Byzantine Art
Byzantine Art
About seventeen kilometres to the north of Skopje, south of the village Čučer and close to Banjani and Gornjani on the offshoots of the Skopska Crna Gora, the so-called Black Mountains of Skopje, stands a church dedicated to Sveti Nikita, or Saint Nicetas. This little church, though not very well known, is one of the more important ecclesiastical monuments of the Republic of Macedonia.
It is the katholikon of a monastery that partly surrounds the church. When approaching it through the gate the church lies in the centre and the monastic buildings to the right and left (pict. XII 1-3).
Nikita, plan of the church with the later demolished chapel of St. John. Plan by A. Deroko, published by McLean/Hallesleben
The church itself is much older than the surrounding buildings. It has a length of 11.5 metres and is built partly of blocks of stone and of bricks; the brickwork of the apse in particular is remarkable. The church has the form of an inbuilt Greek cross with central cupola, resting on four pillars and a small open narthex. The date of its construction is not known exactly, but it is generally accepted that it was built before 1316 on the orders of the Serbian King Stefan Uroš II Milutin (1282-1321) on the foundations of an older church. In a deed dated between 1309 and 1316 the church was donated to the Serbian Athos Monastery Chilandar. Nothing remains of the monastery which was built around the church in 1320. The present monastic buildings are thought to have been built in the nineteenth century.
The interior of the church was originally completely decorated with wall paintings by Michael and Eutychios Astrapas, the same painters who executed the wall paintings in the Church Sveti Kliment at Ohrid some years earlier. In the same way as in the church at Ohrid they left their “signatures” in this church. Some remnants of wall paintings can also be distinguished on the exterior (pict. XII 4). The interior wall paintings were partly restored by repainting during the years 1483 and 1484 and some have been replaced by new paintings, like part of the paintings on the ceiling. This was very likely done in the fifteenth century when a part of the vault collapsed and was repaired and repainted.[1] Old paintings that partly remained were restored. In 1692 the church was restored again.
On the south east side there was once a small chapel dedicated to John the Baptist, which was removed, however, in 1928. Some paintings, such as those of the cupola and the pendentives are from the twentieth century.
The church has no separate rooms for the diaconicon and the prothesis, but only some small niches. In the niche of the diaconicon there is a portrait of Deacon Romanos and in the prothesis Arch-deacon Stephanus has been pictured.
Although the paintings in this church have been made by the same painters as those in Sveti Kliment at Ohrid, it cannot be said that the same painting scheme has been followed. The paintings in this church differ from those at Ohrid. Whereas in Ohrid their work expressed sometimes explorative impulses and strong colouring, in this church the paintings are more well considered and tend to classicism.
The only correspondence between the two churches is, as a matter of fact, the Paleologen style of painting. Both painters had a great affinity in their work. Therefore it is very difficult to distinguish between the work of either. It is suggested that one painter has made the wall paintings on the north wall, the other the wall paintings of the south wall.[2] A large number of the paintings are original, but the painting in the cupola is of a more recent date.
In the literature there has been some discussion whether the wall paintings in this church are to be dated earlier or later than the paintings in the Church Sveti Djordje at Staro Nagoričane. The difference in fact is only a few years. There is a lack of any conclusive evidence, but taking into consideration, the high standard of the paintings in the latter church where hardly any difference can be noticed between the work of the two painters, it may be assumed that the paintings in Sveti Nikita were completed at an earlier date.[3] I realise that this remains debatable. I do, however, consider that the paintings at Staro Nagoričane as the ultimate level reached by the painters after many years of co-operation in a large number of other churches within the realm of King Milutin.
In the half cupola of the apse there is a restored wall painting of the Virgin flanked by two archangels, which is rather damaged. Below this scene one can find the Communion of the Apostles, painted in two parts on both sides of the window in the apse. On the left Christ stands under a ciborium resting on four pillars, dressed in priestly garments consisting of a white colobium decorated with blue poloi, which dress, set off with gold bands, is worn over a white chiton, at the sleeves over the wrists also decorated with wide gold bands (pict. XII 5). He is assisted by an angel dressed as a deacon with a white sticharion and an orarion hanging from his left shoulder. Christ takes a piece of bread from the paten and gives it to Peter, who is dressed in a brown chiton and holds the bread in his right hand. Peter, in a deep bow, kisses the hand of Christ; other apostles stand behind him. The scene is partly damaged. On the right side of the window in the apse Christ, again standing under a ciborium with four pillars, holds a large chalice in both hands which he is intending to give to Peter (pict. XII 6). Peter has been depicted on this side as well, in stead of Paul, who is usually portrayed. He approaches Christ with covered hands. Five other disciples stand behind him waiting for their turn. The painters have depicted the apostles as tall men, not as voluptuous as seen before.
Below the window of the apse four archbishops approach the painted altar table: they are, on the left, Basil the Great and Gregory of Niazanz, also called the Theologican (pict. XII 7) and, on the right, Ioannis Chrysostomos and Athanasius the Great of Alexandria (pict. XII 8).
The first two are followed by Ioannes Eleaemon, the Almsgiver; the two on the right by Cyril of Alexandria. The paintings have been very well preserved and clearly show the skill of the painters: well drawn faces and clothing, with special attention to the transparency of the polystaurion and some of them wear a richly decorated epitrachelion. Each of them holds an unrolled scroll with words from their sermons or prayers. They address themselves in devotional attitude towards the altar table on which the Melismos has been painted (pict. XII 9).[4] A paten decorated with small crosses, and a chalice decorated in the same way, stand on the altar-table. In the paten lies the Christ-child as the bread of life, his body covered with the aer, over which has been placed the asteriskos. The chalice stands on the right side on the altar-table, which has been painted in a reversed perspective. It is covered with a brown cloth decorated with gold embroidery and a gold cross at the front. It is one of the best preserved decorations of a Melismos.
On the wall left of the apse stands Sveti Nicholas dressed in the same way as the other bishops (pict. XII 10); he also holds an unrolled scroll in his hands.
The feasts of the dodecaorton have also been painted in this church, albeit a number of them have been seriously damaged or restored.
The lay-out of the church did not always allow some scenes to be placed in their usual position. The Annunciation to the Virgin has been painted on the eastern part of the cross arms of the church. On the north side a restored painting of an almost floating Archangel Gabriel has been depicted (pict. XII 11). He is dressed in imperial garments with a long loros adorned with precious stones. In his left hand he holds his staff and his right hand is outstretched towards the Virgin. The background shows the architecture of a palace. From a balcony a royal figure holding an unrolled scroll in his left hand also points to the Virgin. He has a young beardless face and is probably the Prophet-king Solomon. Unfortunately, a crack in the wall runs exactly through his text, which may have been the words: “She is a tree of life to them that lay hold upon her”[5] At the southern cross arm the Virgin has been depicted sitting on a bench with her feet on a footstool (pict. XII 12). She looks in the direction of the archangel, one hand on her lap, the other in amazement close to her chin. In the building behind her the Prophet-king David has been depicted with a grey beard. The right side of the wall painting has partly disappeared, but it can be seen that David also holds a scroll, most probably with words from one of his psalms: “The blessing of the Lord be upon you”[6]
Above Maria of the Annunciation, the Birth of Christ, the Gennesis, can be found, depicted in the traditional manner and most probably re-painted (pict. XII 13). The Virgin, dressed in a purple maphorion, lies in front of a cave on a dark brown mattress crossed with three coloured bands. She looks at the bathing of her child by the two midwives, Salome and Zelomi. One of them, on her knees, holds the child in the bath, while the other pours water into it. Behind Maria the swaddled Christ-child lies in a manger with the ox and the ass standing behind. The ears of the ass and the horns of the ox are strange. The top of the painting has disappeared, but from the up-turned heads of the four shepherds it may be concluded that they are looking at an angel who is announcing the birth of Christ to them. The old bareheaded shepherd is dressed in a melote and has his hands raised in astonishment. On the left the three magi approach with gifts in their hands, while in the corner on the left Joseph sits on a rock, doubting. Usually an old shepherd in melote is shown talking to him, but this time the painters have depicted a young person wearing a conical hat, who with gesticulating arms appears to be trying to convince Joseph of the miraculous birth. Between him and the midwives an old tree trunk has been painted out of which a small branch grows in accordance with the old-Testament words of Isaiah: “And there shall come forth a rod out of the stem of Jesse, and a Branch shall grow out of his roots.”[7]
The Hypapante can be found on the southern cross arm on both sides of the window. The painting has been partly restored. Simeon with covered hands and Anna in front of him holding an unrolled scroll stand on the left of the window, while Maria with the swaddled child on her arm and Joseph with two doves stand on the right. Above the window a small ciborium and an altar table have been depicted.
Opposite the Gennesis, there is a painting of the baptism of Christ (pict. XII 14). Christ with a loin-cloth around his waist stands on a large flat stone in the water, which comes up to his shoulders. Fish swim around his legs. To the left on a steep cliff John bows in a somewhat complicated attitude towards Christ and puts his right hand on Christ’s head in order to baptise him. A beam of light with a dove in the middle shines on the head of Christ in accordance with the biblical words: “…the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him:”[8] On the left a small kneeling figure, the personification of the River Jordan, has been depicted. He holds a stone bottle in his right hand from which the water flows that feeds the river and with his other hand he makes a gesture of greeting towards Christ. Since the colours have faded somewhat it is difficult to see another personification, the personification of the sea, with one arm raised in the direction of Christ. Two such personifications are not often to be seen. On the right side six angels are waiting with covered hands to dry off Christ and to clothe him in new clothes. The lower half and part of the right side of the fresco have been renewed.
The other scenes relating to the Dodecaorton, except the Koimesis, have disappeared or contain only some fragments.
The painters of this church have depicted a relatively large number of scenes relating to events from the life of Christ and his miracles. A large and beautiful scene painted on the south wall depicts the miracle of the turning of the water into wine at the wedding of Kana (pict. XII 15-16).[9] The scene consists of three uninterrupted parts and starts in fact in the middle, where Maria is talking to her son who is reclining on a mattress at the table. It may be assumed that she is trying to convince him to do something about the problem. On the left Christ, his mother, two disciples and a servant are standing beside the barrels which are being filled with water by the servant. Christ stretches out his right arm towards the barrels commanding the contents to turn into wine. Two other men stand behind Christ; one of them has his hands raised. He may be one of the servants apologising for the fact that there is no more wine. The right side of the scene shows a number of people sitting on a stibadium around an oblong table laid with food. On the far right a man with a crown on his head sits on a chair and holds a plate in his hands. The bride and groom sit on the left side of the table. Around the guests servants bring more food and drinks. The people sitting around the table are individuals, each in a different pose, talking to one another. Some of them hold something to eat or drink in their hands. The table is well provided with dishes, cups, knives, drinking glasses and bread. The bread in front of Christ contains a cross on it. The wall painting clearly shows the painters’ preference for, and their skill in depicting large scenes.
The next scene on the same wall shows Christ walking with some of his disciples. He looks back at a woman who touches the hem of his garment (pict. XII 17). The Gospels narrate that she had had an issue of blood for twelve years, spending all her living upon physicians, who could not heal her. “…For she said within herself, If I may but touch his garment, I shall be whole. But Jesus turned him about, and when he saw her he said: ‘Daughter, be of good comfort; thy faith hath made thee whole’. And the woman was made whole from that hour.”[10] The wall painting shows the woman touching the clothes of Christ who turns to her. Behind them in the corner a number of people, possibly elders of the synagogue, stand waiting in front of a house.
On the west wall a small painting depicts the healing of a woman who had had an infirmity spirit for eighteen years, and was bowed together and could in no way lift up herself.[11] The scene shows Christ standing opposite a woman who is bent double and leaning on a stick. He makes a gesture of blessing towards her.
At the end of the cross arm of the north wall Christ and the Samaritan woman have been depicted. A small part of the scene has been repainted (pict. XII 18).[12] To the left Christ sits on a rock near the well and the woman stands at the other side holding a stone bottle in her hand. They are talking to each other. The background shows some buildings and the gate of a town. A scene like this with a redemption motif was already known in a number of catacombs, but has not been depicted frequently in Byzantine churches.
Below this depiction a long continuous scene has been painted consisting of three different elements: on the right Christ sits on a stool, talking to the sisters Maria and Martha (pict. XII 19).[13] Maria kneels before him listening to his words. Behind Maria her sister Martha comes to Jesus because she was busy with her many tasks and said to him: “… Lord, dost thou not care that my sister hath left me to serve alone?...” But Jesus answered with the famous words: “Martha, Martha, thou art careful and troubled about many things, but one thing is needful: and Maria hath chosen that good part, which shall not be taken away from her.” The text on the wall begins with these words. Behind Christ some of his disciples are listening. Behind the two sisters a number of people who were following Him, have been depicted, among them a woman who has stretched out her arm towards Christ. It is not quite clear why the painters have included a large ciborium on which a richly decorated gospel stands leaning against one of the pillars on the left of the scene.
On the left the scene spills over into a depiction of the Cleansing of the Temple, in which Christ cast out all those who were selling, buying and money-changing[14] (pict. XII 20). The scene has been very well preserved. With a scourge of cords above his head He runs towards the merchants to drive them out of the temple. A table with money has fallen over, people have taken their merchandise on their shoulders, and others drive their cattle out. Christ’s words to them were: “… It is written, My house shall be called the house of prayer; but ye have made it a den of thieves.”[15] The question sometimes raised is why people had to change money before entering the temple. The answer may lie in the fact that Roman money carried the portrait of the emperor. The emperors, however, had given themselves a divine status as the Sol Invictus, the invincible sun, a title not recognised by the priests in the temple, where their God was the highest divine authority. Two figures, a young woman with a child on her arm and an older man holding a cash-box in his hands, look at the angry Christ.
At the far left of this series of scenes Christ, with two of his disciples, is shown standing before a man whose swollen belly shows he is suffering from dropsy (pict. XII 21).[16] Christ has placed his hand on the man’s belly. The scene is not in accordance with Luke’s description, however, since no Pharisees have been depicted in the scene.
Another scene on the southern wall depicts the miracle of the healing of a man sick with the palsy (pict. XII 22). “… (then saith he to the sick of the palsy,) Arise, take up thy bed, and go unto thine house.”[17] The wall painting shows Christ followed by his disciples. He makes a gesture of blessing towards the man who now carries his bed on his back in accordance with the order of Christ.
The Passion of Christ has been depicted in a number of scenes, starting on the north wall with the Last Supper, or Mysticos Deipnos, Christ at the left side of a round table sits on a throne-like seat (pict. XII 23). He is surrounded by His disciples who are sitting on a stibadium. They are in conversation with their heads turned towards their neighbours. The youngest of the disciples has laid his head on the breast of Christ. Judas stretches out his hand to take a piece of bread from the paten. Christ points his right hand towards him as if saying: “… one of you shall betray me.”[18]
On the right the scene continues without being separated by a line. Christ with a towel around his waist is busy washing the feet of Peter (pict. XII 24).[19] The latter sits on a bank, the other disciples behind him. He has raised his chiton somewhat showing his bare legs, in order to make it easier for Christ to wash his feet. One foot he already holds in the water. He makes a gesture towards his head, as if saying: “…Lord, not my feet only, but also my hands and my head.”[20] His sandals lie on the ground in front of him. To the right another disciple is busy taking off his sandals.
At the right Christ explains to his disciples the reason for the washing of the feet.[21] This painting has been seriously damaged, only the figure of Christ has been preserved.
The next scene, also partly damaged, is the Prayer at Gethsemane (pict. XII 25). Christ can be seen praying, an angel close to Him. On the right He stands near His disciples, who have fallen asleep, talking to Peter, the only one who awoke. The colours have faded somewhat. The scene does not have the force of the corresponding scene in Sveti Kliment, although it adequately demonstrates the craftsmanship of the painters.
Only fragments of the scenes depicting the betrayal of Judas, the arrest of Christ, and Christ before the high priest have been preserved.
The scenes of the Passion continue on the north wall. Christ before Pilate is a restored wall painting of which only fragments have been preserved. Both the scene of the mocking of Christ and the scene of Simon of Cyrene carrying the cross of Christ have also been repainted.
One of the original paintings is of a subject not seen so very frequently, the helkemenos, in which Christ is pulled up onto the cross (pict. XII 26). Two men on ladders, one hanging over the patibulum, hold Christ by his arms and are pulling him up. He stands with his back to the beam of the cross, with his right foot on a footstool and the other on the suppedaneum, the small transverse beam of the cross, on which his feet will be nailed. A man is busy hammering in wooden plugs between the foot of the cross and the rock. Another stands behind him with a small basket containing the nails.
The scene continues on the right with the Deposition (pict. XII 27). It recalls the scenes described before.[22] Maria stands on a footstool and supports the body of her son, while Joseph of Arimathea holds the body in his arm to lift it from the cross. Nicodemus is busy removing the nails from Christ’s left hand. Behind Maria three women have been depicted of which one, dressed in a green maphorion, holds a hand of Christ towards her face. She may be Maria of Magdala. At the bottom of the cross a mourning Johannes in a deeply bowed position has put his head to the ankles of Christ and holds with his hand one of Christ’s feet. Blood is still dripping from the feet into a hollow beneath the cross that is supposed to be the burial place of the first man, Adam, who in this way is baptised by the blood of Christ. Two small weeping angels fly above the cross, their faces covered with a slip of their chitons.
Without an interrupting line the scene changes over to the Lamentation of Christ, or the Threnos (pict. XII 28). The body of Christ has been laid on the lithos, the anointing stone. The body, except for the face, has been completely wrapped in linen, ready for the burial. Maria embraces His face, while Johannes stands behind her lamenting the death of his Lord. At Christ’s feet Josef of Arimathea kneels in sorrow at the cruel death. Behind the main figures a number of wailing-women, one with her hands raised high above her head, express their anguish. On the right in the mountainous landscape a newly hewn sepulchre can be seen, “… wherein never man before was laid.” [23] In it there is a sarcophagus meant for the body of Christ. Behind the mountain the painter has depicted two bowed female figures, probably the myrophores who intended to bring spices to the grave the next day. In general, the scene does not possess the same dramatic expression that can be seen in the corresponding painting in the Church of Sveti Kliment.
The crucifixion has been depicted separately. The fragments that have been preserved most probably originate from a later painting (pict. XII 29). It shows Christ hanging on the cross in a strange position, arms stretched, and his body in a curve. The heads of Maria and Johannes are visible.
The scene of the angel near the empty grave on the north wall has largely disappeared; what remains are the sarcophagus and the sleeping soldiers. On the south wall behind the iconostasis two not very well preserved wall paintings show the myrophores at the empty grave, and Peter and Johannes at the grave.
On the south wall the Pentecost has been depicted (pict. XII 30).[24] Around a curved bench open at the bottom the twelve apostles sit waiting. “And when the day of Pentecost was fully come, they were all with one accord in one place. And suddenly there came a sound from heaven as of a rushing mighty wind, and it filled all the house where they were sitting. And there appeared unto them cloven tongues like as of fire, and it sat upon each of them. And they were all filled with the Holy Ghost, and began to speak with other tongues, as the Spirit gave them utterance.”[25] Although the painting has been restored it reflects the old style of painting. The building at the top symbolises the house where they gathered. At the top of the bench one can distinguish the two apostles Peter on the left side and Paul on the right. Paul and four others each hold a richly decorated book in their hands. At the top of the painting, still just visible in spite of serious damage, a beam of light that is split into twelve different rays symbolises the Holy Ghost. The apostles sit apparently motionless, except for an elder apostle who has turned to a younger man beside him. Below in the open space of the hemispherical bench there is a small chamber. Here sits an old man with a crown on his head. He holds before him in his hands, which are covered by a veil, twelve rolled scrolls. He is the allegorical figure of the Kosmos, the World, who is usually depicted as a king. He has always remained peculiar to Byzantine representations of the Pentecost. The twelve scrolls that he holds correspond to the preaching of the twelve apostles, and are probably a reference to Christ’s command: “Go ye therefore, and teach all nations…”.[26]
On the west wall the Koimesis has been depicted (pict. XII 31).[27] Behind the bier on which the Virgin is lying stands Christ in mandorla with the soul of his mother clad in white on his right arm. He is surrounded by a crowd of angels. Around the bier all the apostles have gathered to say fare-well to the Virgin. Behind them, both on the right and left sides, three bishops are in attendance: Dionysius the Areopagite, Hierotheus and Timothy, holding gospels[28]. Above the heads of the angels the Virgin in mandorla, now again clad in her maphorion, is accompanied by another crowd of angels carrying her to heaven. At the top of the wall painting the two doors of heaven stand wide open and angels are ready to welcome the Virgin. On both sides a crowd of people expresses its grief at the passing of the Mother of God. In the sky the apostles are floating nearer to attend Maria in her last hours. A detail, seldom seen before, is a small stove placed on a footstool before the bier, presumably for heating aromatic spices (pict. XII 32).
A remarkable painting, although also restored, can be seen on the east side of the north-west pillar. It shows Judas who has returned to the priests, with the thirty pieces of silver, which he casts down in the temple on their refusal to accept the money (pict. XII 33).[29] The wall painting shows how he throws it down and below that part of the scene his body is shown hanging from a tree with a rope around his neck.
Below this scene Paul has been depicted holding an open book in his hands (pict. XII 34) as usual with a bare head and a small face.
On the other pillar, facing Paul, Peter can be seen holding a scroll and making a gesture of blessing (pict. XII 35). On the pillar opposite Paul, the Virgin has been depicted holding an unrolled scroll in her left hand (pict. XII 36). Mentioned beside her is the word Paraklesis, which means something like ‘intercession’[30]. Christ has been depicted opposite Peter, also holding an unrolled scroll from which the words have disappeared.
On the inside of the pillars with Peter and Paul, the archangels Michael and Gabriel are facing each other (pict. XII 37 and 38). Both have beautifully outspread wings and are dressed in imperial garments, both hold a staff in their right hand and a disc in their other hand.
On the lower parts of the church walls a large number of saints and other figures have been depicted, as usually. A portrait of the patron saint of the church, Sveti Nikita stands opposite the entrance in a striking place on the north wall (pict. XII 39). Nikita is one of the soldier-saints, who died about the year 370.[31] It is supposed that he was an Ostrogoth general, a stratelates, who was converted to the Christian faith with many of his men by the Arian Priest Ulphilas. He became a priest himself and perhaps also, in good faith, an Arian. He was put to death by the Ostrogoth King Athanaric who did his utmost to root out Christianity in his people.[32] Nikita is considered to be one of the megalomartyros, an arch martyr. He has been depicted in full length between two painted pillars bearing a painted arch with sculptured ornaments. He is represented as a young man with dark brown hair to his shoulders. He has a gentle face with a small mouth and a long thin nose, a small pointed beard and heavy eyebrows above attentive eyes. There is slight damage to the paint of his face. He is dressed in a hauberk shining like gold and he wears boots. A long dark brown mantle hangs from his left shoulder. In his right hand he holds a long spear and his left hand rests on the end of a bow. A long sword hangs from his belt at his back and his shield hangs on his left shoulder.
To the left of Nikita a number of other saints have been depicted. Starting in the corner of the west wall they are the founder of the Serbian state, Stefan Nemanja, and his youngest son, the first Serbian Archbishop Sava, followed by Theodosius the Cenobiarch, the saints Sergius and Bacchus, Constantine and Helena and Sveti Djordje (see pict. XII 40 for the last four saints mentioned).[33]
Theodosius the Cenobiarch[34] originated from Capadocia. In about 460 he went to the desert of Judea where he founded a monastery near the Dead Sea. The monastery attracted hundreds of monks. He divided them according to nationality – Greeks, Armenians and Arabs – and built a church for each group. Together with St. Sabbas he opposed Monophysitism. The patriarch of Jerusalem appointed him visitor to all the cenobitical communities in Palestine, whence the title ‘cenobiarch’ was given to him. It is said that that he died at the age of 115 years. The wall painting shows an old man dressed as a monk.
Constantine and Helena have each been depicted in richly adorned imperial dress holding the cross between them. Djordje holds up a sword in his right hand and a spear and his shield behind his back under his left arm.
To the right side of Nikita the saints Stephanus, Eustathius of Thessalonica[35], Andreas of Kreta and Gregorius of Nyssa have been depicted.
In the north-east corner of the north wall, the Philoxenia, the hospitality of Abraham, has been depicted, partly separated by a heavy wooden beam (pict. XII 41-42). Three winged figures with young faces are sitting at a table. Although some of the paint has gone, it can still be seen that the middle figure has a cross nimbus. They therefore represent the holy Trinity. All three hold a scroll in one of their hands and with the other hand they make a movement as if intending to take some of the food Abraham has put on the table. Abraham approaches from the right holding a dish with food.
On the lower part of the south wall, immediately to the right side of the entrance, stands John the Baptist,[36] frontally depicted as an angel, holding in his left hand a charger containing his decapitated head (pict. XII 43). In this form of depiction he is also called Jovan Pretecha, or John Prodomos, the Forerunner. Under the bowl hangs a scroll. With his right hand he makes a gesture of blessing. His long dishevelled hair hangs over his shoulders. He has a long beard and his piercing eyes look at the contemplator. He is dressed in a white chiton which covers his light blue camel’s hair tunic, which can be seen at his breast and shoulders and at his feet; over his left shoulder hangs his brown coat in a lot of folds. The origin of the depiction of John as an angel can probably be found in the words of the Prophet Malachi, repeated by Matthew and Mark: “Behold, I will send my messenger, and he shall prepare the way before me:…”[37] A biblical messenger is usually depicted as an angel. The first such depiction is known from the Church Sveti Achilleus at Arilje in Serbia, painted in 1295 or 1296, only some years earlier than the paintings in this church, although not by the same painters.[38] It became a favourite theme in later paintings in the countries where the Serbs had sovereignty.
On the south wall to the left of the entrance three other soldier saints have been depicted. Demetrius carries an enormous shield on his left shoulder and his left hand is resting on the hilt of his sword. The middle figure, who holds a long spear in front of his chest, is probably Theodore Teron. (pict. XII 44). On the shield of the third (unknown) warrior saint (pict. XII 45) can be found the “signatures” of the painters Eutychius and Michael (pict. XII 46). The latter signature (on the left) is hardly distinguishable.
Next three anargyroi have been depicted, they are from left to right Cosmas, Panteleimon and Damian (pict. XII 47).[39] They stand in full length with Panteleimon in the middle and the other two slightly turned towards him. Cosmas and Damian each hold a scalpel in their hands as a sign of their profession, while Panteleimon holds a medical-box in his left hand and a small cross in front of his chest in his other hand.
On the west wall eight saints have been depicted, four at each side of the western entrance. They are from left to right: Athanasius of Athos, Arsenius, Paul of Thebe and Antonius the Great and on the right: Euthymius, Sabba of Palestina, Theodore Studites and Stephan the Younger.[40]
On the south iconostase pillar there is a remarkable scene of Christ Emmanuel, or Anapeson (pict. XII 48)[41]. The wall painting shows a young Christ resting on a purple coloured mattress, his right hand under his chin, his left hand resting on his knee. On the right Maria has been depicted, pointing at her son, while on the left above His head an angel with a fan waves a cool breeze towards Him. One of the earliest depictions of this scene can be found in a manuscript in Athos Monastery Stavronikita, code 45, fol. 12r. from the twelfth century (pict. XII 49). The word anapeson means something like “lie down”. The depiction goes back and refers to a number of Old Testamentic words, but is best revealed in the story of the lion in the Physiologus.[42] The lion is considered to be the king of the animals. When Jacob blessed his son Juda, He said: “Judah is a lion’s whelp: from the prey, my son, thou art gone up: he stooped down, he couched as a lion, and as an old lion; who shall rouse him up?” According to the Physiologus one the characteristics of the lion is that when he is sleeping in a cave, his eyes are watching, for they are open. For Solomon witnessed: “I sleep, but my heart waketh:...”[43] “Behold, he that keeps Israel shall neither slumber nor sleep”[44] Another characteristic of the lion is that when a female lion gives birth to a young, it is born dead, but she watches over her child, until the third day its father will come and blow him in the face and bring him to life. So has also our God on the third day His firstborn Son, “Who is the image of the invisible God, the firstborn of every creature;”[45] raised from the dead.”[46]
Although I did not intend to discuss in this work wall paintings which are later than 1453, I wish to make an exception in the case of a very remarkable wall painting which can be found above one of the cross arms of the church. It shows Christ in heaven sitting on a throne, which partly consists of cherubs, his feet on a suppedion (pict. XII 50). He makes a gesture of blessing with both hands. On the right a host of angels has been depicted, glorifying Him. Below, on earth Christ has been depicted after the crucifixion lying in a sarcophagus and completely wrapped in linen. Christ in heaven as the ever living God and Christ on earth as a mortal man. The head of a cherubim holding two flabella is to be seen just above the sarcophagus. It cannot be said that it is a depiction of the Ascension. As far as known only one other such scene has been found, in the prothesis of the Athos Monastery Dochiariou, painted in 1568.[47] It is not quite sure when the painting in this church has been made. It may have been painted during the years 1483 and 1484 after the collapse of the vault in the fifteenth century. It is therefore earlier than the Dochiariou painting, and may have served as an example for the painters in the Athos monastery.
In conclusion, the painters of the wall paintings in this church, Michael and Eutychius, have not reached the level of inventiveness they showed in the works at Sveti Kliment at Ohrid. Furthermore, perhaps because of the atmospheric conditions over the centuries, the colours in Sveti Nikita seem less brilliant than those in the Ohrid church. It is regrettable, also, that some of the wall paintings have been lost while others have been partly restored or had missing parts added.
Nevertheless, the quality of the wall paintings is high and the artists give the impression of being educated painters who were well aware of contemporary themes. Their brilliance can be appreciated in the large painting of the Wedding at Kana, which comes up to the level of Ohrid. Remarkable too is the depiction of Christ as a priest at the Communion of the Apostles, or the crucifixion scene in which Christ is pulled up on to the cross. Some paintings do attract attention for their inventiveness and composition and their brightness in colour, for example the relatively large number of miracles and healings by Christ, his conversation with Maria and Martha, and the rare Anapeson.
Sveti Nikita is a fine small church and its wall paintings deserve more recognition in the literature of Byzantine art.
CHAPTER XII - LIST OF PICTURES
1 | Church Sveti Nikita from the western side |
2 | Ibid, north eastern side |
3 | Part of monastery lodgings |
4 | Outside wall painting |
5 | Communion of Apostles – Christ as a priest – metadosis |
6 | Ibid, metalepsis |
7 | Basil the Great, Gregory of Niazanz and Ioannis Eleaemon |
8 | Ioannis Chrysostomos, Athanasius the Great and Cyril of Alexandria |
9 | Melismos |
10 | Sveti Nicholas |
11 | Gabriel of the Annunciation |
12 | Maria of the Annunciation |
13 | Birth of Christ |
14 | Baptism of Christ |
15 | Wedding at Kana |
16 | Ibid |
17 | Healing miracle of Christ |
18 | Christ and the Samaritan woman |
19 | Christ with Maria and Martha |
20 | Cleansing of the temple |
21 | Christ healing a man |
22 | Ibid |
23 | Last supper |
24 | Washing of the feet |
25 | Prayer at Gethsemane |
26 | Christ pulled to the cross |
27 | Deposition from the cross |
28 | Lamentation of Christ |
29 | Crucifixion |
30 | Pentecost |
31 | Koimesis |
32 | Ibid, detail |
33 | Judas hanging himself |
34 | Paul |
35 | Peter |
36 | Maria Paraklesis |
37 | Archangel Michael |
38 | Archangel Gabriel |
39 | Sveti Nikita |
40 | Bacchus, Constantine and Helena, Sveti Djordje |
41 | Hospitality of Abraham |
42 | Ibid |
43 | John the Baptist as an angel |
44 | Demetrius and unknown warrior saint |
45 | Unknown warrior saint |
46 | Signatures of Michael and Eutychius on shield |
47 | Cosmas, Panteleimon and Damian |
48 | Christ Emmanuel |
49 | Ibid from Stavronikita manuscript code 45, fol. 12r |
50 | Christ living in heaven and dead on earth |
Hallensleben, p. 121 ↑
Djurić, p. 70 ↑
See notes about this subject at chapter XIII - Staro Nagoričane ↑
See for an extensive description of the Melismos Chapter X ↑
Proverbs 3:18 ↑
Psalm 129 (130):8 ↑
Isaiah 11:1 ↑
St. Matthew 3:13-17; St. Mark 1:9-11; St. Luke 3:21-22 ↑
St. John 2:1-11 ↑
St. Matthew 9:20-22; St. Mark 5:25-34; St. Luke 8:43-48 ↑
St. Luke 13:10-13 ↑
St. John 4:1-42; LCI 4, p. 26-30, s.v. Samariterin am Jakobsbrunnen; Schiller, Band 2, p. 168, s.v. Die Samariterin am Brunnen ↑
St. Luke 10:38-42; LCI 3, p. 210-211, s.v. Maria und Martha, Christus bei; Schiller, Band I, p. 168, s.v. Christus bei Maria und Martha. ↑
St. Matthew 21:12-13; St. Mark 11:15-18; St. Luke 19:45-46; St. John 2:13-17; LCI 4, p. 261-263, s.v. Tempelreinigung Jesu; Schiller Band II, p, 33, s.v. Die Tempelreinigung ↑
St. Matthew 21:12-13; St. Mark 11:15-19; St. Luke 19:45-48; St. John 2:13-17 ↑
St. Luke 14:1-6; Braunfels, W. in LCI 4, p. 542-549, s.v. Wunder Christi (Wunderheilungen); Schiller, Band I, p. 184, s.v. Heilung des Wassersüchtigen ↑
St. Matthew 9:2-8 ↑
St. Matthew 26:20-25; St. Mark 14:17-21; St. Luke 22:14-23; St. John 13:21-30 ↑
St. John 13:1-20 is the only evangelist telling this story ↑
St. John 13:9 ↑
St. John 13:12-20 ↑
See Nerezi and Kurbinovo ↑
St. Luke 23:53 ↑
St. Seeliger in LCI 3, p. 415-423, s.v. Pfingsten ↑
The Acts 2:1-4 ↑
Painter’s Manual, p.40 and note 5; St. Matthew 28:19 ↑
See also Sveti Sophia, Ohird, Sveti Djordje, Kurbinovo and Sveti Kliment, Ohrid ↑
Painter’s Manual, p. 50 ↑
St. Matthew 27:3-5 ↑
Prolović, p. 183-186 mentions a number of different depictions of Maria as Paraklesis. ↑
Kaster, G. in LCI 8, p. 42-43, s.v. Niketas der Gote; Weigert, C. in LCI 8, p. 381-381, s.v. Soldaten, Heilige. ↑
Book of Saints, p. 413 ↑
For Stefan Nemanja and Sava, see Chapter I; for Sergius and Bacchus, see Staro Nagoričane; for Constantine and Helena, see note at Kurbinovo; for Sv. Djordje see note at Staro Nagoričane ↑
Weigert C. in LCI 8, p. 454, s.v. Theodosius Cönobiarch; Book of Saints, p. 537 ↑
Werner, F. in LCI 6, p. 193-194, s.v. Eustathius von Saloniki; Angold, Michael, Church and Society in Byzantium under the Comneni 1081-1261, Cambridge, 1995, p. 179-196, s.v. Eustathius of Thessalonica ↑
Weis, E. in LCI 7, p. 164-190, s.v. Johannes der Täufer (Baptista), der Vorläufer (Prodomos); Wessel, K. in RbK 3, p.616-647, s.v. Johannes Baptistes (Prodomos); Haring, Walter, “The Winged St. John the Baptist, Two Examples in American Collections”, The Art Bulletin: an illustrated quarterly, New York, 1919, p. 36-41; Sdrakas, Evangelos D., Johannes der Täfer in der Kunst des christlichen Ostens, München, 1943 ↑
Malachi 3:1, St. Matthew 11:10, St. Mark 1:2. ↑
Petković, Sreten, Arilje, Beograd, 1965, pict. 23 ↑
See notes at Nerezi, Kurbinovo and Sveti Kliment ↑
The saints have been identified by Hamann, plan 26 ↑
Lucchesi Palli, E. in LCI 1, p. 396-398, s.v. E. Christus-Sondertypen, 4) Christus - Anapeson ↑
The Physiologus is a collection of stories with Christian symbolism ascribed to animals, plants and stones. The date of its origin is unknown, but it is generally accepted that it dates between the second and the fourth century A.D. ↑
Solomon’s Songs 5:2 ↑
Psalms 121:4 ↑
Colossians 1:15 ↑
Partly translated from De Physiologus compiled and translated into Dutch by Dr. F. Ledegang, Kampen, 1994 ↑
Brockhaus, Heinrich, Die Kunst in den Athos-Klöstern, Leipzig, 1924, p. 99-104 ↑