The church Sveti Djordje at Staro Nagoričane

The tiny village of Staro Nagoričane can be reached from Kumanovo by taking the main road in an easterly direction towards Kriva Palanka and the Bulgarian border, turning left after twelve kilometres at the village Mlado Nagoričane and then proceeding a further four kilometres along the road to the village. In this village there is a church dedicated to Djordje Tropaiophoros, George the Trophycarrier (pict. XIII 1-2)^[1]

The Serbian King Stefan Uros II Milutin (1282-1321) ordered the building of the present church on the foundations of an earlier church erected during the reign of the Byzantine Emperor Romanos IV Diogenes (1067-1071). Parts of the old walls of quadrangular stone-blocks, in places up to six metres, were used in the reconstruction (pict. XIII 3).

According to an inscription on the lintel above the west entrance the rebuilding took place about 1312-1313 at the time of the higoumenos Andonije (pict. XIII 4). The wall paintings in the re-built church, according to an inscription inside the church, were made between 1317-1318, or the year 6826 in the Byzantine calendar, during the time of higoumenos Venijamin. The wall paintings were made by the same master painters Michael and Eutychios, who have already been mentioned as the painters of Sveti Kliment at Ohrid and whose names we have seen again in the Church Sveti Nikita.^[2] They left their signatures on some wall paintings in the church. They painted a relatively large number of churches within the jurisdiction of the Kingdom of Milutin. The question has been as to which of the three churches on Macedonian soil was the first to be painted. It is beyond dispute that the Church Sveti Kliment at Ohrid was painted first in 1295. Taking into consideration the high quality of the frescoes by the painters mentioned, it may be assumed that they had been active before in other places before reaching the high standard they showed in the church at Ohrid. It is not certain from where their style of painting originates, or where they were schooled. It is generally accepted that they painted in the Paleologen-style, but a strong personal influence can certainly be noticed. This expresses itself in plasticity and voluminous, cubistical figures, some of them exaggerated, with clothes covering the bodies in such a way that the limbs are revealed. Far away from Constantinople these two masters developed their very own personal style. They made use of more architectural fantasy, of large scenes and increased numbers of people shown.

The Church Sveti Nikita was constructed some time before 1316 and so it may be assumed that the church at Staro Nagoričane was the last of the Macedonian churches they painted.^[3] The Church Nicholas Orphanos at Thessalonica is also ascribed to these painters as one of the last in a long sequence they painted, even though in the latter church no signatures have been found. In the period between 1295 and 1316 they were active in a number of other places in the Medieval Serbian State. It is known that they worked in the Church of the Apostles at Peć in the Kosovo, and that they decorated the Joachim and Anna Church at Studenica in Serbia. Most probably King Milutin commissioned them to decorate the church at the Monastery of Chilander on Athos in 1303, although these frescoes were later painted over.^[4] It is known that Michael and Eutychios were active after 1307 in the decoration of the Church of Our Lady of Ljeviša at Prizren in Kosovo, which was also built on the orders of King Milutin.^[5] The king became known as a great patron of the arts and instigator for the construction or rebuilding of a large number of churches. Malicious rumours suggest that after every battle he won he had a new church built.

Hardly anything is known of the history of the Church Sveti Djordje at Staro Nagoričane, except what is mentioned in inscriptions on the lintel above the west door and some information inside the church. There is no explanation as to why a relatively large church was originally built in a remote, thinly populated area. Nor are there sources which give the reasons why Milutin chose to have the church rebuilt. The inscription on the lintel mentions a victory against the Turks in 1313 after he had sent soldiers to assist his father-in-law, Andronicus II (1282-1328), and Milutin may have expressed his gratitude by ordering the reconstruction of this church.

It is during this period that the power and self-confidence of Milutin reached its height. The foundation of a Serbian Orthodox Church by Sava, son of Stefan Nemanja, at the beginning of the thirteenth century, had weakened the influence of the Archbishopric of Ohrid, which was under Greek influence. The increasing power and independence of Milutin found expression in the Serbian Orthodox Church. Texts on unrolled scrolls in the hands of Christ, bishops and others, painted on the walls, were as a rule written in Greek, but in the time of Milutin, as can also be seen in this church, texts began to appear in the Slavic language.

The ground plan of the Church Sveti Djordje at Staro Nagoričane is an inscribed Greek cross with an elongated narthex, open in the direction of the naos. It has a length of about twenty metres including the apse and narthex and is almost eight metres wide. The old surviving walls were built of blocks of dressed stone and of brick. For the rebuilt parts of the church only brick has been used. It has four smaller octagonal cupolas and a larger central one, resting on four pillars. The main entrance is at the west end and there is a smaller door in the south wall. The round arched windows on the south and north sides in the arms of the inscribed Greek cross have two small columns forming a three-light window. These are decorated with bricks laid in meander, cross and dovetail patterns. The window above the main entrance has only one small column in the middle. Other windows, including those of the apse, are also of brick. The bema consists of the apse and a rather large diaconicon and prothesis. The diaconicon only has an entrance (a tympanon) at the side of the bema, whereas the prothesis is an open space with two arches and a column in the centre. A part of the old stone iconostasis has been preserved, including the icons of Djordje and Maria painted on stone slabs.

The church contains a large number of well-preserved wall paintings consisting of several series of paintings relating to the Dodecaorton, the Passion of Christ, deeds of Christ during his life and after his resurrection, scenes of the life of the Virgin, a series on the life of Nicholas and another on the patron saint of this church George (Djordje). These are divided into five or sometimes six rows of paintings. On the lower zone of the walls at least fifty figures of saints have been depicted. Moreover, a large number of saints are portrayed on the pillars and on the arches between the pillars. The row of paintings above the lower zone includes a rather extensive series of eighteen wall paintings devoted to the life and sufferings of Djordje. Among the many figures on the lowest zone are King Milutin and his wife Sidonia. Not all the wall paintings of the many individual figures or groups of figures will be discussed here in detail, nor will all persons and saints be identified. The narthex contains a menologion with in part, a large number of dates and the corresponding saints. Only a very restricted number of paintings of the menologion will be dealt with. Some paintings on the ceiling of the bema and in the narthex have not been preserved.

In the central cupola a wall painting of Christ Pantocrator against a blue background has been preserved (pict. XIII 5).With his right hand he makes a gesture of blessing and in his left hand he holds a jewelled Gospel. He has been shown in a large mandorla that is held by eight floating angels, as in the Ascension. Below this part, the Divine Liturgy has been illustrated with cherubs in the procession of deacon angels. A similar painting was done for the first time in the Church Panagia Olympiotissa at Elasson in Northern Thessaly in about 1300. During the twelfth century theological debates concerning the mystery of the Eucharist gave rise to iconographic innovations in the area of the Sanctuary, which in turn influenced cupola decorations.^[6] This indicates that the painters of this church were well aware of new trends in wall paintings despite the fact that they were far away from the main centre of art, Constantinople.

Between the windows of the tambour, eight standing prophets hold an unrolled scroll in their hands with words they have spoken about Christ’s incarnation and his return to earth. On the four pendentives bearing the central cupola the four evangelists have been depicted, each accompanied by a young winged man with bare arms as the personification of the source of inspiration.

The decorations of the smaller cupolas show three of the evangelists writing their Gospels. The fourth cupola, however, contains the picture of Djordje instead of Johannes the Evangelist. The evangelists in fact complement the iconographic program of the central cupola. As far as it is known, this is the first time that they have been painted in this way. Christ’s royal ancestors of the stem of David as mentioned by Matthew and Luke are honoured by depicting them in these cupolas, together with other righteous ones. Because of the restricted space inside these relatively small cupolas, the figures continue on the upper sides of the pillars.

On the half cupola of the apse, we find the Virgin with the Christ child on her lap, sitting on a richly decorated throne (pict. XIII 6), Maria in majesty, and surrounded by a heavenly court of two angels. Unfortunately, the scene has not been very well preserved.

Below this scene there is a long row of eleven busts of bishops, all frontally depicted, each of them holding a Gospel book in his hands.

Beneath this row there is a large, very well preserved scene of the Communion of the Apostles in which they wait for the metadosis and the metalepsis. Christ has been depicted twice standing behind a large altar table under a large ciborium (pict. XIII 7). The altar table is covered with a richly decorated red cloth. On the left, Christ takes a piece of bread from the paten and hands it to Peter, who bows deeply as he approaches to accept it. Five other apostles follow behind him. On the other side, Christ holds a rather large chalice of wine; the apostle with covered hands who comes to drink from it is probably Johannes the Evangelist. Five others follow him, some of them with covered hands. In each case Christ is assisted by two deacon angels, dressed in long white chitons with orarions hanging from their left shoulders. Two of them hold a flabella, the left flabella having a different form than the right one. The background shows a rich fantasy of architecture.

Beneath this scene another long row with busts of bishops also holding Gospel books in their hands can be seen.

On the lower part of the half-cylinder of the apse, on both sides, a row of archbishops each holding an unrolled scroll, has been painted, the so-called Great Entrance^[7]. On the left side of the wall of the apse is there a procession of, Basil the Great, Gregory of Niazanz, Nicholas of Myra and Gregory of Nyssa. (pict. XIII 8)

The Greek text of the scroll of Basil the Great reads as follows: “None of them who are bound by fleshly lusts is worthy.” Gregory’s text reads: “O Lord our God, Pantocrator, you who are the only holy one, you who receives the sacrifice of praise.”^[8] The translated text of Nicholas reads as follows: “It befits and it is fair to praise you in hymns and poems.” The scroll of Gregorius of Nyssa reads: “We thank you, Lord, God of the powers.”

Similarly on the right we see from left to right Ioannes Chrysostomos, Athanasius of Alexandria, Cyril of Alexandria wearing a bonnet, John Eleëmon or the Almsgiver and Ignatius of Antioch, surnamed Theophoros (pict. XIII 9). The words “who God bears” have been added below the indication of each name. They are followed, above the tympanon in bust form, by Peter of Alexandria holding a gospel, and full length portraits of Dionysius the Areopagite and Gregory Thaumaturgos.^[9] The scroll of Ioannes Chrysostomos contains the Greek text, reading in English: “Lord, O our Lord, who has given us the heavenly bread, the food for the whole world.”^[10] The scroll of Athanasius the Great of Alexandria contains the text: “Lord, our God, whose power is incompatible and the glory.”^[11] Cyril of Alexandria’s scroll contains a difficult text, reading about: “Pre-eminently … the holy (virgin Maria) immaculate, praised everywhere.” Johannes Eleëmon says, “You who have given us common and united prayers.”^[12]

Each of the hierarchs is dressed in a white sticharion with an epritachelion and a multi-coloured poloi on his omophorion.

Details regarding the lives of those persons not mentioned in earlier chapters follow here^[13]:

Ignatius was bishop of Antioch for forty years. He was arrested on the orders of Trajan and taken to Rome where he was thrown to the wild lions in the amphitheatre. On his way to Rome he wrote seven letters which are of great doctrinal value. His body was returned to Antioch, but as a result of a Persian invasion it was taken to Rome where he was buried in San Clemente.^[14]

Peter was archbishop of Alexandria from about 300 to 311. Legend tells us that he was put in prison where he was tortured and later put to death as a Christian by the public authority of Alexandria. Hardly any of his many writings have survived.^[15]

The saints contemplate a depiction of the Melismos, which has been painted below the small window of the apse (pict. XIII 10). Unfortunately the colours of the Melismos are somewhat faded. On the painted white altar cloth, richly adorned with precious (painted) stones stands a golden paten, studded with jewels, on which the Christ-child lies. He is covered with an aer, over which an asteriskos has been placed. On the other side the chalice can be seen. On each side of the altar table stands a deacon-angel dressed in a white chiton, a long orarion hanging from his left shoulder, embroidered with the words “AGIOS”. Each of them holds a flabella in his hand.

Inside the prothesis other bishops can be distinguished, including Clement of Ohrid on the northern wall.

On both sides of the walls of the bema there are two arches, the outer side forming the triumphal arch. The inner sides contain the wall paintings relating to the Annunciation. On the left the Archangel Gabriel dressed in imperial garments and wearing shoes blesses the Virgin with his right hand. He holds a long staff in his left hand and he has beautiful, outspread wings. On the other side Maria sitting in an armchair, her head a little bowed in the direction of the angel, listens to his message. A ray of light from heaven is beaming on her. Her hands play nervously with the knobs of the chair. Behind her there is a structure suggesting the house of Joseph in which she is living.

Below these two figures the busts of two Old Testament persons are shown. Under Gabriel we see a fine depiction of the Prophet Daniel and a portrait of Jacob the Just has been painted under that of Maria.

Daniel, with a nimbus,^[16] (pict. XIII 11) holds an unrolled scroll in his hands with the text: “A stone of the mountain was cut out without hands and it broke the golden statue.”^[17] The painters have used almost the same words of Daniel in his explanation of the dream of Nebuchadnezzar as they used in the narthex of Sveti Kliment. Here the context of the words has a different meaning, relating most probably to the Annunciation and the Immaculate Conception. In the corner on the right there is a piece of rock on which there is a tondo with Christ depicted as a young beardless man.

Jacob the Just^[18] also holds an unrolled scroll in his left hand and a rhipidion, a star-like disc in his right hand. It has pointed and rectangular beams of light on which a young beardless Christ has been portrayed. Christ holds a scroll in his left hand and makes a gesture of blessing with his other hand (pict. XIII 12). The scroll of Jacob the Just contains the words: “A star comes out of Jacob, a man shall rise out of Israel”.^[19] Jacob has been painted as an old man with long white curly hair and a beard divided into two points. He is not Jacob, the son of Abraham, but Jacob, the son of Matthan, who, according the genealogy of Christ, was the father of Joseph, the husband of Maria.^[20] Such illustrations of both men are not seen very frequently and the wall painting of Jacob is the only one known.

Below Daniel there is the outline of a poorly preserved wall painting of Maria Hodegetria, painted within a sculptured arch resting on two pillars. On the other side, below Jacob the Just, Christ has been done in the same way. He holds an open gospel in his left hand showing the words: “Come unto me, all ye that labour and are heavy laden, and I will give you rest.”^[21]

It is assumed that the stone iconostase, dividing the bema from the naos, originates from the old church. It consists of a stone wall, the parts of which are separated by columns with capitals. On the right side of the royal doors there is an icon of Maria Pelagonitissa and on the left there is an icon of Djordje Tropaiophoros, George the Trophycarrier, both of which have been painted on a stone slab.

The icon of Maria Pelagonitissa (pict. XIII 13) has the form of an Eleousa or Glykophilousa, whereby the Virgin tenderly holds her child and the child touches with His cheek His mother’s. His head almost rests on her shoulders. His face is directed towards his mother, His right hand touches her face. Such a scene is usually referred to as Pelagonitissa, a geographical name originating from the Pelagonija polje, a large valley north of Bitola where the cult of the Virgin flourished as early as the thirteenth century. An ancient miraculous icon from this region carrying the image of the Virgin with a playful Christ Child is believed to have been the model for many later popular icons.^[22]

On the other side Djordje Tropaiophoros has been frontally portrayed (pict. XIII 14). He is clad in armour, his naked sword rests on his right shoulder and he holds a lance and a shield. On his curly hair there is a crown, studded with jewels. Unfortunately the faces of both the Virgin and Djordje have faded.

At the right side of the iconostasis, on the wall forming part of the diaconicon, there is a wall painting called the Synaxis of the archangels Michael and Gabriel: they are holding between them a medallion with the image of Christ Emmanuel, the Logos incarnate (pict. XIII 15).^[23] Both archangels have beautiful wings and are dressed in imperial garments richly studded with stones and pearls. Christ has been depicted with a young childlike face, holding a scroll in one hand and making a gesture of blessing with his other hand. Angels holding a medallion with the image of Christ is an old well-known feature which can be seen in a number of churches. Usually four floating angels are shown; this scene with two standing angels is rarely found elsewhere.

Regrettably, not all wall paintings relating to the cycle of the Dodecaorton and of the miracles of Christ have survived. Some parts of the Dodecaorton can be seen in the menologion in the narthex e.g. the Hypapante (pict. XIII 16) on the pillar in the narthex. Simeon with covered hands stands waiting to receive the Christ-child from Maria. It is unusual that the Child is still completely swaddled. Behind her Joseph, holding two doves, and the Prophetess Anna are the onlookers.

Also in the narthex as a part of the menologion, a small wall painting of the Baptism of Christ can be found as above one of the arches leading to the naos (pict. XIII 17). Christ stands in the river dressed only in a sublicagulium. John the Baptist, standing on the left bank of the river has put his hand on Christ’s head. On the other side three angels wait with covered hands. In the left hand corner the personification of the river, holding a large stone bottle, looks up at Christ. Behind the angels the scene continues with John teaching a group of people.

Inside the church on the ceiling of the southern cross arm scenes of the Birth of Christ and a part of the Baptism can be seen, while at the end of the cross arm the Hypapante has been depicted. Unfortunately the southern ceiling has been seriously damaged.

Also in the narthex as a part of the menologion is the scene of the Metamorphosis (pict. XIII 18). It shows Christ in a mandorla, dressed in white standing on the top of a mountain. On the left is Elijah and on the right Moses holding the tablets in his hands. All three are covered by another large mandorla. Rays of light pour from the body of Christ. At the foot of the mountain the three disciples Peter, Jacobus and Johannes, who were accompanying Christ, are lying on the ground; only Peter has the courage to look up with outstretched hands. It is not known which saints have been painted on the right.

On the south wall of the naos a remarkable wall painting of the calling of Zacchæus can be seen. “…Zacchæus, which was the chief among the publicans, and he was rich. And he sought to see Jesus who he was; and could not for the press, because he was little of stature. And he ran before and climbed up into a sycomore tree to see him: for he was to pass that way” ^[24] Luke continues by telling that when Jesus came to the place and saw him He told him to come down, because He wanted to abide at his house. The wall painting shows Christ in a commanding attitude standing under a tree, in the top of which there is a man between the branches.

One of the miracles, depicted on the upper row of paintings on the south wall, is the healing of a man who had the dropsy.^[25] Christ in the company of three disciples stretches His hands towards a man with an enormous belly who is shown standing before Christ with two sticks under his arm-pits. Behind him some people are supporting him.

The painters of this church have made comparatively more wall paintings relating to the Passion of Christ and the period after His Resurrection. Many of them go into detail. Some of them are the best preserved wall paintings in this church. Furthermore, these illustrations of the suffering of Christ have a soteriological meaning^[26]: the suffering and death of the Son of God are the guarantee of the redemption of mankind.

The series starts with the Entry into Jerusalem, a not too well preserved wall painting on the northern cross arm. It is followed by the Last Supper, or Mysticos Deipnos, one of the best preserved wall paintings of this church, (pict. XIII 19) which can be found on the south wall of the bema. Christ, in the centre behind an oval table with bread, knives, a large bowl and chalices, has raised His right hand as if Be is saying to them: “one of you shall betray me.” He holds a scroll in His other hand. Johannes rests against His breast. Eleven other disciples, six on the left and five on the right side of Christ sit around the table talking and looking at each other. “And they began to enquire among themselves, which of them it was that should do this thing.” On the left Judas, not sitting with the others, takes bread from the table. He has been painted en face; he looks at Christ and asks: “Master, is it I?”

“He riseth from supper, and laid aside his garments; and took a towel and girded himself. After that he poured water into a bason and began to wash the disciple’s feet and to wipe them with the towel wherewith he was girded” (pict. XIII 20).^[27] The wall painting of these verses is also on the south wall of the bema. Christ stands on the right side of the scene girded with a towel. In front of Him Peter sits on a table, one of his bare legs in the water of the basin, the other foot on a footstool, both legs bare up to his knees. With his left hand he points to his head as if he is saying: not only my feet, but also my head. His sandals are beside the basin. The other disciples watch what Christ is doing; one of them kneels to undo his shoes.

The next scene in this series shows Christ sitting on a throne-like chair and talking to the disciples after having washed their feet (pict. XIII 21). He may be explaining to them the meaning of the washing of the feet.^[28] However, in the foreground Peter points to himself and so it is more likely that the painters have chosen to illustrate the point at which Christ tells Peter that he will deny Him three times.^[29] His words of farewell to them are: “…Now is the Son of man glorified, and God is glorified in him. If God be glorified in him, God shall also glorify him in himself, and shall straightway glorify him.”^[30]

An interesting though rarely illustrated scene, shows Judas^[31] before the priests (pict. XIII 22). It has been painted on the south wall to the right of the Prayer in Gethsemane. Behind a table stands a group of priests and scribes. They agree to pay him thirty pieces of silver, money that he is in the act of placing in his chiton.^[32]

The Prayer in Gethsemane is unfortunately rather damaged in the centre and at the top (pict. XIII 23). What remains shows a lonely Christ praying on the left side of a rock. Above and behind him an angel floats in the air. A few of the sleeping disciples can be seen in the lower part. The composition is similar to that of the painting at Ohrid.

The next scene is the Betrayal by Judas or Prodosia (pict. XIII 24). Christ has been shown in the centre, dressed in a blue himation, a scroll is His left hand. Judas walks towards Christ to welcome Him with a kiss to betray Him in this way.^[33] A great multitude of soldiers have been portrayed standing around them with contemporary stick weapons, lances and halberds, swords and staves. Others carry torches. On both sides of Christ two men with drawn swords above their heads are ready to strike Him. The man on the left is moving so quickly that his himation is floating in the air. Grimacing he swings his sword two handed above his head. On the right one of the priests threatens Christ with a large club. He holds a burning bowl in his other hand as if he is intending to throw it at Christ. In the right hand corner Peter has smitten Malchus, the servant of the high priest, to the ground and cuts off the ear.^[34] On the left the disciples are anxiously grouped, looking at what is happening. On the far right they can be seen disappearing behind a rock, leaving Christ with his captors. In this scene the preference of the painters for large scenes with many people is again clearly demonstrated.

The scenes of the sufferings of Christ continue with two small well-preserved paintings on the west wall. In the first, Christ, his hands tied, stands before Annas, the high priest (pict. XIII 25, left).^[35] The high priest is sitting on a chair surrounded by other priests and people. One of them points at Christ accusing him. After having questioned Him Annas sends Him to Caiaphas. The next scene shows Christ before Caiaphas, who in turn is surrounded by scribes and the elders.^[36] They heard false witnesses and questioned Jesus whether He was Christ, the son of God. The answer of Jesus was: “Thou hast said”. Then the high priest tore His clothes, charging Him with blasphemy. The wall painting shows Christ standing on the left and in front of Him with one hand raised is most probably one of the witnesses. Behind this figure Caiaphas, with the scribes and the elders, is seen tearing his clothes (pict. XIII 25, right).

The evangelist mentions that Peter followed Christ at a distance as far as the palace of the high priest. There he went in and sat with the servants to see the end. A number of separate scenes on one of the pillars show the denial of Peter. The first shows a house, in the open door of which a damsel is speaking to Peter, saying to him that he also was with Jesus. This he denies, with his hands raised up as if innocent (pict. XIII 26). In the next scene a servant accuses him. Peter has again raised his hands, as if saying that he did not know Him (pict. XIII 27). On the lower part of the same painting Peter is standing near the fire, warming his hands. On the other side of the fire three men accuse him of being one of Christ’s followers, which he also denies. The last scene shows Peter resting his head on his hands, full of sorrow while above him a rooster is crowing (pict. XIII 28).

The series of paintings of the Passion continues with a small scene of Christ before Herod on one of the pillars.^[37]. The latter sits on a throne with a large crown on his head and surrounded by his court. Others, probably scribes, are vehemently accusing Christ before Herod. Herod points at Christ, who stands on the left of the scene, as if in the act of questioning him.

He is then sent to Pilate. “When the morning was come all the chief priests and elders of the people took council against Jesus to put him to death: And when they had bound him, they led him: away, and delivered him to Pontius Pilate the governor.”^[38] And Pilate, when he had called together the chief priests and the rulers and the people, said unto them: “…ye have brought this man unto me, as one that perverted the people: and, behold, I, having examined him before you, have found no fault in this man touching those things whereof ye accuse him.”^[39] The scene depicted shows Pilate attended by two soldiers in armour behind his throne and the priests and elders on the left. Christ stands on the far left. To the right of Pilate a servant holds a basin with water in which Pilate is washing his hands, while saying to them that he is innocent of the blood of a just person (pict. XIII 29).

A small scene on the west wall depicts how Pilate delivers Christ to the Jews (pict. XIII 30). The governor is sitting upon his throne surrounded by soldiers with lances and enormous shields. The priests and Jews stand on the right and on the far right Christ stands with his hands bound crosswise.

“Then the soldiers of the governor took Jesus into the common hall, and gathered unto him the whole band of soldiers. And they stripped him, and put on him a scarlet robe. And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand: and they bowed the knee before him, and mocked him, saying, Hail, King of the Jews.” (pict. XIII 31) ^[40]. In this beautiful fresco on the north wall Christ stands in the centre wearing a long scarlet robe, a crown of thorns on his head and a long reed as a sceptre in his right hand. A crowd stands around him, the priests and scribes and the people, some of them with musical instruments such as horns, a drum, a flute and cymbals, others mockingly dance or kneel in front of him.

“And after that they had mocked him, they took the robe off from him, and put his own raiment on him, and led him away to crucify him. And as they came out, they found a man of Cyrene, Simon by name; him they compelled to bear his cross.”^[41] The wall painting, also on the north wall, shows an elderly man who is trying to balance the cross on his shoulders. He is followed by a soldier who leads a bound Christ; behind both follows a crowd of priests and soldiers with lances. In the left corner of the mountainous landscape the painters have shown Maria and Johannes who silently follow the crowd. (pict. XIII 32)

The series continues on the north wall with the arrival at Golgotha. Some people are preparing the cross which is already standing in place. One man hammers wedges between the foot of the cross and the stony ground; another holds a basket in his hand containing the nails. It looks as if he is giving instructions to the man who is hammering. Another man stands on the suppedaneum and tries to keep himself in balance by putting one arm over the patibulum, or transverse beam of the cross. The most remarkable part of the scene, however, is the fact that Christ, only dressed in a sublicagulum, himself mounts the ladder standing against the cross, the so-called helkemenos (pict. XIII 33-35)^[42]. As far as can be traced the first such illustration in an eastern church was made by the same painters in Sveti Kliment, which was also one of the churches belonging to the state ruled by Milutin. Depictions like this arose in the western countries, particularly in Italy for the first time, in the thirteenth century, but not on a large scale. It is an open question whether the painters of this church were aware of this relatively unknown development in western art, or whether they invented it themselves. Milutin and his court did have contacts with the west, although it may be assumed that these were primarily of a political nature and did not readily include the exchange of (religious) art.

A soldier behind Christ pushes Him by the shoulder, while on the left other soldiers stand waiting. On the right a group of priests, scribes and elders look on. One of them points to the inscription at the top of the cross, which Pilate had written in Greek, Latin and Hebrew, “King of the Jews”.^[43] On the left in the far distance Maria and Johannes stand behind a rock.

A large painting on the north wall shows the Crucifixion of Christ, in which the details mentioned by the evangelists and in the Gospel of Nicodemus have been included (pict. XIII 36-37).^[44] The now familiar depictions of the Crucifixion were uncommon in the early days of Christianity. As previously stated, Christians used examples of what they saw in their surroundings and adopted them for their own use. A shameful death by crucifixion was understandably not a popular item to adorn the walls of the houses of the wealthy Romans with, even if they were Christians. The series of paintings depicting Christ’s crucifixion began only in the last quarter of the sixth century.^[45] At the beginning of the Middle Ages, image-makers began to use the subject of the Crucifixion as an actual representation of the death of Jesus. During this period, images of the Crucifixion were more to demonstrate the glory of Christ, his victory over death (that is, as a symbol of the Resurrection) and the universality of salvation through the Cross.^[46] One of the oldest illustrations can be found on the carved wooden doors of the Santa Sabina in Rome which were made in the year 432. There is a remarkable depiction of Christ and the two malefactors, one at each side, without crosses, but with only outstretched arms. Other very early renderings are miniatures on the cover of a Palestinian reliquary from the end of the sixth century,^[47] and in the Rabula-codex from the year 586.^[48] They are among the first images to show a relatively small number of figures around the cross, including a soldier with the lance and another with the sponge. It may be wondered whether the latter two images were made under the influence of the Gospel of Nicodemus. The general consensus seems to be that this Gospel was written in the fifth or sixth century.^[49] Even though in early images, Christ and the two malefactors are shown, it became common to show only Christ with Maria and Johannes standing at either side of the cross as the only persons present. The darkened sun and moon above the cross were usually included. Over the centuries the number of figures increases.

The crucifixion in this church shows a large number of figures. In the centre hangs the body of Christ. A soldier, depicted in full armour with a large shield and a sword at his side, is piercing Christ’s side with his spear^[50]. Later legends gave him the name Longinus. On the other side another soldier, who was called Stephaton, dips a sponge into a bowl of vinegar to put it on a reed to bring it to the mouth of Christ. To the left and right of the cross of Christ, the two other malefactors, who were crucified with him, have been depicted. History has given them the names Dysmas and Gestas. Their names are mentioned on the wall.^[51] The one on the left, Dysmas, has been painted with a nimbus. He was the man who rebuked the other for his harsh words, remarking that “this man has done nothing amiss.” He then asked Christ to remember him when He was in paradise. Their eyes are open and they stand upright to indicate that they are still alive. At the right side of the cross a distraught Maria is supported by the women behind her, while Johannes holds her by her arm. Behind Johannes the centurion has been depicted with a nimbus in recognition of his belief that Christ was a righteous man. In the left hand corner three soldiers are busy casting lots for the coat of Christ. Behind Longinus some priests have been painted. One of them points to Pilate’s inscription at the top of the cross. On the far left and right of this scene priests, scribes and the elders of the people have been included. In the background a long red wall symbolises Jerusalem. In the air above the cross two small angels are floating.

An interesting scene on the north wall shows Joseph of Arimathea asking Pilate for the body of Christ (pict. XIII 38).^[52] He stands humbly before Pilate who sits on a throne-like chair. On the right a soldier in armour stands, holding a shield and a large sword in front of him. Pilate’s wife stands behind him. Pilate makes a gesture with his right hand giving Joseph his permission. After Christ’s death the centurion reported the events to the governor. When Pilate and his wife heard what had happened, they were deeply grieved, and they neither ate nor drank on that day.^[53]

The next scene on the north wall is a fine presentation of the Deposition from the cross (pict. XIII 39). Joseph of Arimathea stands on a ladder and takes down the body of Christ. Nicodemus removes the nails from the feet. Maria, standing on a suppedion, embraces the face of her son. Johannes holds one of Christ’s hands to his face. Behind Maria, a woman - most probably Maria of Magdala - holds Christ’s other hand to her face. Weeping angels float in the air, and using the hem of their himation to wipe their eyes. On both sides of the scene a number of tearful women are standing.

The adjacent scene (pict. XIII 40) shows two women looking at Johannes and Joseph of Arimathea as they carefully carry the wrapped body of Christ to a sarcophagus that has been placed in an open rock-hewn tomb; Nicodemus waits in the opening of the tomb to assist both men. Two angels are the other onlookers.

The series of paintings is continued on the south wall of the bema with the Resurrection of Christ. The wall painting contains a number of different versions of the related facts.^[54] In the centre, it shows a sarcophagus containing only the sindona, the linen clothes in which Christ was buried (pict. XIII 41-42). Two white shining angels with large wings sit behind the sarcophagus. One of the angels has turned towards two women who are approaching, supporting each other.^[55] Behind both, separated by some trees, Christ and one woman have been depicted. In a humble position she begs Him to tell her where the gardener has laid him.^[56] When Jesus had said her name to her, “…she said unto Him: Rabboni; which is to say, Master. Jesus said unto her: Touch me not (noli mi tangere) for I am not yet ascended to my Father:…”.

On the left Christ stands in front of three women, two of whom are kneeling on the ground while the third stretches out her open hands towards Him (pict. XIII 42).^[57] A small tree separates Christ from the women. He makes a gesture with His right hand as though speaking to them. Maria of Magdala has been shown in each of the three scenes wearing a violet dress.

A number of soldiers with helmets and cuirasses have been depicted hidden behind their shields, some of them asleep on the ground.

After His resurrection Christ showed Himself to His disciples and others. A well-known story, illustrated on the south wall of the naos, is the meeting on the road to Emmaus, where Christ joined two who were walking to Emmaus and talking together of all things that had happened.^[58] It was evening when they reached Emmaus and they persuaded Him to stay with them. During the meal Christ broke the bread; “their eyes were opened” and they knew Him. The small wall painting shows Christ sitting behind a table breaking bread. The two men, Cleopas and Luke, sit on either side of the table and with their hands make emphatic gestures. At that point Christ vanished and both men returned to Jerusalem to report this event to the eleven who were gathered together. A wall painting on the south wall shows the men reporting to Peter and the gathered apostles.

On another occasion the disciples, with the exception of Thomas, were gathered together in a house^[59] and Christ appeared to them even though the doors were closed. A wall painting on the north wall of the bema depicts this appearance. When told about it by the others, Thomas did not believe it, and said: “Except I shall see in his hands the print of the nails and thrust my hand into his side, I will not believe.” Eight days later when the disciples were together again, the doors being shut, Christ came again and said to Thomas that he should see the print in His hands and side. The scene shows Christ standing before a closed door, His right arm raised (pict. XIII 43, left side). Thomas puts his hand to Christ’s side. The other disciples stand on either side of the door.

The same wall painting continues without interruption, showing Christ together with Peter and the others following from behind a mountain.^[60] On the right side of the same wall painting, Christ stands on a flat rock speaking to them (pict. XIII 43, middle and right side).

Another appearance took place at the Lake of Tiberius.^[61] The scene on the north wall shows the disciples walking in a row carrying a fishing net on their shoulders (pict. XIII 44). Peter in front looks back a little while talking with the others. They went out fishing, but caught nothing. In the morning Jesus, unrecognised by the disciples, stood on the shore and asked them whether they had anything to eat. When they said no He told them to cast the net on the other side of the boat. Johannes remarked that it was the Lord and Peter hearing that jumped into the water to swim towards him. The next wall painting shows Peter in the water and Christ waiting on the shore (pict. XIII 45). A small plate with fish and bread has been painted at Christ’s feet.

The Koimesis has been depicted in a very large wall painting covering the whole of the west wall above the entrance door (pict. XIII 46). Like other wall paintings by the same painters this one also contains a large number of figures and is in fact a combination of the traditional Koimesis and a funeral scene. Maria lies on her deathbed behind which Christ in a mandorla surrounded by a group of angels holds on His right arm the swaddled soul of His mother sitting with crossed arms. Two angels on each side of Christ stand ready to receive the soul in their covered hands. At the top two angels hold the doors of heaven wide open and a crowd of angels are ready to receive the Virgin, who can be seen sitting on a double blue coloured rainbow surrounded by a mandorla. She is lifted up by two angels on her way to heaven and surrounded by a large number of angels. From all sides, the apostles each in a cloud and guided by an angel come to the place where the Virgin died. Thomas, delayed on his journey from far-away India, meets the Virgin on her way to heaven and is given her girdle. This incident has also been depicted here.^[62] Remarkably eight prophets are shown each pointing to the Virgin in mandorla with one hand and holding in the other an unrolled scroll with an Old Testament pre-figuration of the Virgin. These texts glorify the Virgin as the Theotokos, the Mother of God, and honour the Immaculate Conception and the incarnation of Christ, in the context of the death of the Virgin. Each of the prophets has been depicted together with a symbol. On the left (pict. XIII 47), we see the Prophet Moses and in front of him the burning bush with the Virgin inside it. Behind him stands Ezekiel with a closed gate as a symbol. Above him is the Prophet Gideon with a fleece on which is painted the Virgin. In front of that Isaiah has been depicted with a large spoon with a piece of charcoal. On the right the prophet-kings David and Solomon each wear a crown and hold an ark and a couch respectively. Above Solomon the soothsayer Balaam wears a white veil. His symbol is a sun with twelve points and the Virgin is in the centre of it. In front of him the Prophet Daniel stands with a rock or mountain as a symbol. Here the painters have used the same symbols, Moses in the burning bush and Isaiah with a spoon of burning coal, as they employed in the narthex of Sveti Kliment.

The meaning of these symbols is as follows:^[63]

Moses with the burning bush: “I have called thee a bush, virgin Mother of God, for I beheld a strange mystery in a bush.” (Ex. 3:3)

Gideon holds a woollen fleece: “I foretold thee as a fleece, O pure Virgin, for I saw the miracle of thy offspring in a fleece.” (Richt. 6:36-40)

David holds an ark: “Looking on the beauty of the temple, I foretold thee, as a sacred ark, O young Virgin.”

Solomon holds a couch: “I foretold thee as a holy couch, O young Virgin, proclaiming the miracle.” (1 Kon. 1:48)

Isaiah holds a spoon: “I foretold thee early as a spoon, containing charcoal, O pure virgin, and the throne of a king.” (Jes. 6:6-7)

Ezekiel holds a gate: “I beheld thee, closed gate of God, through which came only the God of all.” (Ezech. 44:2-3)

Daniel holds a mountain: “Pure virgin-mother, I foretold thee, as a spiritual mountain, from which a stone was cut.” (Dan. 2:45)

The soothsayer Balaam: “There shall come a star out of Jacob and a man shall rise out of Israel and shall smite the leaders of Moab.” (Num. 24:17)

Jephonias walks beside the bier while on the left Archangel Michael sheathes the sword with which he has cut off the hands of the unbelieving Jew.^[64] The hands hang on the front of the bier. As previously mentioned, it is both the depiction of the Assumption of the Virgin as well as her funeral. Four apostles carry the bier to the funeral place on the right, where the sarcophagus has been prepared. Johannes the Evangelist has put his shoulder on the side where the head of the Virgin rests. In front the apostles lead the way with Peter holding the censer. Each of them is dressed in a mono-coloured himation over a different coloured chiton. One in the front holds his himation towards his face to wipe the tears from his eyes. The procession is followed by four angels and a large number of women. Three holy bishops, Dionysius the Areopagite, Hierotheus and Tomothy^[65] are behind the apostles in front of the bier.

A Maria-cycle, a series of wall paintings relating to the life of the Virgin, can be seen inside the prothesis on the fourth and fifth zones beginning on the fifth zone with two Annunciations to Anna and to Joachim, respectively.^[66] These are followed by the refusal of the offerings of Joachim (because he had begotten no offspring in Israel), and a scene in which Joachim and Anna return home with the rejected offerings. This is followed by a partly preserved scene depicting the Birth of Maria with the child lying in her cradle and a servant standing close by. The lower zone shows Joachim and Anna sitting on a bench with the little Maria between them and both are kissing her (pict. XIII 48). The presentation of the child in the temple shows three priests standing behind a round table-like structure with the parents standing on the left. Joachim holds Maria in his arms and presents her to the priests (pict. XIII 49). The next scene shows the prayer of the Priest Zacharias before the rods of the men of Israel (pict. XIII 50). On the right behind the rods Maria can be seen in the temple. After the prayer of Zacharias, the rod of Joseph began to flower and consequently Maria was entrusted to Joseph. The scene shows Zacharias in his priestly garments together with the Virgin handing over his flowering staff to Joseph (pict. XIII 51). The following scene depicting the Annunciation to Maria at the well is followed by a scene showing an angry Joseph who does not believe in the innocence of Maria. The story continues that they had to submit to divine judgement by drinking the water of the conviction of the Lord in order to make their sins manifest in the eyes of the priests. The wall painting shows the priest standing under a ciborium, holding a stone bottle in his hands from which Maria is drinking. Behind her, four women look on.

The diaconicon, a small room not easily accessible to visitors, contains a series of wall paintings dedicated to Nicholas. One of these shows his birth and the next how the young saint is taken to school by his mother.^[67] There are also scenes relating to his ordination as deacon, priest and bishop, respectively, but some are rather damaged. This is also the case with the painting of the well-known legend of the three maidens. In another well-preserved scene he saves from execution three innocent people who had been convicted by an unjust judge (pict. XIII 52). Three bowed figures, their hands bound in front of them, their eyes blindfolded, stand before a man who has raised a long sword to decapitate them. The saint is shown grasping the end of the sword with his right hand. In his left hand he holds a richly decorated gospel book. Another scene shows the saint cutting down a huge cypress tree that was worshipped by the cult of Diana near the village of Plakoma (pict. XIII 53). In this tree there lived devils who did much harm to the villagers’ land. When begged for help by the people, the saint prayed to God for strength and cut down the tree. When sailing a tempest threatened the ship. This was caused by the devils who sought for revenge by threatening a ship with a tempest; they can be seen sitting on the yardarm of the ship. After the saint’s prayer the devils disappeared, the wind fell and the sea calmed. In the same small room the saint’s appearance in the dreams of Emperor Constantine and of his general Ablabius has also been depicted, but there was evidently not enough space to depict the story of the three unjustly convicted generals.

There are many churches dedicated to the soldier Djordje, George.^[68] Not all of them, however, contain such an extensive series of wall paintings relating to the life of the saint as does this church. The earliest texts describing the life of the saint are in Greek.^[69] They narrate the terrible tortures the saint suffered under the Persian King Dadianos and the miraculous way in which he survived them.^[70] Three times he was put to death, but each time he revived. Although he was a saint of whom little is known with historical certainty, he is considered to be a megalomartyr. He was at first venerated in Lydia in Palestine where according to the earliest information from the sixth century, his grave is probably located. From the various writings we can piece together that he was born in Cappadocia of noble Christian parents. After the death of his father Geronte he accompanied his mother (legend has given her the name of Polychronia) to her country of origin, Palestine, where she, as the legend tells us, owned a piece of land. Djordje became an officer in the army, serving either under the Persian King Dadianos, or more likely under the Roman Emperor Diocletian. Diocletian was notorious for his persecutions of Christians. When the persecutions began, the legend tells, Djordje resigned his commission in the Roman army rather than participate in the pagan rituals expected of the soldiers. He personally complained to the emperor about the harshness of his decrees. Alexandria, the wife of the emperor was so impressed at the saint’s courage that she too became a Christian. Another legend tells that Djordje appeared in the senate, and attacked Diocletian and Magnentios. Because he refused to offer to the pagan gods, he was condemned to suffer horrible tortures. His cult was initially spread by pilgrims visiting the holy places in Palestine and some centuries later by the Crusaders to the west. Already in an early period in the East, and in the West after the late eleventh century a number of legends arose regarding his personality. One of the best known legends was of his fight with the dragon, the drakontoktonia, a motif that also can be found in other old saint stories.^[71] This legend appears in literature from about the twelfth or thirteenth century and is not mentioned in earlier well-known accounts of his miracles. It reveals that a terrible dragon had ravaged all the country around the city of Lassia in Libya, making its lair in a marshy swamp. The animal’s breath caused pestilence when it approached the town. Another story reveals that the dragon was worshipped as a god by the local people who were idol worshippers, though this story is not very reliable. To keep the dragon away from the town the locals fed it two sheep every day to placate it. The stories vary at this point. Some say that one day there were no more sheep, others that the dragon remained unsatisfied. In any case it was decided that a citizen should be sacrificed and lots were cast to determine the victim. The lot fell on the little daughter of the king and she was led to the marsh. It happened that Djordje was riding by that day and asked the girl what she was doing there. She told him to go away or else he too would be eaten, but the brave knight ignored the girl’s request and stayed. When the dragon appeared, Djordje made the sign of the cross, attacked the animal and transfixed it with his lance. He then asked the girl for her belt, and pulled it tight around the dragon’s neck. Suddenly the dragon was as tame as a lamb and the princess led it back to the town. The saint assured the king and the people, that there was nothing to fear, and asked them to believe in God and be baptised. Then he cut off the head of the dragon, and continued on his travels.

The wall paintings in this church will be discussed together with the relevant story. They have been painted without interrupting lines as a continuous story on the south and north walls, as well as one of the pillars.

The first wall painting relating to the life of Djordje has been painted on the wall south of the iconostase. It shows the saint standing in front of Emperor Diocletian, (pict. XIII 54) who is seated on a throne, holding a long stick in his right hand. He is surrounded by his staff and soldiers. One of them holds a long spear in his hand. The saint stands on the right before the emperor with both hands raised, as though addressing the emperor. He is objecting to the persecutions of the Christians. The emperor has raised his left hand, most probably to convict the saint. The architectural background suggests the palace where the discussion took place. To the right of the same wall painting a soldier is shown stabbing the saint with his spear.

On the south wall the sequence of events from the life of the saint has been painted in a continuous series. It starts with a painting of the wheel torture, which is somewhat damaged. The naked saint lies bound on a large wheel with his head to the left looking at the onlookers (pict. XIII 55). Two soldiers execute the torture by pulling on ropes. The saint’s body will be torn by sharp knives placed under the wheel. From under a canopy in the roof two crowned heads – Emperor Diocletian and his wife Alexandra - watch the torture. The adjacent scene shows the saint together with the angel who saved him from the wheel and who is encouraging him (pict. XIII 56). The scene is followed by a second meeting between Djordje and Emperor Diocletian. Usually Djordje wears a dark chiton under a white himation, but here he is shown wearing a purple mantle. To the right of the same wall painting a soldier is shown massacring Christians by beheading them. A number of heads lie on the ground.

The next scene relates to the martyrdom in the lime pit (pict. XIII 57). The saint, standing up to his waist in the lime pit, holds his hands open to heaven. The white lime is thrown on him by two men with spades, one on either side. The scene has been rendered in a mountainous landscape and from behind a rock a group of people, among them Alexandria, the emperor’s wife, observes the suffering of the saint.

This is followed by another episode in the sufferings of the saint, in which a servant forces him to drink a cup of poison (pict. XIII 58). The saint looks away. The importance of this scene at Staro Nagoričane is that there is no earlier representation of it in any other church.

The next scene is the so-called nail torture. The saint is held prone by two men (pict. XIII 59, left side). Another holds his left leg while on the right a fourth man, sitting on his heels, is busy hammering a third large nail through the foot of the saint. In the background a group of people look on in astonishment at what is happening. One of them holds his hands as if warding off something. The last scene on the south wall is the flagellation of the saint. The saint lies face down on a large flat stone, two soldiers hold him by his arms and feet (pict. XIII 59, right side). Two other soldiers are actively beating his back with a bull whip. From a window the emperor and two men watch the saint’s torture.

The confrontation between Djordje and the magician, another scene not depicted before, is said to be painted on the west wall, though I have not been able to locate it.

The next picture, consisting of two scenes painted on one of the pillars, relates to the resurrection of a dead man (pict. XIII 60). In the first scene an elderly man, surrounded by a group of people, informs the saint that one of their friends has died and begs him to resurrect the deceased. The old man has raised his hands in a gesture of speaking. The saint opposite him has also raised his hands; with his right hand he blesses, but with his other hand he makes a more defensive gesture as if asking how. The second scene shows the saint standing in an orante attitude before an open sarcophagus. His head is raised to heaven as he prays (pict. XIII 61). In front of him a figure dressed in linen bands stands in an open sarcophagus, his hands across his chest in a somewhat humble position. The same group of people stands behind the saint watching the miracle, one of them has raised his hands in surprise.

The next scene, also depicted on one of the pillars, is of the stone martyrdom. Djordje is seen half lying half sitting in front of a semi-circular opening of the prison in which he was put. Two men are laying a heavy stone on the saint (pict. XIII 62). Legend tells that when he refused to renounce his religion, Diocletian ordered to torture him this way. Djordje thanked God for giving him this opportunity to demonstrate the firmness of his faith.

This scene is followed by another of the tortures he had to undergo. The saint stands bound hands and feet to a column, only wearing a loin-cloth. His hands are bound above his head (pict. XIII 62). Two men on either side of him are busy scraping the flesh from his bones using a kind of fork with three prongs.

The series continues on the north wall. The first scene there shows the resurrection of an ox (pict. XIII 63, left). This poorly preserved part of the wall painting shows the saint with two oxen. The one in front is trying to get up. Behind the ox stands Glycerios, a farmer, whose ox had died while he was ploughing. Glycerios had asked Djordje to help him by bringing the ox back to life. The saint told him that if he were to believe in God his ox would be restored. Because of his belief Glyceros was condemned by the emperor. The wall painting on the far left has deteriorated too badly to see whether or not Glycerios has a nimbus.

The next scene is the destruction of idols (pict. XIII 63, right). As far as it is known this scene has also been depicted in this church for the first time, although later depictions are found in other churches.^[72] Diocletian had heard of the miracles Djordje was performing and he ordered him before him. Surprisingly the saint promised to offer to the pagan gods. The scene shows a round construction covered with a ciborium and four steps in front. The saint stands praying on the left while on the other side a group of people look on. When everybody had come together the saint exorcised the evil powers using the spirit of Apollo and banishing it to the abyss. At the same time all the idols were broken down. Two idols can be seen falling and the pieces of other fallen statues lie scattered on the ground.

Next to this scene is the Dragon Story, the drakontoktonia (pict. XIII 64). It shows the saint sitting on an apple-grey horse entering the closed gate of a town. He holds a long spear with a banner in his right hand and an enormous shield on his shoulder. In front of him to the left of the gate of the town stands the Libyan princess in imperial robes with a crown on her head. She holds the belt in her hands with which the dragon was bound. The vanquished dragon lies at her feet. From the walls of Lassia, the king and queen, a priest and a crowd of people look on while others look from a window.

On the same north wall a scene has been painted for the first time showing both Djordje and Alexandra standing before the emperor who sits on a throne surrounded by his court and soldiers (pict. XIII 65). Both the saint and Alexandra point one arm towards the emperor, while he gestures with his right arm towards them both. Alexandra has also been shown with a nimbus. Both are now being sentenced to death for their beliefs.

After suffering so much torture the saint was finally beheaded, according to legend, on Friday 1 April. The painting is a first depiction of this scene ands shows the saint kneeling, one hand raised in prayer, his head turned to heaven (pict. XIII 66). Behind him a soldier lunges forward with a long sword to decapitate the saint.

The funeral scene that follows is most probably also shown here for the first time (pict. XIII 66, right). The body of the saint dressed in linen bands, is carefully laid into a sarcophagus; one man holds his legs, another man his body while a third one carefully lays down his head. Three men and three women stand behind the sarcophagus and look in dismay at the funeral. The building shown behind them is a temple-like structure in cross-form.

The very last scene relating to the life of the saint shows the beheading of his fellow Christians (pict. XIII 67).

The many saints depicted on the lower row in the naos and narthex, have sometimes been painted as a group even though they are unrelated.^[73] Most of them stand face on and in full length. Not all the paintings are in good condition, and those on the north wall in particular have suffered seriously in the course of time. The south wall starts with the Five martyrs of Sebaste in Armenia (pict. XIII 68), Eustratius, Auxentius, Eugenius, Mardarius and Orestes,^[74] soldiers who were decapitated during the persecutions under Diocletian. They are not dressed as soldiers, but in the imperial robes of martyrs with chiton and chlamys. One of them, Mardarius, wears a red hat like a crown. The first holds a scroll in his hands, while the other four hold a cross in their right hands or in both hands.

The next group depicted on the wall is a group of six warrior saints.^[75] They are from left to right Procopius, Nikita, Andronicus, Theodore Stratelates, Demetrius and Nestor (pict. XIII. 69-71). They stand full length in armour with their swords, spears and shields. Of the figures of Andronicus and Theodore Stratelates only the busts remain after the later insertion of the south entrance.

They are followed by Cosmas, Damian and Panteleimon, the three well-known Anargyroi, physicians who did their healing work without payment among the poor (pict. XIII 72). Each of them holds a scalpel in his right hand and Panteleimon holds a medicine chest in his left.

On the last part of the south wall, six individual anchorites have been depicted, Theodosius the Abbot, also named the Cenobiarch, Antony the Great, Euthymius, Arsenius, Paul the Theban and a saint who is not identified (pict. XIII 73).

Theodosius has a short grey beard and wears a cowl over his head; Antony, Euthymius and Arsenius have been shown as old men, Antony with a short beard and hair, Euthymius with a bald head and a long grey beard, and Arsenius with grey hair and beard. Paul of Thebe has a very long beard and a knee-length brown chiton made of palm-leaves and a bonnet on his head. He was the son of a rich family living in the area of Thebais. During the persecutions under Emperor Decius he fled into the desert where he lived alone for sixty years in a cave. Legend tells that he was found by Antonius when he was 113 years old. He is honoured as the first hermit.

The next group of five saints on the west wall are in fact a continuation of the former group of saints of poverty, although the painters have also included two local saints. The first in the corner is the local saint Prochor Pčinja. Next to him stands another local saint, Joachim Osogovo (pict. XIII 74).^[76] Both are dressed in monk’s habits with hoods over their heads. Prochor’s face is disturbed, and his hands are raised in an orante attitude. Joachim Osogovo holds a small cross in his right hand and with his other hand he makes a gesture of invitation. Prochor lived as a hermit in a grove of trees near the Pčinja River in the eleventh century.^[77] It was believed that myrrh which flowed from his remains could miraculously heal sick people.

Joachim lived in a cave as a hermit in the Osogovo Mountains also in the eleventh century, near a place called Sarandapor. Over the centuries he is reputed to have performed many miracles for those who entreated him with their prayers. The Osogovo Monastery, which is dedicated to this saint, lies somewhat hidden in a most picturesque setting on the slopes of the Osogovo Mountains close to the Bulgarian border.

The next three saints of poverty depicted on the west wall are Ephraim the Syrian, Stephen the Younger and Theodore Studites, respectively (pict. XIII 75). Ephraim^[78] is dressed in a brown monk’s habit with a grey-blue hood on his head. He holds a scroll in both hands. He is beardless.^[79] Surnamed “the Deacon”, Ephraim lived from about 306-373 and came from Mesopotamia where he was most probably the head of a catechetical school in Nisibis. He later became a monk and a deacon near Edessa. He wrote hymns in his Syrian language, which were a source of inspiration and support to his fellow Syrians.

Next to him stands Stephan the Younger.^[80] He became a monk and later abbot of the famous Auxentius Monastery in Bithynia. Because he firmly opposed Iconoclasm, he was arrested and in 762 banished to Constantinople, where he was put to death without a trial in 764. He is usually depicted holding an icon in his hand.

Theodore Studites^[81] also strongly opposed Iconoclasm. He was a monk at the Monastery of Studion in Constantinople, where he became abbot in 794. He wrote many articles about image veneration. After he was banished to Thessalonica the monastery was closed. He returned, however, some years later when the community was re-established. Under his rule the monastery developed into a centre from which a monastic revival spread and reached Mount Athos and somewhat later Russia and other countries. His uncompromising orthodoxy is a hallmark of a truly monastic spirit. The painting shows him with a grey beard and an almost bald head, and dressed in richly embroidered and adorned clothes.

The series continues on the west wall to the left of the entrance where Pachomius has been shown together with an angel (pict. XIII. 76-77)^[82]. The latter has a typical androgynous face. Of all the saints on the walls of this church they are the best preserved wall paintings. Pachomius, who is considered to be one of the Fathers of the Egyptian monastic order, lived from about 290-346. He was born as the son of pagan parents in the Upper Thebaid near Esneh. At the age of twenty he was forced to serve in the Thebian army. When the troops reached Thebes the unwilling soldiers were locked up and taken down to the Nile as virtual prisoners under terrible conditions. He was struck by the kindness of the Christians of Esneh towards the soldiers, and after the army was disbanded, he enquired about their faith. He converted to Christianity and was baptised in 314, after which he became a disciple of the anchorite Palaemon. They lived very austerely and in total dedication to God in the desert near Tabernissi on the banks of the Nile, north of Thebes. One day in 318 while he was in the desert he saw in a vision an angel, who instructed him to start a monastery there and who gave him directions for a monastic religious life. The wall painting shows Pachomius, depicted as an old man with grey hair and beard, his hands crossed on his chest. He has turned a little towards the angel on his right, who talks to him. The angel with beautifully outspread wings is dressed in a monk’s habit, tunic and hood. The angel holds a scroll with the words: “The angel of the Lord announcing to the holy Pachomius the monk’s habit.” He points to himself. Palaemon helped Pachomius to construct the first monk’s cells on the bank of the Nile at Tabennisi, but then returned to solitude. In a relatively short time hundreds of monks joined Pachomius and many others followed. He was their abbott and governed them with military discipline. The desire to emulate the life of Pachomius attracted so many people that he was obliged to build other monasteries. The total number is not certain, but at least ten other monasteries were erected, including two convents for women on the opposite bank of the Nile. The total number of his followers may have been up to nine thousand. By the time of his death there were at least three thousand monks and nuns living in the monasteries and convents.

Pachomius was the first monk to organise hermits into groups on principles of community living. He wrote the first Rules which have long been a great influence on later monastic traditions. He was the founder of the coenobitical monastic community, that is a community with the same rules for all, a common room for prayer, the same clothing, food and spiritual teachings. Life was severe and hard, but less difficult than for the anchorites, who each had to work to earn money for the poor and their own living. Their tasks were assigned according to their strength; silence was strictly observed.

The following three portraits on the west wall are of the poet saints, Joseph the Hymnographer, Cosmas Melodus of Jerusalem and Johannes Damascene (pict. XIII 78). Joseph the Hymnographer^[83] has been painted wearing a brown hood and a greenish phelonion over a white chiton. He has a pointed grey beard. He holds a scroll in his left hand. He became a monk in Thessalonica in 831, but some years later he went to Constantinople. He was sent to Rome on a mission, but was taken prisoner by pirates. In 850 he returned to Constantinople where he founded a monastery near the grave of Ioannes Chrysostomos. There he wrote a large number of hymns. He died in 886.

Cosmas Melodes^[84] was born in Jerusalem in 706, and was adopted by the father of Johannes Damascene. Both he and Johannes were educated together. In 732 he entered the Monastery of Saint Sabbas near Jerusalem and in 743 he became Bishop of Majuma near Gaza. He was one of the most important hymn poets of the Orthodox Church. He has been depicted wearing a black hood and a brown phelonion over a white chiton. He holds an unrolled scroll in his hands with the words: “Most venerable of the cherubs and most praised unforgettable of the seraphs, without blemish having given birth to the word of God, you Mother of God, we praise you.”

On his right Johannes Damascene has been depicted.^[85] He wears a turban and a light brown phelonion. He lived from about 676 until 749. In 715, he became a monk in the Monastery Saint Sabbas near Jerusalem. Shortly after the Iconoclasm, he wrote an influential document in favour of the Iconodules. He became well-known as a poet of Maria hymns and was the author of the first real compendium of theology, the Fountain of Wisdom.

Where the north wall joins the west wall, the series of saints continues with the painting of Emperor Constantine and his mother Helena, who hold the cross between them.^[86] The wall paintings on this side of the church are not very well preserved. At the lowest level parts have disappeared and the sharpness of the figures has been lost.

Next to them on the right side Queen Simonida and King Milutin have been portrayed, both dressed in richly adorned imperial garments. The king holds a model of the church is his hands together with a scroll. To the right of the king stands Djordje who makes a gesture with his right hand towards the king. He is dressed in a long himation over a chiton and holds a sword to his breast with his left hand.

The paintings of saints continue although the two saints beside Djordje have not been identified. They are followed by a number of soldier saints, but this painting has deteriorated so much that the figures are hardly recognisable. The third from the right may be the warrior Saint Mercurius. On the shield of the soldier on the left the signature of the painter Michael has been found, even though it is difficult to distinguish.

Next to Mercurius stands another warrior saint, who is thought to be Menas of Egypt, although this is doubtful.^[87] Menas was said to have been an officer in the Roman army and was beheaded in 295 because of his Christian belief. Especially in Egypt, he is venerated as the saint who helps people in distress. One of the many legends about his life tells the story that after he was executed, his body was put on a camel which brought the saint back to his homeland and there, where the camel stopped, his body was buried. On that spot arose the Town of Menas, Karm Abum, which attracted many pilgrims. Very popular among the pilgrims were the so-called Menas ampuls, which were usually made of lead.

The line of saints continues with a group of six saints, five of which belong together (pict. XIII 79). They are from left to right Anempodistus, Elpidephorus, Aphthonius, Pegasius and Acyndinus.^[88] They were Persian Christians who were martyred during the reign of Sapor II in about 350. Acyndinus, Pegasius and Anempodistus were miraculously freed from the prison, but arrested again and bound in sacks. They were thrown into the sea, but did not drown. Thereafter they were burnt, together with Sapor’s Christian mother. The miracle of their liberation from prison made such an impression on the warder Aphthonius, that he converted to Christianity. He and Senator Elpidephorus, who defended the saints, were both beheaded. The wall painting is too faded to be able to distinguish how they are dressed, or what they hold in their hands. The last of the five wears imperial dress.^[89]

The last saint on the north wall is Sava of Serbia.^[90] He is one of the most honoured saints of the Serbian Church. He was one of the ancestors of King Milutin and was the youngest son of Stephan Nemanja, the great Župan who founded the Nemanjiden Dynasty. Sava was the first archbishop of the autocephalus Serbian Orthodox Church.

The columns bearing the central cupola also carry depictions of a number of saints. When entering the church one sees Christ the Saviour on the lowest row of the south column (pict. XIII 80). He makes a gesture of blessing with his right hand, and in his other hand he holds an open book with the text: “…I am the light of the world: he that followeth me shall not walk in darkness, but shall have the light of life.”^[91] The book has two large clasps. There is much graffiti on the lower part of the painting.

On the north column there is a depiction of Maria, the Virgin Paraklesis as has been written, Maria of the Intercession (pict. XIII 81). She has been shown as a long standing figure, her head bowed in humility, her body and face turned to the right. In her right hand, which she holds before her breast, she holds a long unrolled scroll carrying the text: “Accept the prayer of your mother, have pity on what your mother asks. By earthly songs they have made me angry. Forgive them my son, they are changing, have pity for the sake of the saints. I thank you for this word.” On her right stands the Deacon Stephen.^[92]

The artists of this church have painted Djordje on the left of Christ (pict. XIII 82). He stands with a long spear in his right hand and a sword on his left shoulder.

On the other side of the south column, Mark with a gospel in his hands can be seen in the centre with Peter on the right and on the other side, James the Persian, sometimes called James Intercisus (pict. XIII 83).^[93] Peter has been depicted full length in three-quarter pose. He is dressed simply in a chiton with a brown himation. He holds a rolled scroll in his left hand. He looks towards the north column, on which Paul has been depicted.

James the Persian has been depicted as a young man with a black beard divided into two small points. On his head he wears a typical (Persian) silk hat and in his right hand he holds a martyr-cross to his chest. He is dressed in a purple cloak decorated on the shoulders with an appliqué of intermingled round forms of tree-leaves. The same can be noticed in blue on the top of his chiton. The legend about his life informs us that he was a high ranking official in the court of the Persian King Yezdegird I (399-420). Other sources state that he was an officer of high rank, but usually he is not depicted as a soldier-saint. He was a Christian, but apostatised to keep the favour of the king. Due to the admonitions of his parents he repented and returned to his Christian faith. In 421 he was martyred on the orders of King Varanes V by cutting all his limbs. Hence his surname of Intercisus, which means cut into pieces. He is considered a megalomartyrer.

The centre of the north column as one faces east, carries a depiction of Luke with Paul on the left and Bishop Hermogenes on the right (pict. XIII 84). Luke holds a gospel in his hands. He stands facing to the left. About half of the wall painting depicting Paul has been damaged. He also has been shown to the left in three-quarter pose.

Hermogenes has been portrayed as a bishop.^[94] Usually he is grouped together with Menas and Eugraphus, but they have been painted on the same column on the north (Menas) and west side (Eugraphus). Their story is unclear. It is said that Menas was sent to Alexandria to suppress a revolt, but instead of doing so, he converted the people to Christianity. The officer Hermogenes, who followed to arrest and martyr Menas did the same. He and Eugraphus were beheaded and their bodies packed in iron coffins and put in the sea. After twenty days they were found on the beach at Constantinople.

The smaller columns in the church contain a depiction of Matthew facing Luke. On the inner side, John the Baptist has been depicted. The inscriptions of the saints on the south column have been lost.

The pillars as well as on the arches between the pillars and columns, contain a large number of other individual saints, and depictions of tortures, which will not be discussed.

The narthex contains a series of paintings relating to the menologion, a calendar containing fragments of months and dates, whereby each day is represented by a saint or a special occasion. One of these pictures shows Peter in prison (pict. XIII 85).^[95] He is sitting upright but asleep in a small dungeon, his hands and feet bound with a chain. Neither the four quaternions of soldiers to guard him nor the two soldiers between whom he was sleeping have been pictured. The wall painting shows an angel behind him, waking him and telling Peter to follow him out of the gates of the prison.

Most of the other paintings in the narthex relate to the martyrdom of many male and female saints by burning, beheading, crucifixion and other terrible tortures. In contrast, scenes relating to the feasts of the church can be found when they correspond to the date of the calendar depicted on the walls.

It is hardly possible to summarise the significance of the wall paintings of this church. One obstacle is the absence of knowledge of the history of the church and of Higoumen Venijamin, who would no doubt have had a strong influence on the instructions to the painters to decorate the church in a particular way. On the other hand the painters themselves had considerable experience and apparent knowledge of developments in the Byzantine world that it is likely that some of the innovations in the church decoration came from them, although this cannot be proved. A church dedicated to a specific saint usually contains one or more scenes relating to the saint’s life. The large number of paintings in this church relating to Djordje’s life and sufferings is significant. Remarkable too is the number that has been painted in this church for the first time. Legends about him were apparently very popular, but it is unlikely that such paintings are based on new legends, however, they do demonstrate the broad knowledge of the painters.

Interesting, although not directly new, is the large series about the Passion of Christ. Some of these, e.g. the Mocking of Christ, are the most beautiful wall paintings of this church. Remarkable too is the scene of the Helkemenos, one of the earliest depictions in an orthodox church. The style of painting, begun in the Sveti Kliment Church at Ohrid, reached its highest quality here in Sveti Djordje at Staro Nagoričane. The Crucifixion of Christ with the two malefactors shows the preference of the painters for large scenes with many people. Another remarkable painting is the Koimesis, which is at the same time the portrayal of the Assumption of the Virgin and of her funeral. But most striking is the depiction of the prophets of the Old Testament with symbols in their hands who worship the Virgin on her deathbed.

The series about the early life of the Virgin is similar to those scenes already completed in the Church Sveti Kliment at Ohrid by the same painters. Rare also are the paintings about the life of Nicholas and his miracles, even though he is a popular saint.

Among the many saints depicted on the walls of the church, the most remarkable is the scene of Pachomius and the angel, a scene not found in other churches. The scene in which an angel releases Peter from prison is seldom depicted in an orthodox church and may have originated from the west.

The conclusion is that this church is one of the best preserved monuments in Macedonia with fine wall paintings produced by very skilful and knowledgeable artists at the peak of their craftsmanship.

CHAPTER XIII – LIST OF PICTURES

1	Church Sveti Djordje
2	Ibid, entrance at western side
3	Ibid, southern side
4	Inscription on the lintel
5	Christ Pantocrator
6	Virgin on a throne
7	Communion of the Apostles
8	Row of bishops of the Great Entrance
9	Ibid
10	Melismos
11	Daniel
12	Jacob the Just
13	Maria Pelagonitissa
14	Djordje Tropaiophoros
15	Synaxis archangels Michael and Gabriel
16	Hypapante
17	Baptism of Christ
18	Metamorphosis
19	Last Supper
20	Washing of the feet
21	Talking after washing the feet
22	Judas receiving money from the priests
23	Prayer in Gethsemane
24	Betrayal of Judas
25	Christ before Annas and Caiaphas
26	Denial of Peter
27	Ibid
28	Peter’s sorrow
29	Pilate washing his hands
30	Pilate delivering Christ to the Jews
31	Mocking of Christ
32	Bearing of the cross
33	Christ mounting the cross
34	Ibid, detail
35	Man hammering wedges, detail
36	Crucifixion
37	Ibid, detail Maria and Johannes
38	Joseph of Arimathea asks Pilate for the body of Christ
39	Deposition from the cross
40	Burial of Christ
41	Resurrection of Christ
42	Open grave and Christ’s appearance before three women
43	Appearances of Christ
44	Apostles carrying a fishing net
45	Appearance of Christ at lake of Tiberius
46	Koimesis
47	Ibid, detail prophets
48	Joachim and Anna fondling Maria
49	Presentation of Maria to the priests
50	Prayer of Zacharias
51	Maria entrusted to Joseph
52	Nicholas saves three innocents from the death by sword
53	Nicholas cutting down a tree
54	Djordje before the emperor
55	Djordje, wheel torture
56	Djordje with an angel; second meeting with the emperor and massacre of Christians
57	Djordje in lime pit
58	Djordje drinking poison
59	Djordje, the nail torture and flagellation
60	Djordje resurrects a dead men
61	Ibid
62	Djordje, stone martyrdom and scraping martyrdom
63	Djordje resurrects an ox and destruction of idols
64	Djordje, dragon story
65	Djordje and Alexandra before the emperor
66	Beheading of Djordje and his funeral
67	Beheading of Christians
68	Five saints from Sebaste
69	Warrior saints Procopius and Nikita
70	Warrior saints Andronicus and Theodore Stratelates
71	Warrior saints Demetrius and Nestor
72	Cosmas, Damian and Panteleimon
73	Six anchorites
74	Prochor Pčinja and Joachim Osogovo
75	Ephraim the Syrian, Stephen the Younger and Theodore Studites
76	Pachomius and an angel
77	Ibid, the angel
78	Three hymnographers
79	Five Persian saints and Sava of Serbia
80	Christ
81	Maria of the Intercession
82	Christ and Djordje
83	James the Persian, Mark and Peter
84	Paul, Luke and Bishop Hermogenes
85	Peter in prison

1. Todič, Vranislav, Staro Nagoričane, Beograd, 1993 (text in Serbian with a French summary) ↑

2. Hallesleben, Horst, Die Malerschule des Königs Milutin, Untersuchungen zum Werk einer Byzantinischen Malerwerkstatt zu Beginn des 14^e Jahrhunderts, Osteuropastudien der Hochschulen des Landes Hessen, Giessen, 1963 ↑

3. Other authors have a different opinion and consider that Sveti Nikita was the last one; Schellewald, Barbara and Theis, Lioba in RbK V, p 1184 consider Sv. Nikita as a preparation for Staro Nagoričane (als eine “Vorstufe” der Ausmalung von Staro Nagoričane). ↑

4. Tasić, Dušan, Byzantine Painting in Serbia and Macedonia, Beograd, 1967, p. XXIII ↑

5. Oto Bihalji-Merin, Our Lady of Ljeviša, man, nature and objects on the frescoes, Belgrade, 1963 ↑

6. Constantinides, vol. I, p. 95 and note nr. 19 ↑

7. See note at Nerezi ↑

8. The same text as in Kurbinovo and Nerezi ↑

9. They have been depicted in LCI 6, p. 453 ↑

10. The same text as in Kurbinovo ↑

11. ibid ↑

12. The same text could be read on the scroll of St. Nicholas in Kurbinovo ↑

13. See for a description of most of the bishops the churches Sveti Sophia at Ohrid, Sveti Panteleimon at Nerezi, or Sveti Djordje at Kurbinovo ↑

14. Kaster, G. in LCI 6, p. 575-578, s.v. Ignatius Theophorus von Antiochien; Book of Saints, p. 281 ↑

15. Kaster, K.G. in LCI 8, p. 175-176, s.v. Petrus I von Alexandrien; Book of Saints, p.452 ↑

16. Schlosser, H. in LCI 1, p. 469-473, s.v. Daniel; Zimmermanns, K. in LCI 6, p. 29-31, s.v. Daniel; Wessel, K. in RbK I, p. 1113-20, s.v. Daniel; Painter’s Manual, p. 28 with note, referring to Daniel 2:44 ↑

17. Words from Daniel 2:34-35 ↑

18. LCI 7, p. 22-23, s.v. Jakob, Patriarch ↑

19. Text partly from Numbers 24:17, words spoken by Balaam, son of Beor, a soothsayer - prophet - sorcerer ↑

20. St. Matthew 1:15 ↑

21. St. Matthew 11:28 ↑

22. Weitzman, K. et al, The Icon, London, 1990 (reprint), p.140 ↑

23. Lucchesi Palli, E. in LCI 1, p. 674-681, s.v. Erzengel, in particular C, p. 679 ↑

24. St. Luke 19:1-10 ↑

25. St. Luke 14:2-4 ↑

26. Soteriology is a branch of theology concerned with the doctrine of salvation through Christ ↑

27. St. John 13:4-11, verse 4 and 5 ↑

28. St. John 13:12-20 ↑

29. St. Matthew 26:33-35; St. Mark 14:29-31; St. Luke 22:34; St. John 13:36-38 ↑

30. John 13: 31-32 ↑

31. Wessel, Klaus, in RbK III, p. 665-668, s.v. Judas Ischariot; LCI 2, p. 444-448, s.v. Judas Ischariot ↑

32. St. Matthew 26:14-16; St. Mark 14:10-11; St. Luke 22:1-6 ↑

33. St. Matthew 26:47-56; St. Mark 14:43-52; St. Luke 22:47-53; St. John 18:1-11 ↑

34. Only St. John 19:10 mentions the name of the servant ↑

35. St. John 18:12-24; John also states that Annas is the father-in-law of Caiaphas, who was high priest that same year ↑

36. St. Matthew 26:57-68 ↑

37. Only mentioned in Luke 23:8-12 ↑

38. St. Matthew 27:1-2; St. Mark 15:1; St. Luke 23:13-25; St. John 18:28-19:16 ↑

39. St. Luke 23:13-14 ↑

40. St. Matthew 27:27-29; St. Mark 15:16-21; St. Luke 23:11-26; St. John 19:2-3; St. Luke mentions a mocking of Christ at the court of Herod. ↑

41. St. Matthew 27:31; St. Mark 15:16; St. Luke 23:26; St. John mentions that Christ was bearing the cross himself ↑

42. Boskovits, M. in LCI 2, p. 602-605, s.v. Kreuzbesteigung; Elliott, The Gospel of Nicodemus or the Acts of Pilate, ch.10:1 says: “…they stripped him and girded him with a linen cloth and put a crown of thorns on his head.” On grounds of the words of this Protevangelium it is understood that the cross had already been erected. ↑

43. Elliott, The Gospel of Nicodemus or the Acts of Pilate, ch. 10.1; John 19:19-20. ↑

44. St. Matthew 27:33-56; St. Mark 15:22-41; St. Luke 23:33-49; St. John 19:17-37; Elliott, The Gospel of Nicodemus or the Acts of Pilate,ch.10-11; Mrass, Marcus, in RbK V, p. 284-356, s.v. Kreuzigung Christi; Lucchesi Palli, E. and Jaszai, G. in LCI 2, p. 606-642, s.v. Kreuzigung Christi; Schiller II, p. 98-176; Wessel, Klaus, Die Kreuzigung, Recklinghausen, 1966 ↑

45. Wessel, Klaus, Die Kreuzigung, Recklinghausen, 1966, p. 13 with note ↑

46. Grabar, p. 131-132 op.cit. ↑

47. In the Sancta Sanctorum, Rome ↑

48. The Rabula-codex is a Syrian manuscript written by the Monk Rabbulas in 586/587 and decorated with New Testament miniatures. It is kept in Bibl. Laurenziana at Florence. ↑

49. Elliott, p. 165 ↑

50. Only St. John 19:34 mentions the piercing of the side of Christ by a soldier ↑

51. Their names are mentioned in the Gospel of Nicodemus ↑

52. St. Matthew 27:57-61; St. Mark 15:42-47; St. Luke 23:50-56a; St. John 19:38-42; Elliott, The Gospel of Nicodemus, ch.2:3 ↑

53. Elliott, The Gospel of Nicodemus, ch. 2:3, op.cit. ↑

54. The evangelists give differing accounts of the women – the myrophores – coming to the grave, which the painters have combined into one long narrow wall painting. ↑

55. St. Matthew 28:1-10 mentions Maria of Magdala and the other Maria. ↑

56. St. John 20:14-18 mentions Maria of Magdala ↑

57. Both Mark and Luke mention three women: Mark states that Maria of Magdala, Maria the mother of Jacobus and Salome came to the sepulchre, whereas Luke mentions Maria of Magdala, Joanna and Maria the mother of Jacobus. ↑

58. St. Luke 24:13-35 ↑

59. St. John 21:19-29 ↑

60. Most probably the scene according to St. Matthew 28: 16-20 has been depicted here. ↑

61. St. John 21:1-14 ↑

62. See note at Sv. Kliment ↑

63. Painter’s Manual, p. 51 The “Prophets from above”, op.cit. ↑

64. see note at Sv. Kliment ↑

65. Painter,s Manual, p. 50 ↑

66. Elliott, The Protevangelium of James; for the extensive stories see the respective part of Sv. Kliment ↑

67. In this small room it is not possible to have a reasonable position to take pictures of the wall paintings on the top, such as his going to school and the sailing scene; for an extensive description and wall paintings of the saint’s life and miracles, see Chapter XV, the Church of Sveti Demetrius inside Marko’s Monastery. ↑

68. Detzel, part II, s.v. St. Georg, p. 368-381; Chatzinikolaou, Anna, in RbK II, s.v. Heilige, B II Soldaten Hl., p. 1049-1059; Lucchesi Palli, E., in LCI 6, s.v. Georg, Erzmart. p. 365-373; Mark-Weiner, T. Narrative Cycles of the Life of St. George in Byzantine Art, New York, 1977. ↑

69. Krumbacher, K., Der heilige Georg in der griechischen Überlieferung, ed. A. Ehrhard (Abhandlungen der königlich Bayerischen Akademie der Wissenschaften. Philosofisch-philologische und historische Klasse, XXV, 3), Münich, 1911; ↑

70. The old text is the best preserved in later Latin and oriental versions like a Coptic one. Krumbacher gave these texts the name “Volksbuch”, which became a popular version. They go back to the old “Acts of St. George”. The earliest manuscripts containing the popular version date from the sixth to the eighth century. The life of St. George is narrated in more than 33 episodes, most of them too fantastic and horrible to believe. These aberrations could no longer be accepted by the Church. After a revision by priests most probably in the seventh century a new text was created. This “Normaltext” was also published by Krumbacher, as well as versions by others. ↑

71. Aufhauser, Joh. B., Das Drachenwunder des Heiligen Georg in der griechischen und lateinischen Überlieferung, Byzantinisches Archiv begründet von Karl Krumbacher als Ergänzung der Byzantinischen Zeitschrift, Heft 5, Leipzig 1911 ↑

72. Spatharakis, Dated Byzantine Wall Paintings of Crete, Leiden, 2001, p.53 ff, s.v. the Church of St. George at Cheliana, Mylopotamos, Rethymnon, 1319 A.D. ↑

73. The saints have been identified by Hamann, Plan 31 ↑

74. Boberg,, J. in LCI 6, p. 200-201, s.v. Eustratius, Auxentius (Assentius), Eugenius, Mardarius und Orestes von Armenien.; Underwood II, nr 142-6, fig. 282a, 284-8; Chatzinikolaou, A. in RbK II, p. 1050-1051, II a, s.v. Hl. mit der offiziellen Bekleidung der Martyrer. ↑

75. Weigert, C. in LCI 8, p. 381-382, s.v. Soldaten, Heilige. ↑

76. LCI 7, p. 68, s.v. Joachim von Sarandapor (von Osogovo) ↑

77. About 20 km in a northerly direction, about 4 km over the border in Serbia, lies a place of pilgrimage dedicated to this saint. ↑

78. Myslivec, J. in LCI 6, p. 151-153, s.v. Ephraim (Ephräm) der Syrer Eremit; Book of Saints, p. 186 ↑

79. Painter’s Manual, p. 60 remarks that he is beardless by nature and with sparse hair. ↑

80. Weigert, C. in LCI 8, p. 404-405, s.v. Stephan der Jüngere von Auxentiuskloster, Abt, Mart.; Book of Saints, p. 523, s.v. Stephen, Basil, Peter, Andrew and Comp. ↑

81. Kramer, J. in LCI 8, p. 446-447, s.v. Theodor Studita (vom Studioskloster); Book of Saints, p. 535 ↑

82. Weigert, C. in LCI 8, p. 107-108, s.v. Pachomius von Theben; Book of Saints, p. 427 ↑

83. Kaster, G. in LCI 7, p. 208-209, s.v. Josef der Hymnenschreiber (von Konstantinopel); Book of Saints, p. 321 ↑

84. LCI 7, p. 343-344, s.v. Kosmas von Majuma (der Melode) ↑

85. Kaster, G. in LCI 7, p. 102-104, s.v. Johannes von Damaskus, Mönch ↑

86. See note at Kurbinovo ↑

87. Kaster, G. in LCI 8, p. 3-7, s.v. Menas von Ägypten (von Cotyaeum in Phrygien) Soldat; Book of Saints, p. 397 ↑

88. Kaster, G. in LCI 5, p. 23, s.v. Acyndinus, Pegasius, Aphthonius, Elpidephorus und Anempodistus von Persien. ↑

89. LCI 6, p. 143, s.v. Elpidephorus; LCI states that he sometimes has been depicted in imperial dress as a senator. Keeping in mind the bad condition of the wall painting it may be possible that Hamann has him incorrectly identified as Akindynos in stead of Elpidephorus. ↑

90. Knoben, U and Squarr, C. in LCI 8, p. 298-300, s.v. Sabas (Sava) I von Serbien; see also Chapter I, Serbia ↑

91. St. John 8:12 ↑

92. See note at Kurbinovo ↑

93. Kaster, G. in LCI 7, p. 42-44, s.v. Jakobus Intercisus (der Zerschnittene) von Persien; Book of Saints, p. 292, s.v. James Intercisus. ↑

94. Knoben, U. in LCI 8, p. 7-9, s.v. Menas, Hermogenus und Eugraphus ↑

95. The Acts 12:3-17 ↑