[3] The overall impression of the paintings in this church is the prominent use of the colour blue. Considering that usually expensive lapis lazuli was used for blue paint, it is clear that Prince Andreaš spent much money on the paintings.

The wall paintings in this church are remarkable for the refined skill of their painting as can be seen especially in such paintings as those of the Melismos and the Last Supper.

Not all the wall paintings have been preserved; some, like that of the cupola, have been lost and others damaged. The two highest rows contain the wall paintings of the Dodecaorton. Below these extending all around the church there is a row containing no less than 51 busts of bishops, soldier saints and other saints. The lower row contains standing figures of bishops, evangelists, apostles, soldier saints. Between the two upper rows the founder’s charter has been painted in a narrow frieze, which runs all around the church except for the half cupola of the apse. Not all wall paintings or individual figures will be discussed in this chapter.

Between the windows of the drum of the cupola eight prophets have been depicted; above the head of each of them an angel or a cherubim can be seen, but their upper part has been lost. Among the prophets there is Johannes Prodomos. Each prophet holds an unrolled scroll or, in case of Daniel, an open book. On the four partly damaged pendentives the four evangelists have been painted: starting on the northwest pendentive and going clockwise: Luke, Matthew, Johannes and his pupil Prochoros, and Mark. Hardly visible due to damage their symbols have been depicted between them and above their heads.

The half-cupola of the apse contains a beautifully depicted Mother of God Enthroned. She sits on a richly adorned throne without a back, her feet on a suppedion. The legs of the throne rest on sculptured lion heads. She is dressed in a blue maphorion decorated at the edges, and wears purple coloured shoes. She holds the Christ-child by His left shoulder, her other hand rests on her leg. The Christ-child holds a scroll in His hand and makes a gesture of blessing with His right hand. Mother and child are flanked by the archangels Michael and Gabriel who somewhat unusually are bare-footed and who stretch their covered hands towards them.

Below this scene the busts of eight bishops have been painted, of which the bishop on the left is Silvester, a pope of Rome and the second from the right side is Sveti Kliment of Ohrid.

Below these the Melismos has been painted (pict. XVI 2). The painted altar table is covered with a purple coloured cloth with blue lines and squares, at the sides richly adorned with pearls. On the table lies the paten with Christ as the bread of life. He is covered with an oblong purple cover, the kalymna, on which lies an adorned cross. Also on the altar there are the chalice and an adorned evangelarium. Behind the table there are two deacon angels in white dresses, each holding ripidions. Two bishops have been depicted: Ioannes Chrysostomos on the left side and Basil the Great on the other.

On top of the triumphal arch there is a not very well preserved depiction of the Pentecost. On both sides six apostles sit in conversation on a bank.

Below this scene the Annunciation has been painted on the two arms of the triumphal arch: the Archangel Gabriel on the left greets the Virgin on the other side. She stands on the suppedion in front of a chair without a back listening to the announcement of the archangel. The archangel wears a blue chiton and a gold coloured himation; she wears a purple maphorion. From the left a ray from heaven touches her head as a sign of the incarnation of Christ.

Directly below Gabriel and Maria there are two small busts of the prophet kings Solomon and David. David, below Maria, holds a scroll with the words, written in old Slavic: “Harken, o daughter, and consider and incline thine ear; for [get also thine own people].”[4]

On the other side, below the Archangel Gabriel, Solomon has been depicted holding a scroll bearing, in old Slavic, the well-known words from Proverbs about wisdom and its seven pillars.[5]

Below both prophet-kings there are the niches for the diaconicon and the prothesis. Inside the niches there are paintings of the deacons Euplus and Stephen, the protomartyr.

The paintings relating to the Dodecaorton begin on the south wall with the Gennesis. The greater part of the painting has not been preserved, except for the bathing of the Christ-child by the two midwives Salome and Zeloni. One is putting water into the basin, while the child sits on the lap of the other woman to whom He has turned His head.

The series continues with the Hypapante, painted on the southern cross arm of the church, together with the Baptism. The Hypapante, somewhat damaged on the left side, shows the usual depiction with Symeon, Maria and Joseph and the Prophetess Anna. They are standing before a ciborium and altar table. The painter(s) have exercised the usual freedom in their depiction of the Christ-child.[6] Here the child is held by Symeon, but apparently He is not very happy with that and stretches His arms towards His mother.

Next to this scene the Baptism of Christ has been depicted, somewhat disturbed on the right side. It is the usual scene: Christ stands in the water with John the Baptist on the left bank and four angels on the right. Usually Christ wears a loin-cloth, but the painters have chosen to depict him naked as in earlier examples such as those in the baptisteries at Ravenna. At the top the doors of heaven have opened to reveal the hand of God from which a beam of light falls on the head of Christ. In the light beam a dove has been depicted. Together they form a Theophany, the appearance of God in a form visible to man. Behind John the Baptist a tree can be seen at the roots of which the axe lies ready.[7] At the feet of Christ two personifications have been depicted. On the left sits the personification of the river with a large bottle at his right side, out of which streams the water that feeds the river. On the right is the personification of the sea, depicted as a female figure from ancient times, holding a trident.[8] All around fishes swim in the water.

A number of wall paintings regarding the Dodecaorton have disappeared or are heavily damaged. One of the best preserved wall paintings regards the Mysticos deipnos, the Last Supper, painted in the old fashioned style on the south wall (pict. XVI 3).[9] Christ sits on the left side on a throne like chair, his feet on a suppedion. The disciples sit in conversation round a half circular table on the stibadium. Two of them sit at the front with their backs turned to the observer. Young Johannes rests with his head on the breast of Christ. Opposite Christ Peter and his brother Andreas, sit in a place of honour. It may be that they are questioning Christ about his remark that one of them would betray him.[10] By their gesticulations the painters may have tried to express the words mentioned by Luke about the conversation at the table.[11] The marble table is well laid with some dishes with food, round loaves with a cross, a decanter for the wine, some vegetables and two candles. Judas reaches over the table to take some food from a dish. The background consists of some idealised buildings. Behind the disciples there is a cupola resting on four pillars with Corinthian capitals, on both sides of which prophets have been depicted. The prophet king on the left wears a crown and has a white beard, which identifies him as the Prophet-king David. He holds a scroll with some words which relate to the treatment of Judas.[12] The other prophet holding a scroll is Jeremiah, identified by the letters above his head.[13]

Next to the Mysticos Deipnos a number of scenes have been depicted which belong to the Passion series of Christ. On the left the Washing of the feet of the disciples is the usual scene with hardly any new elements. Christ stands before the basin in which Peter has already put one foot; he points to his head. Some of the others are busy unloosening their sandals.

The next scene depicts the Prayer at Gethsemane. The garden has been indicated by a doorway, which separates two scenes. Christ has been depicted three times: on the left he kneels in prayer, in the middle he asks his disciples whether they could not wake with him for one hour; on the right he stands upright and an angel is talking to him. In the foreground all disciples are asleep, except Peter to whom Christ is talking.

This scene is followed by the Prodosia, of which the upper side has been lost (pict. XVI 4). Judas runs towards Christ who stands in the middle to kiss him. He is followed by soldiers and servants of the high priests. In the corner Peter is very distinct busy cutting off the ear of the high priest’s servant Malchus. The scene does not in fact, contain any new elements in comparison with other such scenes.

The Mocking of Christ depicted on the north wall became a popular subject especially during the Nemanjiden dynasty. One of the first depictions was the wall painting in Bogorodica Periblebtos at Ohrid and in a number of other churches located in areas where they were governing.[14] The depiction is hardly known in other areas, except for an earlier example from 1281 in San Marco in Venice. The latter shows Pilate and Christ in a purple robe surrounded by a few people in a mocking adoration without music instruments. Bogorodica Periblebtos shows some instruments. The most beautiful scene can be seen in the Church Sveti Djordje at Staro Nagoričane, with trumpets, drums and cymbals. The wall painting in this church shows a great number of people with many kinds of musical instruments that were in use at that time.[15]

Next to this scene a long uninterrupted wall painting shows scenes of the Crucifixion and the Deposition. The first one shows a number of successive scenes. On the far left Simon of Cyrene waits with the cross on his shoulder. In front of him Christ with tied hands refuses to drink from the vinegar which a soldier brings to His mouth. It is followed by Christ climbing a ladder to the cross on top of which a soldier takes Him by His arm to crucify Him. It is then followed on the right by the Deposition from the cross with the same figures seen before in other depictions. Maria holds the body of her son in her arms and behind her a woman holds the hand of Christ to her face. Two other women have been depicted.

Above these scenes the Crucifixion continues with a simple depiction of the crucified Christ in the centre and Maria and Johannes together with the centurion and two angels. It is very different from the depictions by Michael and Eutychius with many figures and much action.[16]

Next to it there is a depiction of the Anastasis, the right side of which has been damaged. A descending Christ, His himation floating in the air, is standing on the broken door of Hades. He draws Adam out of a sarcophagus. Christ is surrounded by a mandorla and holds the cross-staff triumphantly in His hand as a sign of His victory over death. Under the doors of Hades Satan lies bound with chains. The prophet kings David and Solomon and Johannes Prodomos stand on the left.

These two scenes have deliberately been placed opposite the Gennesis and the Hypapant; Birth versus death and the presentation to mankind versus the liberation of mankind.

In the right hand corner of the same wall the sepulchre of Christ has been painted (pict. XVI 5) as a rectangular aedicule inside a mountain, with a sarcophagus. Inside the aedicule stands Nicodemus who has stretched out his hands to receive the body of Christ and lay it in the sarcophagus. Maria in anguish holds the body of her son closely in her arms and kisses His face. Behind her Johannes holds him under the knees and Joseph of Arimathea holds the feet of Christ. The body has been completely wrapped in linen. Maria wears a dark maphorion, Johannes is dressed in a blue chiton and a violet himation, while Joseph wears a pastel yellow himation. On the left in the background three mourning women observe what is happening. In the air two small angels have covered their faces with their himation.

On the west wall two paintings have been placed most probably intentionally one above the other. They show the Raising of Lazarus and the Koimesis. The scene of the Raising of Lazarus does not contain any new elements: an aedicule with the body of Lazarus, some people removing the stone and a man holding his arm to his nose on the right and Christ with some of his disciples on the left. No longer clearly visible, are Maria and Martha kneel before Christ.

The Koimesis (pict. XVI 6) is also a fairly conventional depiction. All the apostles, except Paul, stand on the left and on the right, behind Paul a number of people have been depicted. The apostles are brought by two clouds. Four angels with candelabra surround Christ who holds the swaddled soul of His mother on His arm.

Below the painting of the Koimesis, a number of the 51 saints can be seen. They are from left to right the saints Gurias, Samonas, Anbibo, Cosmas and Damian and Constantine and Helena.[17] The first three are martyrs from Edessa.[18] It is assumed that Gurias and Samonas were persecuted under Galerius and Maximianus; they were beheaded in about 306. Abibo was a deacon who was burned alive under Licinius in 322. Although he died, his body miraculously hardly suffered. It was embalmed and buried beside the bodies of the first two mentioned. The other four are well-known.

The lowest row of paintings depicts a number of standing figures, including the apostles and evangelists, archbishops and warrior saints. Most of the paintings have been preserved in good condition. The evangelists (Paul, Johannes, Markus and Luke) have been depicted on the south wall. Their names have been painted in golden letters. Luke has been depicted indicated by his name: O AΓIOC ΛOYKAC.[19] (pict. XVI 7) He has a short beard, short hair and a tonsure and is dressed in a blue chiton and a violet himation. He points at the text of the open book in his hands.

On the north wall one can find a wall painting depicting Maria Paraklesis[20], as has been mentioned in golden letters (pict. XVI 8). She is the intermediary between heaven and earth on behalf of mankind. She stands frontally, her head turned somewhat to the left. She looks at the observer in the church. She has raised her hands in supplication to the right, where in the corner the hand of God appears making a gesture of blessing towards her. She is dressed in a purple maphorion over a blue skirt. On the sleeve of her right arm letters have been embroidered with a quotation from one of the Psalms.[21]

In conclusion it may be remarked that the wall paintings in this small church have been made by skilful painters in the late Paleologen-style. They have made much use of blue for the background and in a number of cases golden letters to indicate a name. The faces of the individual figures show character. While not all of the original paintings have survived the centuries, it is remarkable that the greater part has been quite well been preserved.

CHAPTER XVI - List of pictures

1

Church Sveti Andrea

2

Melismos

3

Last supper

4

Betrayal of Judas

5

Sepulchre of Christ

6

Koimesis

7

Luke

8

Maria Paraklesis

  1. Prolović, Jadranka, Die Kirche des Heiligen Andreas an der Treska, Wien, 1997 ↑

  2. Lechner, M. in LCI 5, p. 138-152, s.v. Andreas ↑

  3. The inscriptions have been deciphered by Prolović. ↑

  4. Painter’s Manual, p. 31 (with note) refers to the words of Psalm 44 (45): 11 ↑

  5. Proverbs 9:1 ↑

  6. Shorr distinguishes six typical positions, see note at Nerezi. ↑

  7. Matthew 3:10 and 7:19; Luke 3:9 ↑

  8. Also in Sv. Nikita two personifications have been depicted. ↑

  9. One of the eldest depictions can be found in Apollinare Nuovo at Ravenna ↑

  10. Luke 22:21 ↑

  11. Luke 22:24-38 ↑

  12. Psalm 40 (41): 10 “Mine own familiar friend, in whom I trusted, which did eat of my bread, has lifted up his heels against me.” ↑

  13. With words of Jeremiah 12:1 “Righteous art thou, O Lord …” Both figures have been identified by Prolović. ↑

  14. St. Nicholas at Varoš, Sv. Djordje at Staro Nagoričane, Demetrius Church at Marko’s Monastery and other churches. ↑

  15. Prolović also identifies actors among the people. ↑

  16. See Sv Bogorodica Periblebtos at Ohrid and Sv. Djordje at Staro Nagoričane. ↑

  17. The names have been identified by Prolović. ↑

  18. Kaster, K.G. in LCI 6, p. 465-466, s.v. Gurias, Samonas und Abibo von Edessa; ibid in LCI 5, p. 6, s.v. Abibo von Edessa. ↑

  19. Lechner, M. in LCI 7, p. 448-464, s.v. Lukas, Evangelist. ↑

  20. Prolović, p. 183-186 about the different types of Maria Paraklesis. ↑

  21. Psalm 44(45):13-14; Prolović, p. 183 remarks that as from the second half of the fourteenth century the learned painters have often decorated the maphorion of the Mother of God with this quotation. In particular it was popular in the school of painter Jovan, so that we often find it there in depictions of the Mother of God. (with note). Translated from German. ↑