POPI ZORA
Two great silversmiths
ATHANASIOS TZEMOURES GEORGE DIAMANTIS BAFAS
NATIONAL ORGANIZATION OF HELLENIC HANDICRAFTS 1 9 7 2
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POPI ZORA
Two great silversmiths
NATIONAL ORGANIZATION OF HELLENIC HANDICRAFTS
1972
Two great silversmiths
Preface
One of the fundamental features of the folklore art is the communal way of esthetic expression and the anonymity in which, as a rule, the artists remain. The folklore artist, true to the designs and expressive means handed down to him by tradition, moves steadily among the familiar figures, basically the same, but each time renewed by the individual artistic touch. Occasionally, the artist urged on by the eternal human need to outlive his work, marks his creation with a name or date. It is the touching effort of the simple man to make his presence felt in the world of art and so allow him to communicate with the generations to come. Very rarely, do special historic events contribute to the establishment of artists, who lacking proper education and being self-taught, create their own personal manner of expression and escape anonymity by projecting their eponymous artistic personality. This is the case of two great craftsmen in the art of silvering, Tzemoures and Bafas, who sometime between the end of the 18th and the middle of the 19th century marked the neohellenic ecclesiastical art of silvering with their presence.
The ecclesiastical art of silvering is still an unknown chapter in our folklore art. The vestries and treasuries of the churches and monasteries conceal incredible masterpieces made of silver, waiting for the researcher or researchers to reveal their existence and beauty to the world. For the time being, isolated and sporadic inquiries and publications have thrown some light on this most fascinating field, omitting however, important elements indispensable for a permanent classification and evaluation of the neohellenic ecclesiastical art of silvering.
3 It is -a well known fact, that the precious silver and gold-trimmed objects are a tradition within the Christian church, as reve~led by chroniclers in their descriptions of luxuriant Byzantine churches. The artistic flourishing evidenced in Greece during the 18th century caused a rapid growth in the art of silvering. The new middle class that emerged as a result of the historic conditions of the time, with their optimistic desire for freedom and a strong inclination to luxuries and adornments, were soon attracted by the silvering process in its various forms. As a result, a strong movement revolved around the elaboration and trade of silver and the tradition of the precious silver ecclesiastical objects was revived more vigorously. Lay-people and clergymen were fervently engaged in enriching the churches with all kinds of silver objects and sacred vessels. Frequently, the date appears next to the name of the artist or doner. The ecclesiastical silverware enables us to identify some of the few eponymous creators of our folklore art and follow closely the process of esthetic trends and artistic currents. Owing to their craftsmen and workshops, a prominent place in this silverware activity, developed in the 18th century, is held by the two 1 thriving towns of Pindos, namely Syrrako and Kalarrytes .
On the steep, precipitous escarpment of the western sides of the Pindos mountains, the small town of Kalarrytes crouches on sharp and wild rocks, thus making access extremely difficult and dangerous. On the opposite side _lies Syrrako and in between the deep ravine of Skala, washed by the Kalarrytinos, the violent tributary river of Arachthos. Pouqueville, the French Consul to the Court of Ali Pasha, after his visit to the inaccessible small town in 1815 was dazzled by the savageness of the landscape, and wrote that the place was meant for hawks and eagles and not peaceful people, lovers of are. In Ali's times, the small town of Kalarrytes consisted of 525 families of Vlachs, who with genuine Greek conscience, ransomed their autonomy 3 by paying a yearly tax to the Valide Sultana • In winter, when Pindos was cut off from the rest of the world by snow, the people of Kalarrytes, basically shepherds,. came down to the valley of Thessaly and earned their living by trading their milk products. Those who could not make a living by cattle-raising, turned to trade and craftsmanship. The main objects of these activities were cotton-wool of Macedonia and Thessaly, silk of Aya, thick woolen textiles for the capes of the Albanians and the sailors of Andriatica, untreated skins, furs and gold embroidered cloths.
4 The result was financial prosperity for the Kalarrytes' population and the establishment of markets in the principal commercial cities of the time, such as Naples, Leghorn, Genoa, Sardenia, Venice, Trieste, Raguza, Ancona, Vienna, Constantinople and Moscow. This financial prosperity was inevitably followed by the intellectual flourishing of this town of Epirus. When visited by Pouqueville, the people of Kalarrytes were fluent in foreign languages and possessed libraries with literature of both foreign 4 and Greek classical works • The field where the people of Kalarrytes surpassed themselves, however, was in the manufacture of silverware. The elaboration of silver reached such a point of perfection that we can clearly state that the most famous silverware of contemporary Greece was created in Kalarrytes' 5 workshops by native craftsmen • In 1821, during the conflict between the armies of Hoursit and Ali, when the Turks conquered and uprooted the 6 people of Kalarrytes , the most famous silver craftsmen took refuge in the peaceful Eptanesa, (the Ionian islands), where they continued their art and became world famous particularly because of their ecclesiastical pieces of art. Tzemoures, Bafas, Papamoschos, Papageorghiou, Polychro nides, are some of the names of the great silversmiths of Kalarrytes, whose memory was to be respected by countless generations of Greeks. It is said that Demetris Papageorghiou was paid a golden sovereign for each stroke of his chiseF. Orders were placed by well-to-do ladies of Eptanesa with Spyridon Papamoschos for a gold trimmed wine mug- "mastrapa" as it was called -, which they wanted to offer to Lady Douglas, wife of the 8 British High Commissioner, before her departure from Corfu in 1841 • Today, one of the most famous jewelry shops in Europe, "Bulgari" in Rome, has its origins in the old goldsmith generation of Kalarrytes. However, the one who became a legendary figure for the silversmiths of Epirus, is the fabulous Tzemoures, known as the famous master craftsman of Ali Pasha and renowned for his gospel covers.
5 Athanasios Tzemoures
The date of Athanasios' birth, as the son of Nickolas Tzemoures another great Kalarrytinian goldsmith, is unknown. However, the years of his artistic peak coincide with the last decades of the 18th and the first of the 19th century. His secular works are also unknown. Undoubtedly, objets d'art forAli Pasha and precious jewelry to adorn the delicate necks 9 of his wives, originated from Tzemoures' workshop • This anonymity, characteristic of our folklore art, prevents us from ascertaining his contribution to the field of jewelry and secular silvering in general. The significance of his unmatched artistic value is revealed in his gospel 10 covers • Tzemoures, fully conscious of his uniqueness in this field, signed the gospels, with nice round letters in relief, adding the name of his birthplace: 'Exa-raox c:~ao-fr11 xai xa-raoxc:~a~wv -rat £v xaA.aQ ~ru-rat~ xwQCov n'Dv 'Iwavv(vwv ota X£LQo~ 'A-fra vaoCou N txoA. aou T~11!lou- Q'l1· (plate 1).
meaning, that such gospels, like the one in question, are made in the town of Kalarrytes, Ioannina, by the hand of Athanasios Nickolaos Tzemoures.
6 On gospels made especially for the churches of Eptanesa, as for instance, the Monastery of Platytera in Corfu, he gives the Italian translation of the above inscription: Fabrica d 'Attanasio Zimuri di Calavrito nella Provincia d'Ipiro. (plate 3)11
In such cases, he goes even further, by placing on the interior of the front cover of the gospel an embossed inscription with the· same lettering, reading: Ta nae6v-ca 6ovA.Evwv -caL ds; 'XUAUQQV'taLs; XW QLOV -c&v 'Iwavv(vwv DLa XELQOs; a-fravaa(ov N. T~flJ-tOVQfl. To aaLJ-tfl -cwv dvaL A.ayaea ... f] TLJ!TJ -cwv dvaL. .. (plate 5). meaning, that such gospel covers are made in Kalarrytes, town of Ioannina, by the hand of Athanasios N. Tzemoures, their serial number, the net weight of silver ,and the price. He fills in by hand the serial number of the particular work, the price which is one thousand six hundred piasters and his signature. He seals with wax his initials at the top and bottom of the inscription. These typical inscriptions, the term "fabrica" as translated from Greek into Italian which Tzemoures also uses in his will (see below), the seal with the serial numbers and the fixed price of his masterpieces, denote an organized and systematic approach, far superior to that of the simple handicraft worker.
It is not pure coincidence that two seals with serial numbers are still intact on gospels of Eptanesa, the one bearing no 8 on the gospel of the Monastery of Platytera in Corfu 12 and the other no 23 on the gospel of Saint Dionysios. It is a well known fact that, in 1808 the Governor of Zakynthos to attest the genuineness of silver, made an order that obliged
7 the craftsmen to seal with their personal hallmark all their silver works, 13 and it is likely that the Tzemoures' seal is connected with this incident. However, judging from the serial no 23 on the gospel of Saint Dionysios, it is difficult to comprehend that the artist numbered and sealed only the gospel covers meant for Eptanesa. Furthermore, that he managed to finish such a great number of works in the small period of time that he worked in Zakynthos, between 1821-1823. One thing is certain, that all four gospel covers of Eptanesa belong to the "D" category, which represents the last and most stereotyped phase of his work, covering at a guess the period after 1810. ' The Fall of Kalarrytes finds the famous artist with his family a refugee in Zakynthos. In 1823, seriously ill in bed and having a premonition of his imminent death, he writes his Will. 14 This detailed document brings out Tzemoures' character, and the ideas many of his contemporaries had formed of him are in many ways justified. It is said, that Athanasios had a brother who studied painting in Russia, while he was taught the art of silvering in the West. His brother designed the models and Athanasios made the moulds and the actual finished work. It is also said, that both brothers were working on their own, fearing someone was after their skill. Their assistants made the last finishing touches, such as glueing, polishing, gold treating, etc. Before they abandoned Kalarrytes at the time of the town's Fall, they carefully hid their works and moulds. It is for this reason, that since the Revolution none of Tzemoures' silver articles has ever been found. 15 We do not know that Tzemoures actually had a brother, or t~at .he travelled to the West. However, his withdrawn, monastic character'1l_nd the rumour of the hidden treasures are fully revealed in the text of his ~~/fn, as well as other interesting aspects of his personality, worthy of a more explicit interpretation.
It is evident from the Will, that Tzemoures wanted to leave this world with a clear conscience. Therefore, as a good Christian would, he asks for God's mercy and forgiveness for his friends, he himself forgiving "li1l Christians, old and young." As a dedicated and strict family man, he looks after his household down to the last detail, imposing the principles of family bonds, the respect and obedience to follow him beyond the grave. The children, he· writes "must obey their mother and live with her,''dthe daughters, "until they wed, to the knowledge and consent of their mG!her, otherwise they will be disinherited." Their son Demetrios, must l filso "obey his mother, support her and live with her." In the case of Derne1:~i os
8 going astray, the mother has "the right to deprive him of the family fortune completely." If, on the other hand, he gets married and does not get along well with his mother, then and only after the age of 35, "can he live elsewhere," under the condition that "he provides for his mother with sixty thalers yearly". Tzemoures, being an organized methodical and honest trader, had a strong inclination for straight dealing in business, a feeling outlined in the whole text of the Will. He specifies exactly how much the priests should be paid for his funeqll, how much his wife would get should she wish to remarry, how much would be given to charity from his "fortune" or from "the hidden ware", should this be found. He leaves explicit orders to his heirs that before they share-out, they should give his wife Stasini her dowry and pay all his debts according to his books, which, with "a clear conscience" he states to have been "correctly made out, and be true, apart from possible errors or omissions." His contacts with people must have left him with a bitter experience, which made him distrustful and reserved. He threatens his heirs with curses if they do not faithfully carry out the following orders: should they be given the opportunity to help people, they should donate instead of lending, as by donating they will create friends, while by demanding their money back they will only make enemies. Should they make an agreement, this is to be done in writing in front of witnesses to avoid frictions and contradictions. Finally, his son should preferably "labour earnestly on his own, without getting involved with a partner." Should the need arise for such a cooperation, "he should be careful that bills are always made out quickly and in the presence of both."16
Athanasios Tzemoures died in Zakynthos on the 3rd of June 1823.17 No systematic research has been done so far, to prove and identify his works that have survived. Only some indicative information in various studies carried out, which refer mainly to gospel covers dispersed all over Greece. A methodical survey of the last few years, brought pictures of eleven authentic gospel covers, signed by Tzemoures, to the Museum of Greek Folklore Arts. This leads us to the conclusion that the writers have not always conveyed correct information. Of these eleven certified works, one is in the church of Kalarrytes, one in Kapesovo, one in Ano Soudena (Zaghori), one in the Metropolis of Ioannina, one in Saint Theodora of Art a, one in the Metropolis of Lesvos, two in Corfu (at the Monastery of Platytera and at the "Panayia of X:enon"), two at Zakynthos, (at Saint
9 Dionysios and Saint Mavra)/8 and finally one at the Monastery of Saint Vessarion (Doutsiko, Thessaly).
From the gospel of Arta, the piece of the cover that should bear Tzemoures' signature is missing. Despite the damage to this work, the illustrations, the perfection of work and the tradition, all certify its genuineness. 19 Regarding the gospel of Saint Nickolaos of Kapesovo, it is rumoured that it was ordered by Alexis Noutsos, Prime Minister to Ali Pasha and owner of the church.20 The fact that Tzemoures worked in Zakynthos and possibly with a certain Christodoulo Grentzo, mentioned in the Will, 21 is a good reason why there are four gospel covers in Eptanesa. This incident should also be connected with the presence and cultural influence of the Epirus element on the island.
The "Panayia of Xenon", in particular, built towards the end of the 17th century by refugees from Ioannina, Delvino and Paramythia22 of Epirus, became towards the middle of the 18th century, the nursery of Greek education, with teachers from Epirus. Dionysios Alimeriotis and Jeremiah Kavvadias taught at a small school created in a cellar of the Church. Both were monks and rectors from Epirus. In 1758, Kavvadias together with his student Nikiforos Theotokis, established the first organised school of the city, called the "Common Preparatory School", which operated for five years as an institution of the Church.23 It is certain, that until the end of the last century at least, the trusteeship of this church consisted of members of the Epirus society of Corfu.24 Consequently, it would be more than natural for the trustees to place the order for the gospel of their church with their fellow countryman Tzemoures.
On the other hand, the Monastery of Platytera was completely destroyed by the French in 1799. The sanctuary and some other parts were rebuilt in 1801 and the cost was borne by a wood merchant from Epirus, Arsenios Zaghoritis. In one of his reports to the Metropolis, Zaghoritis states that he himself faced all the expenses involved, "without anyone's assistance" and that what he spent and was to spend in future, he donated to the church " as a small and pious token."25 Most likely he included Tzemoures' gospel in this devout offer. Many gospel covers that are now lost, have been certified in the past as belonging to Tzemoures. One of them was bought in 1885 from a
10 certain Zagles, trustee of Saint Nickolaos of Kalarrytes26 and another used to be in the Monastery of Legovitsion. 27 A more thorough research will undoubtedly unearth works hidden in the treasuries of monasteries and churches that have not yet been explored. The eleven gospel covers found so far, allow us to form a clear perception of the quality of the work as well as of the sharp business mind of Tzemoures. This great man of Kalarrytes, devised and executed a certain kind of gospel cover, the illustration and perfect elaboration of which impressed that era and influenced both the contemporary and future ecclesiastical silvering. From the ornamental point of view, Tzemoures' gospel covers retain in general a uniform style. On the one cover, the Resurrection is pictured framed by the Evangelists and six decorative tablets in the form of medallions bearing scenes from Christ's life. On the other cover, the Crucifixion with four prophets and six more scenes from Christ's life. The illustrations have the beautiful warm golden glow achieved in the old times from the fire treatment of the metal, while the background is laid with a smooth sheet of silver which has been treated with "nielo".28 The spine is formed by six rectangular finely treated panels. Five of them contain a four-leaved blossom (plate 2) or a cherub (plate 4 ). The sixth remains empty and it is on this panel, that Tzemoures engraves his inscription and signature. This is the basic motif, on which this great master of the chisel composes his variations, alternating the position of the scenes, but remaining faithful to his basic theme, so much so, that his gospel covers look as if they all came from the same mould.29 Out of the eleven gospel covers elaborated by Tzemoures, of which pictures have so far been taken, the oldest is considered to be the one preserved in Kalarrytes. This should be listed in category "A" (diagram I). In the center of the front cover is pictured the Crucifixion, the prophets David, Solomon, Jeremiah and Daniel at the corners and in between six medallions with scenes from Christ's life, such as the Nativity, the Baptism, the Burial, the Annunciation, the Palm Bearer and the Lord's Supper. The back cover pictures the Resurrection, at the corners the Evangelists John, Matthew, Luke and Mark and on the medallions the Touch, the Ascension, the Middle Pentecost, the Pentecost and the Touch Me Not, that is repeated twice at the top and bottom. This repetition which does not appear on any other gospel cover, certifies the age of the gospel of Kalarrytes. It looks as if Tzemoures, while working on this particular gospel had not yet completed his illustrative circle of decora tion. Later on, he will create one more representation, The Ancient of Days, and he will not have recourse to repetitions. By this early version,
11 we can classify the remammg ten gospel covers of Tzemoures, the variations of which in the arrangement of the representations classifies them in three more categories: category "B", to which belongs the gospel of Kapesovo, (diagram II), category "C", to which belongs the gospel of Mytilene (diagram Ill) and category "D", that contains the gospels of the Monastery of Platytera, of the Panayia of Xenon, of Saint Dionysios, of Saint Mavra, of Ioannina, of Arta, of Ano Soudena and of Saint Vessarion (diagram IV). We can not tell exactly when Tzemoures reached this final version, as seen from the number of gospel covers. But it is a fact, that this version applies also to the lost gospel of the Monastery of Legovitzio, that was made in 181430 and also to the gospel of the Monastery of Saint Vessarion, that bears the owner's inscription and the year 1818, and is the only dated work of Tzemoures: K-.:ij~a O't£ Meaning, that this gospel is the property of the monk Stefanos from Kome, Dramizas and the Monastery of Saint Vessarion in the year 1818, January 21. Subsequently, if we consider that he started using the seal with the serial numbers after 1808, in other words, after the order was issued by the Governor of Zakynthos, it would stand to reason that all these gospels belonging to category "D", were made in the last ten or fifteen years of his working life. Of these later gospel covers, the most exquisite ones, owing to their immaculate preservation, are perhaps the one in Ano Soudena, in Zaghori31 and in the Monastery of Saint Vessarion, in Thessaly. The analysis of the illustrated groups and details, show Tzemoures' ability in design and elaboration and reveal the degree of influence from the West in his art, as well as his devotion to the native tradition. The back cover (plate 7) of these gospels, portray as their central theme the Crucifixion. To the left, starting from the top are David, the Lord's Supper, the Nativity and Daniel, and to the right Solomon, the Palm Bearer, the Baptism and Jeremiah. Along the top of the center the 12 He that is I AM, and underneath the Burial of our Lord. On the other side (plate 8), the center illustrates the Resurrection and the corners the Evangelists. The medallions to the left from the top downwards, illustrate the Middle Pentecost, and the Annunciation, to the right with the same sequence, the Pentecost and the Touch Me Not, on top the Transfigurati on and at the bottom The Touch. These illustrated compositions are enclosed within masterly made lacy frames, decorated with blossoms, shells, small columns with vine branches entwined round the shafts, elements that witness a strong influence of the western baroque style of ornating. The illustrations, however, despite the evident presence of western influence, maintain the simplicity and clarity of the traditional illustration. The influence of the western art becomes more visible on the side of the gospel cover, that pictures the Resurrection (plate 8). This form of illustrating the Resurrection, with Christ, who, wrapped in radiated glory, steps on the half open grave, holding a flag in his hand and with a band flowing around the waist, is the western type that replaced the traditional "Descend to Hades" illustration.32 In the Ascension, the Touch Me Not (plate 15), the Touch and the Pentecost (plate 16), Tzemoures wavers between the western influences and the traditional. Delicate bodies, free and easy movements, dresses with many folds and faces of ideal beauty, yet a lack of superfluous decorative or additional material. In the remaining compositions, on the other hand, the artist is carried away by the current of western influences. At the corners, the Evangelists (plates 19 and 20) are pictured sitting in exquisitely made seats, behind tables with subtle tablecloths, infront of a background rich in architectural decoration. In the Middle Pentecost (plate 17), the curtain rich in folds and drawn like a stage curtain, above the figures of Christ and his listeners, gives to the whole scene a stage-design feeling, while in the Annunciation (plate 18), the angel is holding a lily according to the western standards and not a sword as tradition requires.33 On the other cover of the gospel (plate 7), Tzemoures' attachment to tradition is stronger. In the central illustration, with the walls and palaces of Jerusalem acting as a background, the Crucified Christ rises between the Virgin and John. At the top, to the right and left of the Cross, are pictured the sun and the moon and at the base the entrance of a small cave with the skull and bones of Adam. The whole is a harmonious combinati on of western and traditional elements. The smooth wavy line of the 13 ground, the delicate well shaped bodies, the subtle material in its many folds that softly glides around the frail shapes of the faces, the single nail holding both legs of Christ, are evidence of the influence of western art. However, the sun and the moon, symbols of the night that suddenly fell the moment Christ delivered up His Spirit, 34 the hard angular line of the cave, Adam's bones, a mark for the human race of deliverance from the curse and death with Christ's blood, the lack of superfluous descriptive and written elements, and finally the expression of tenderness and reserved desperation that characterise the Virgin and John, are all elements that maintain the simplicity and austerity of the traditional illustrations of Byzantium. In the Nativity (plate 9), the Virgin and Joseph are pictured kneeling down, according to the western standards, 35 which also apply to the sweet soft lines of the landscape. In the Lord's Supper, however, (plate 10) Christ is pictured at the end of the table, following an old eastern tradition,36 while in the same picture to the left, the plain pilaster gives an elementary impression of an architectural background. The Burial also follows the traditional line (see plate 7 in the center of the bottom line), with the cross in the background, the lying body of Christ at the front surrounded by the figures of Mary, John, Joseph and Nicodemos.37 The same traditional principles also apply to the Baptism (plate 11), and the Palm Bearer (plate 12). In the Baptism, John leans his hand on Christ's head. To the right are pictured three angels and below the swirling waters of the river Jordan.38 In the Palm Bearer, the treefrom which the children picked palms to pave Christ's path, is the only picturesque, naturalistic element in a world governed by the human element, where nature is missing or barely suggested. In the He that is I AM, or the Ancient of Days (see plate 7, top center), is the theme that Tzemoures added at the end, since it is missing from the gospel of Kalarrytes. This theme, truly traditional, pictures God the Father as Almighty, with the venerable characteristics of a bearded old man. In the classical, traditional illustration, He is holding a banner with the phrase: "He that is I AM" .39 Tzemoures, however, pictures Him at a free pose of prayer, with a rich robe with many folds. For the great prophets, faithful once more to tradition, he creates two basic characters: a hebrew king with a crown for Solomon and David (plate 13), and one with an ancient tunic and garment for Jeremiah and Daniel (plate 14). Always according to tradition, Solomon and Daniel are pictured as unbearded young men, while Jeremiah and David are old, with a short rounded beard.40 These figures of the prophets appear against a 14 blank background, the serenity of which is agitated only by the agile borders of the frames and dresses. A superficial study of Tzemoures' work, as the eye catches upon the complicated jewels framing the pictures, possibly suggests a strong influence of the western element. A more thorough study of the expressive details, however, reveals the strong roots that the great craftsman of Kalarrytes has with the native tradition. Tzemoures' fame is still alive in the minds of silversmiths in Epirus. He himself, preferred to be regarded as unique, and as tradition has it, he enviously hid the secrets of his art and technique. However, he could not avoid being imitated or copied. Two copies of Tzemoures' gospel covers are to be found in Panayia Keriotissa in Zakynthos, a work of 1842 (plate 21 )41 and in the Monastery of Pro us sou on the outskirts of Karpenissi (plate 22).42 They both copy servilely the originals, the one of Keriotissa to such an extent, that it has the same silver and nielo laid background. Neither of these are anywhere near the finesse and perfection of the originals. An example of Tzemoures' influence in the neohellenic ecclesiastical art of silverwork, is the gospel of Saint Apostles in Skamneli of Epirus, (plate 23) which is a poor, crude imitation of the originals and also the scenes of Crucifixion and Resurrection from two other gospels that are found in Dilofo and Monodendri (Zaghori) respectively, and copy Tzemoures' characters (plates 24 and 25). 15 George Diamantis Bafas " Oh, what joy in Sunday's awakening to liste n to the praising of "violets ... blue violets ... " and the bell of the Saint calling ... " In these few verses the troubadour of Zakynthos, John Tsakasianos has put the sweet flavour of a Sunday rporning in Zakynthos, the time when the wandering flower sellers of oid times cried out in the streets advertising their fresh merchandise, while the bells of the Saint's church called the faithful to morning mass. · Countless are the Saints of the Christian Pantheon. The Saint of Zakynthos though, is unique and naturally we refer to Saint Dionysios, the noble squire that chose the habit of the monk and the Saint's halo43 to the worldly goods and glory of the honourable family of Sigouron. It is in the indestructible and mysterious presence of Saint Dionysios on the island, that we find the art of the other great silversmith · of Kalarrytes, George Diamantis Bafas, who was born in 1784 in Kalarrytes and died in 1853 in Zakynthos, where the Bafa family took refuge before the Revolution.44 Contrary to what happens with Athanasios Tzemoures, Bafa's work is quite well known, although to a limited circle of people.45 Unfortunately, there has never been a systematic chronological classification of his works, nor an esthetic evaluation. Apart from this, the legend and shadow of Bafa's art swayed the art of silvering of the island, so much so, that today most silver objects of Zakynthos are attributed to him.46 We will not linger over unsigned works attributed to Bafas, or works that could with a certain amount of certainty be considered his, as for example, the casket for Saint Dionysios' hand,47 or the stand for the ikon of Panayia the Skopiotissa.48 Both these silver objects bear characteristics of Bafas' technique. Nevertheless, they lack his signature, which is indispensable at least for his important works. Consequently, one wonders how Bafas left unsigned important works, such as the casket for the Saint's hand and in particular the stand for the ikon of Skopiotissa, one of the most memorable silver works of Zakynthos.49 Therefore, until there is a wider and more specific study based on historic and artistic elements and criterions and not only on tradition, to reveal the true extent of Bafas' work and his influence on his contemporary art of silvering in Zakynthos, 16 we consider it to be more worthwhile to concentrate on eight signed works. Two of these, the ikons of Rejoicing at Saint John of Langhada and of Saint George at the United Churches of Katastarion, are mentioned here for the first time, since, as it seems, previous researchers ignored their existence. Tzemoures' fame that kept him alive in the minds of the people in the years following his death, was strangely lacking for George Diamantis Bafas. Most probably, because his work, or so it seems, never left the Eptanesa. Few are the elements that allow us to understand his persona lity. Some information preserved by Zacharias Papantoniou,50 speaks of an illiterate but kind, compassionate and humble man, who died poor despite the work he left behind. His honesty and clean conscience are evident in a receipt made out and signed by Bafas, when he finished the crosier for the Bishop Paesios of Ithaka in 1851, where he makes it clear that because this crosier was lighter by two ounces than the crosier of the Metropolitis of Zakynthos he brought the price down by seven "thalers" .51 Another element that throws light on the personality of the Kalarrytinian artist is his signature. It is visible only in the Gospel of Chrysopigi, the oldest chronologically classified work (1811). On the front cover of the gospel under the feet of the Crucified Christ and between the figures of Matthew and Mark he signs with small but distinctive letters, enclosed in a baroque ornated frame: oLa X£L(> 17 his patronymic name: Diamantis Bafas. It is a fact, that he is more known by this name, than his Christian name.52 And something else is important - the activities of the "Filiki Etairia" were known in Zakynthos on the Eve of the Revolution of 1821. Bafas was one of its members, initiated by An thim os Argyropoulos in 1819.53 While Tzemoures with a practical mind subjected his talent to commercialism, proved by the uniformity of his work, Bafas let his inexhaustible inspiration embrace nearly all kinds of ecclesiastical silver objects, without repeating himself once. While the first sways between tradition and western influences, the latter draws out with full hands from the never-ending ingenuity of western embellishment. Inevitable, if we consider the peculiar, historic and cultural conditions prevailing in Eptanesa and Zakynthos in particular, and which could not but influence such a strong artistic idiosyncrasy, despite its illiteracy. This influence becomes perceptible throughout the work of George Diamantis Bafas. The Gospel of Chrysopigi, is the oldest dated work. Besides the artist's signature on the front cover, (plate 27) two more inscriptions on the rear cover (plate 26) inform the onlooker that "This Holy Gospel belongs to Lady Theotokos of Chrysopigi, at Zakynthos Castle", "paid by the trustees and vicar in 1811 " . From the ornamental point of view, the Gospel of Chrysopigi follows the established type of gospel cover illustrations of that time: The Crucifixion on one cover and the Resurrec tion on the other, surrounded by the Evangelists and the Prophets at the four corners. The way the themes are handled and expressed, have nothing to do with tradition. In the Crucifixion (plate 27), the Crucified Christ rises from a ground marked with smooth lines, with short vegetation, against a background picturing the walls and palaces of Jerusalem. To· the right and left, two groups of people displayed with an onward movement, follow the vertical axis of the Cross and the ellipsoid frame in baroque style that encloses the whole illustration. To the right is pictured John, bending slightly with arms crossed on his chest, in a position of utter despair. Behind him, a Roman soldier with his spear and helmet looks taller than the disciple. To the left, the Virgin Mary on bent knees, faints into the protective arms of the women, that stand one higher than the other, following the axis of the Cross and border. The plasticity of the bodies with the soft flesh and tender rounded surfaces, the drama put into the movements and positions, 18 the subtle cloths falling in rich agile folds, the whole illustration which with its realism and farfetched dramatic effect reminds us of a tragedy, the exquisite floral borders depicting the horns of plenty, reveal the strong baroque influence on Bafas' art and his conception of decorating. Only Adam's skull at the feet of the Crucified Christ faintly recollects the traditional art of illustration, because the hard and angular bordering of the cave has been replaced by soft curvy lines. The same characteristics are found on the back cover with the western type of Resurrection (plate 26). The light, rythmical motion of Christ's figure is emphasized by the soft cloth swaying around his body with an excessive freedom. The following year 1812, Bafas started working in Saint Dionysios' church. By 1829 he had finished three true masterpieces, strongly connected with the veneration of the Saint: the Gospel, the Bishop's Ikon and the Reliquary. Saint Dionysios' gospel (plates 28 and 29) follows an original arrangement of illustrations, reminiscent of church doors of the Italian Renaissance. Each side is divided into fifteen rectangles, each enclosing one theme. The four corner ones of the front cover (plate 29) illustrate four prophets and the rest, starting from the top downwards and from left to right of each row, picture: the Baptism, the Samaritan, the Healing of the Blind, Lazarus Resurrection, the Palm Bearer, Christ's Resurrection, the Touch Me Not, Jesus at Emmaus, the Ascension, the Pentecost and Saint Dionysios. The artist's signature is engraved on the Saint's footstool: "by the hand of Diamantis Bafas", and on the nearby rectangle, the date, 1812. The back cover (plate 28) illustrates in the same sequence, John, the Annunciation, Matthew, the Nativity, the Adoration, the Flight into Egypt, the Transfiguration, the Crucifixion, Christ on the Mount of Olives, Christ before Pilate, Golgotha, the Scourging, Mark, the Burial and Luke. Western influence has reached its peak in this Gospel of Saint Dionysios. The landscaping and architectural background that is only moderately shown on Tzemoures' work, in this instance expands to such an extent that it becomes equivalent to the human element. In the Flight into Egypt (plate 30), the Mount of Olives (plate 31), the Baptism (plate 32), the Touch :Nie Not (plate 33) and the Palm Bearer (plate 34), the description of nature has the precision of the naturalistic landscaping to such a degree, that one can even recognize the kinds of trees illustrated, like the date palms on the Palm Bearer, and the cypress or olive trees on 19 the Mount of Olives. The human element is multiplied and sometimes becomes a human mass, as in the scenes of the Burial ,or Pentecost (plate 35). Soft thick clouds suggest the atmosphere in the Transfiguration, Annunciation, Resurrection and Ascension, while the mountains are expressed in sweet, delicate lines as in the Nativity and Emmaus. In this multi-faced and perplexed decoration, where nature, material and bodies entwine in the most telling and realistic compositions, the simplicity and austerity of tradition has virtually disappeared. In 1820, Bafas finished the ikon for the temple of Saint Dionysios (plate 36). This time he signs with his full name "by the hand of George Diamantis Bafas". At the center, the imposing figure of the Saint, is seated on an ornate throne. The free motion of his clothes, characteristic of Bafa's art and technique, has surpassed affectation, and reaches the point of superfluous. The vestment spreads its folds over the biggest part of the picture giving the impression that it has a self-existent life, cut-off from any connection with the body and position of the Saint. This central panel is framed by twelve miniature illustrations depicting scenes from the life of Saint Dionysios. On the top left, the Saint appears to a sixty-five year old woman who had asked to be blessed with a child and he tells her that her prayer will be granted. In the middle, he blesses and withers the body of a woman sinner, who having been excommunicated her body had not decomposed. To the right, he reminds a confessing monk of a sin that only he knew: that once a precious stone had come-off the Chalice he was holding. On the second row to the left, a monk of Strofades54 sees the vision of the Saint, who prophesizes an earthquake, and to the right the fishermen of Voide islet, thank Him on their knees, because he blessed them with plenty of fish in the most barren part of the sea. On the third row, to the left, is pictured the litany of the Saints' relique in Strofadia, a supplication that he destroys the locusts, and to the right the Saint who, on his way from Anafonitria to Zakynthos to distribute food to the poor, blesses and calms the flooded waters of the river that he is to cross. In the left picture of the fourth row and in the first, from the left, of the fifth row, the artist related the most exciting event of the Saint's life in two phases. In the first, the Saint hides the murderer of his own brother from the soldiers. It is with this scene in mind, that the poet of the " Abbot of Anafonitria" Andrew Martzokes, wrote the verses: " He lies for the first time! gone is his purity and the sinless, sins while he blesses".55 In the picture below, the Saint having helped the runaway murderer 20 to escape, returns to his Monastery of Anafonitria, accompanied by a monk. To the right, the fourth picture downwards, shows the carrying of the Saint's relique from Zakynthos, where he died, to Strofadia, where he 6 wanted to be buried 5 and below, the abbot of Strofadia sees the vision of the dead Saint, between two priests, in front of the Sublime Porte. Finally, in the central illustration of the bottom row, the artist depicts the first variation of the Saint's Assumption, a theme that nine years afterwards will be used in an exquisite arrangement to ornate his famous Reliquary. 57 In 1829, Diamantis Bafas put his signature on this Reliquary, which is the peak of his art and the masterpiece of neohellenic art of silverwork. He placed on the lid an angel (0,43 cm. height), holding wreaths in his hands and with spread wings and diaphanus robe, steps softly and stealthily on the trough-shaped lid (plate 38). The whole surface of the front panel is covered by the Assumption of the Saint (plate 37). The dead body is pictured lying, majestic in its deathly stillness. He holds a gospel in 8 his left hand, while the right is raiseo in the sign of blessing. 5 Next to him, one of the monks, perhaps the closest and dearest to him, leans with desperation over the head of the dead body and his hair and beard entangle with the Saint's. His close friends stand around him, mournful, divided in two groups. The group behind the head of the body, has a reticent calm motion in its tragic hopelessness. In the first row, a venerable old man stoically reads excerpts from the funeral service. Behind him, another monk stifles his sobs by hopelessly putting his hands on his mouth, while beside him the delicate round face of a child listening to the service comes into contrast with the shrivelled ossified faces of the old men. The frowning of the forehead and the tightened tender lips, show the little one's participation in the mourning of the grown-ups. Another important note is a new element in the artist's technique, appearing on the pillow, where the Saint rests his head: embroidery. Bafas, a splendid artist in rendering the details of the folds, for the first time shows an interest in adorning the material. This detail holding here but a small additional part, will develop into a distinguishing mark in his future works.59 The second group has more action and seems literally to be torn by passion. The hair and beards of the old men flow loosely, the faces shrivel from anguish, the bending of the bodies emphasized by the folds of the robes. Bafas with his work in general, surpasses the humble, communal, simple creation to acquire with the accomplishment of the Reliquary, the 21 stature of a distinguished artist. He enters the suggestive sector of the western baroque, extending it to the 19th century Greece.60 It is difficult to define the date of Saint Catherine's plate in the homonymous church in Zakynthos (plate 39), which is the property of the monastery of Sinai. On the reverse side o{ the plate is the inscription "AQKA' March KE' Beginning of the Greek Nation, the expense of the Reverend Abbot Germanos Theodosios of Sinai by the hand of Diamantis Bafas of Kalarrytes." Even if we accept the fact that owing to a strange coincidence the work finished on March 25, 1821, the phrase that follows "Beginning of the Greek Nation" leads us to the conclusion that the date does not refer to the time of making, but that the inscription was engraved to remind and honour, while this piece of art still exists, the great anniversary of the national uprising. It stands to reason therefore, that Saint Catherine's plate was made after nominating the 25th of March as the National Day, in other words after 1838.61 In the center of the plate Saint Catherine is seated on a throne, wearing a crown. She is holding a palm branch with the one hand, and with the other the cross and the wheel, symbol of her martyrdom. At the bottom left, the Monastery of Sinai and its walls, is pictured in a small scale. In front of the walls, two poor Bedouins await the basket with food that the monks lower down to them over the wall. In the background, both to the left and right, rise respectively, the rock where the Saint's body was found in the 9th century and Moses' Mount with the Burning Bush and Moses himself fastening his sandal. The refined baroque decoration ornating the rim of the plate and framing the Saint pictured in the center, the pathetic expression of the great martyr and supple dresses, reveal Bafa's usual tendency for embellishment, free representation and story telling. However, the rocks have the austere standardization and formation, characteristic of the same illustration on a copper engraving made by Neofytos, a Sinai monk, taken from a book describing the Holy Monastery of Sinai in 1752, which most probably served as a model for the artist.62 The ikon of Rejoicing (plate 40) on the ikonostasis (picture screen) of the Monastery of John Prodromos in Langhada, is one of Bafas' unrecorded works. The Virgin is holding the baby Jesus and on the bottom part of the ikon, the following inscription is engraved: "Prayer and expense of the Reverend Abbot Efsevios Voutos 1838 December 2 by the 4and of George Diamantis Bafas". In the nice supple folds of the material and the delicate motion of the hands, we discover the element of 22 "embroidery", so humbly appearing on Saint Dionysios' Reliquary, fully developed in this instance. The crowns of the Virgin and the baby Jesus have been elaborated with sharp strokes of the chisel, while the ornaments on the Virgin's dress have the grace and elegance of the embroiderer's art. The same refinement characterises the delicate frames enclosing the Virgin's monogram. Nine years later, in 184 7, Bafas engraved a plate for the Panayia of Chrisopigi, illustrating John Theologos and Saint Paraskevi (plate 41). On the reverse side is the inscription "the present illustration of Saint Paraskevi and John Theologos was made at Bohali on the 30th of September 184 7 by goldsmith George Diamantis Bafas". On this plate of Chrysopigi, Bafas' chisel works wonders. The shrivelled face of Saint John with the hollow cheeks and the tender, feminine shape of Saint Paraskevi are brought out with a fantastic accuracy. At their feet, a spiral cloud denotes Heaven. The borders framing the Saints' figures and the rim of the plate are finely decorated. The ikon of Saint George of the United Churches of Katastarion (plate 42), is another work of Bafas that was only recently recorded. The inscription at the bottom left hand corner of this ikon reads: "Goldsmith George Diamantis Bafas. This work was made in 1851 during the two year service of the trustees Dionysios Patrinos and George Patrinos Panayiotou Tzoulianou and Anastasiou Kalou." This ikon of Saint George is quite possibly the last great work of Bafas, who died three years after its completion. Already the signs of deterioration in an art unique in the craft of the neohellenic silversmith are becoming apparent in this imposing ikon. The magnificent motion and the anatomy of the horse, rising impetuously on his hind legs, the architectural and landscaped background, the crowd watching the slaying of the dragon, the outline of the city, the trees rich in foliage and the faint suggestion of mountains, all these features retain the grace and rhythm of the old days. But the exaggerated decorative element that over-shadows the horse's harness and dress, with rich and elaborate ornaments, the clumsy portrayal of the Saint's arm, the over-emphasis of the austere folds of the Saint's dress, sl;low the first signs of tiredness. Even sadder, they suggest a decline in the artist's artistic sensibility, which is not surprising when we consider that George Diamantis Bafas was almost 70 when he applied his art to the glorious ikon of Saint George. And in those times more than a century ago -people, aged more rapidly than their heirs and successors. 23 NOTES 1. Embroideries and Jewelery of Greek National Costumes, by Popi Zoras, Athens 1966. By the sa~e author, the chapter on Silverwork of the "NcoEAAl] VLXTJ XELQO-rExvCa " published by the 'EfrvLxi] TgarrE~a 24 18. D. Konomos refers to the Gospel of Saint Mavra as one of Bafas' works, while it is Tzemoures' work and even bears his signature. See N1:. Kov6f!OU, 'Hnng&tEs an1 Zaxuv&o, op. cit., p. 22, and by the same author, Naoi xai MovEs a1:Y) Zaxuvito, 'A1h1va, 1964, p. 111. 19. 'Avaa1:. 'Ogt..avbou, 'Agxci:ov Bu~avTtv&v MvYJf!dwv 'Et..t..abos, volume B, 1936, p. 115. 20. For the life and activities of this great man of Epirus, see Kwa1:a Bag~wxa, KanEao~(Tou , 'AMsYJs Noutaos, rtavvtva, 1971. 21. NT(vou Kov6f!OU , op. cit., p. 59. 22. LJtUQ. LL'OUJtYJ, op. cit., pp. 116 and 133-139. 23. LJtUQ. LL'OUJtYJ, op. cit., pp. 84-85. 24. 'Iwv. Aaf!JtQ(bou, 'Hnngwuxa Mcf..EL~f!a'ta, £v 'A&~vms 1887, part B, Mat..axaawxa, p. 49. 25. LJtUQ. LL'OUJtYJ, op. cit., pp. 169-171. 26. Five hundred drachmae were paid for the gospel, a considerable amount at that time. See LJtUQ. Aaf!JtQou, N. 'Ef..f..YJVOf!V~f!WV, 17/1923 pp. 63-64. 27. K. L. Kwva1:a, 0[ aGYJf!LL~'ijbEs, newspaper "Bflf!a", 'A&Tjvm, 8-9 - 1968. 28. A mixture of silver, copper, lead and sulphur wax resembling black enamel. " Nielo" was widely used in the neohellenic silverwork both ecclesiastical and secular. Certain craftsmen, in particular those from N eveska and Lamia had mastered this ornamental work. 29. Tzemoures, it seems, used to mould his basic pattern, but the details and finishing job were done by chisel. This is evident from the small differences one can clearly notice on the various gospel covers, e.g. a curtain is drawn more to the right or left, an ink-pot changes position on the table, etc. 30. The gospel is described in detail in a manuscript of the churches' secretariat and registered as "precious". See K. L. Kwva1:a, op. cit. 31. It is rumoured that once, the ever memorable Metropolitan Spyridon of Ioannina wanted to take the precious heirloom to Ioannina. The inhabitants of Ano Soudena, however, were angry and the plan was abandoned. 32. 25 Zaxuvito as above, p. 23 . On the folding of the silver margin of the back cover of the gospel there is an inscription reading: "During the two-year service of the trustees Ioannou Kourniachtou, Nikolaou Vatou, Dionysiou Kiourka, Christou Kalabreza, 1842". In 1844 there was a goldsmith in Zakynthos named George Tzemoures (see Acwv. Zffi'Y] , At £v Zaxuvit LAL'XOL, 'A'fr~v a 1966, pp. 9, 1 and 96. 54. Saint Dionysios was the abbot in the Monastery of Panayia Pantochara in Strofades island or Strofadia, and in the Monastery of Anafonetria in Zakynth os. Both monasteries shared his devotion throughout his life. See N-r. Kov6f!OU, '0 "Ayw~ ~wvuaw~ e.t.c., op. cit., p. 21 55. See N-r. Kov6f!OU, op. cit., p. 283. 56. Saint Dionysios died in Zakynthos in 1622 and was hurried in the church of Saint George of Strofades. The removal of the holy relic to Zakynthos took place one hundred years later, in 1717. See N-r. Kov6f!OU , op. cit., pp. 58-60 and 66-68. 26 57. I am indebted to the deacon of Saint Dionysios' church Mr. Agathangelo Troussa, for the interpretation of the ikons. 58. Owing to repairs made in the recent years to the Saint's Reliquary, this hand is out of proportion. 59. The element of embroidery on the cushion and stole (the latter slightly defined) appears also on the casket for the Saint's hand. From all accounts this is another work of Bafas, where for the first time he is using this decorative element. The casket in question is undated. It stands to reason, however, that it was completed before the Reliquary and after the Saint's ikon. 60. It is rumoured that Bafas carved the Reliquary and the Saint's ikon based on designs prepared by Kantounis. See Zax. Ilanav,;wv(ov, ~Laf!UVl:'YJ~ Mna 27 ZWEI GROSSE MEISTER DER SILBERSCHMIEDEKUNST. Es ist bekannt, dass die kostbaren silbernen und mit Gold eingelegten Geräte zur Tradition der christlichen Kirche gehören und die Berichte der Chronisten vermitteln uns ein anschauliches Bild von dem Reichtum und der Üppigkeit der byzantinischen Epoche. Die künstlerische Blüte, die in Griechenland um das 18. Jahrhundert zu verzeichnen war, umfasste auch die Silberschmiedekunst, die sich vor allem durch die Herstellung kostbarer Silbergeräte hervortat. Besonders gefördert wurde die Kunst der Silberverarbeitung in den Werkstätten der beiden blühenden Städte Syrrako und Kalarrytes im Pindusgebirge. Es war besonders Kalarrytes, wo die Verarbeitung des Silbers eine derartige Vollendung erreichte, dass man mit Recht die Meinung vertreten kann, dort seien die bedeutendsten Werke der Silberschmiedekunst entstanden. Aus Kalarrytes stammten auch zwei der berühmtesten Meister dieses Gewerbezweiges Ende des 18. und Mitte des 19. Jh., Athanasios Tzimouris und Georgios Diamantis Bafas. Es ist unbekannt wann Athanasios Tzimouris geboren wurde, der wegen seiner Evangeliardeckel berühmt war. Seine Blütezeit fällt jedenfalls in die letzten Jahrzehnte des 18. und in den Beginn des 19. Jh. Von seinen Werken wurden bisher elf von ihm signierte Originalarbeiten gefunden. Davon befinden sich fünf in Kirchen von Epirus u. zwar in Kalarrytes, in Kapesovo, in Ano-Soudena, in der Metropoliskirche von J oannina und in der Kirche der Hl. Theodora von Arta. Eine weitere in der Metropoliskirche von Lesvos, eine im Nonnenkloster des Hl. Vissarionos und vier auf den Jonischen Inseln (im Kloster Platytera und in der Madenkirche der Fremden von Korfu, im Hl. Dionysios und in der Hl. Maura von Zante). Diese Werke von Tzimouris vermitteln uns eine klare Übersicht über die Qualität und den Stil seiner Arbeit. Athanasios Tzimouris erfand und verwandte einen Typen von Evan geliardeckel, der durch seine Bildkomposition und vollendete Arbeit seine Zeit beeindruckte und auch heute noch beeindruckt. Auf der einen Seite (Bild 8) ist im Mittelpunkt die Auferstehung dargestellt und in den vier Ecken die Evangelisten. Die Lücken werden durch sechs Medaillen ausgefüllt, die Szenen aus dem Leben Christi wiedergeben. Auf der anderen Seite (Bild 7) ist im Mittelpunkt die Kreuzigung zu sehen und in den Ecken die vier Propheten, dazwischen wieder sechs Medaillen mit anderen Darstellungen aus dem Leben des Herrn. 28 Aus diesem Grundmotiv entwickelt dieser grosse Virtuose der Meissel seine übrigen Kompositionen, indem er bei jedem Evangeliar die Anordnung des Bildes ändert, wobei er jedoch stets der Grundzeichnung treu bleibt, so dass der Stichel von der gleichen Matrize zu stammen scheint. In ästhetischer Hinsicht scheint Tzimouris zwischen dem Westen und der Tradition zu schwanken. Die Figuren der Kreuzigung und vor allem der Auferstehung, die komplizierten Rahmendarsteilungen und die Pflan zenmotive, die das Bild umgeben, die Eleganz der Figuren und die anmutige Haltung der Köpfe, die weichen in vielen Falten angeordneten Stoffe, die um die Gestalten fliessen, zeigen den grossen Einfluss des Barock. Gleichzeitig aber zeigt das Fehlen vieler Details im Bild, wie überflüssiger oder beschreibender Elemente in der Grundkomposition des Ornaments, eine Zurückhaltung in Bezug auf die Wiedergabe der Perspective in der Architektur oder der Landschaft und die Vorherrschaft der menschlichen Gestalt, wie sie der Künstler einerseits aus der Kunst des Westens schöpft und auf der anderen Seite der nationalen Überlie• ferung verbunden bleibt. Die Kunst des zweiten berühmten Silberschmiedes von Kalarrytes, des Georgios Diam~mtis Bafas, der 1784 in Kalarrytes geboren wurde und 1853 in Zante starb, ist zur Hauptsache mit der Verehrung des Hl. Dionysius des Schutzpatrons von Zante verbunden. Die Inspiration von Bafa umfasste fast alle Arten der kirchlichen Silberschmiedekunst. Im Gegensatz zu Tzimouri, der zwischen der orientalischen Überlieferung und den Einflüssen des Westens schwankt, schöpft Bafas, obwohl er Autodidakt war, wie übrigens auch Tzimouris, mit vollen Händen aus dem unerschöpflichen, dekorativen Erfindungs reichtum des europäischen Barock. Das Mass für die Einmaligkeit von Bafas auf dem Gebiet der griechischen Volkskunst und seine grosse Sensibilität gegenüber den so umstürzlerischen Einflüssen des Barock auf die orientalische Überlie• ferung geben uns acht von dem Künstler signierte Werke, die alle in den Kirchen von Zante erhalten geblieben sind und ein vierzigjähriges Kunstschaffen umfassen, d.h. von 1811 bis 1852: Das Evangelium (Bild 26 und 27 und der Opferteller der Mutter Gottes von Chrysopigi (Bild 41). Das Evangelium (Bild 28 und 29), die Ikone (Bild 36) und die Toten-Urne des Hl. Dionysios (Bild 37) in der Kirche gleichen Namens. Der Opferteller der Hl. Katharina von Sinai, (Bild 39), die Ikone der Mutter Gottes im Allerheiligen des Hl. Johannes von Langada (Bild 40) und die Ikone des Hl. Georg in den Vereinigten Kirchen von KatastaTion (Bild 42). 29 Kompositionen, in denen das menschliche Element so mannigfaltig in Erscheinung tritt, dass es zuweilen wie eine Darstellung wirkt (Bild 35), zarte und plastische Körper, die sich zu weichen Oberflächen runden, Landschaften, wo die Beschreibung der Natur, die Genauigkeit der naturalistischen Wiedergabe erreicht (Bild 30-34 ), kunstvoll gefaltete Gewänder, die zuweilen bis an die Grenze der Übertreibung reichen (Bild 30), unruhige Bilder mit vielen Gesichtern, in denen die Natur, die Körper und die Stoffe sich zu höchst dramatischen Kompositionen verwickeln, bilden die Hauptcharakteristika der Kunst von Georgios Diam~mtis Bafas. 30 BIBLIOGRAPHY 1.- rLaVVll 'Avan:ALWl:ll , Ta ~cxtvll~-ta wv 21, KaA.a~-ta-ra 1968. 2.- LJt. 'Agaßav-rLVOV, 'Iowg(a wv 'A.Afj llaoa, tv 'Attf]vmc; 1895. 3.- ll. Boxo-ron:oul~ou , Ta oxEuocpuA.axwv -rfjc; Movfjc; llgouooii, 1965, ctva-r. tx ni>v XgovLxwv wv 'AgxmoA.oyLxoiJ L1cA.-r(ou, -r6~-t. 21/ 1966, 'A1tfjvm 1968. 4.- LJtUQ. L1€ BLa~11 , 'H xguooxo't:xi] EV Zaxuvttcp, I1Lvaxo1tfJxll, 4/ 1904-1905. 5.- L1wvuo(ou -roli tx ougva, 'EQ~-tllvc(a -rfjc; ~wygacpLxfjc; -rtxv11c;, tv llc-rgoun:6A.H 1909. 6.- I16n:11c; Zcüga, Kcv-rfJ~-ta-ra xai Koo~-tfJ~-ta-ra -rfjc; 'EAA.llvLxfjc; a.A-rai-rc;, 0[ n:A.av6öwL -rcxvC-rcc; o-ri]v 'EA.A.aöa, n:cQ. 'EA.A.llvLxa rg 31 plates Plate 1. Inscription and signature by Tzemoures Plate 2. Gospel spin e with blossoms, on the Gospel of " Panayia of Xenon" (Corfu). Saint Dionysios Monastery (Zakynthos). 34 Plate 3. Greek and Italian inscription by Tzemoures on Plate 4. Gospel spin e, picturing cherubs, the Gospel of the Monastery of Platytera (Corfu). Kapessovo (Zaghori). 35 Plate 5. Embossed inscription with Tzemoures' seal on the Gospel of Saint Dionysios Monastery. 36 Plate 6. Owner's inscription and date on the Gospel of Saint Vessarion Monastery (Doussiko, Thessaly). 37 Diagram I Touch Me Mat- Lord's Solo- John Not thew David Supper m on Middle Palm Pente- Nati- Touch Bearer cost vity Resurrection Crucifixion Ascen- Annun- Pente- Baptism si on cost ciation Touch Me Jere- Luke Daniel Burial Mark Not miah Category A: Gospel of Kalarrytes. Diagram 11 He that is Solo- Mat- David John Ascension I AM m on thew Middle Lord's Palm Annun- Pente- Supper Bearer ciation cost Crucifixion Resurrection Nati- Touch vity Baptism Touch Me Not . Jere- Daniel Burial Mark Pentecost Luke miah Category B: Gospel of Capesovo. 38 Diagram Ill He that is Solo- David John Ascension Mat- I AM m on thew Nati- Baptism Pente- Touch vity cost Me Not Crucifixion Resurrection Annun- Palm Lord's Middle ciation Bearer Supper Pente- cost Jere- Daniel Burial Mark Touch Luke miah Category C: Gospel of Mytilene. Diagram IV He that is Solo- Mat- John Ascension David I AM m on thew Middle Pente- Lord's Palm Pente- cost Supper Bearer cost Crucifixion Resurrection Nati- Annun- Touch vity Baptism ciation Me Not Jere- Daniel Burial Mark Touch Luke miah Category D: Gospels of Monastery of Platytera, Panayia of Xenon (Corfu) Saint Mavra, Saint Dionysios (Zakynthos), Metropolis of Ioannina, Saint Theodora of Arta, Ano Soudena (Zaghori) and Monastery of Saint Vessarion (Dousiko, Thessaly). 39 Plate 7. Gospel of Saint Vessarion Monastery (dimensions 0,38 cm . X 0,27 cm). Back cover. 40 Plate 8. Gospel of Saint Vessarion Monastery (dimensions 0,38 cm. X 0,27 cm). Front cover. 41 Plate 9. Nativity. Plate 10 The Lord's Supper. Plate 11. Baptism. Plate 12 Palm Bearer. Details .of illustrations from Tzemoures' gospel covers (Ano Soudena Gospel). 42 Plate 13. Prophet David. Plate 14. Prophet Daniel. 43 Plate 15. Touch Me Not Plate 16 Pentecost. Plate 17. Middle-Pentecost Plate 18 Aimunciation. Details of illustrations from Tzemoures' gospel of Ano Soudena. 44 Plate 19. Evangelist John. Plate 20. Evangelist Luke. 45 Plate 21. Cover of Keriotissa Gospel, illustrating the Resurrection. 46 Plate 22. GospeL cover from the Monastery of Proussou, illustrating the Crucifixion. 47 Plate 23. Gospel cover, in Skamneli (Zaghori). 48 Plate 24. The Resurrection. Detail from the gospel of the Assumption in Dilofo (Zaghori). Plate 25. The Crucifixion. Detail from the gospel of Monodendri Church (Zaghori). 49 Plate 26 . Back cover of the Gospel of Chrysopigi in Zakynthos (dimensions 0,34 cm X 0,25 cm). 50 Plate 27. Front cover of the Gospel of Chrysopigi in Zakynthos (dimensions 0,3 4 cm X 0,25 ~ m). 51 Plate 28. Back cover of the Gospel of Saint Dionysios Monastery (dimensions 0,38 cm X 0,27 cm). 52 Plate 29. Front cover of the Gospel of Saint Dionysios Monastery (dimensions 0,38 cm x 0,27 cm). 53 Plate 30. Flight into Egypt. Plate 31 Christ on the Mount of Olives. 112tlllUUil1l ~ "'"""""'" Plate 32. Baptism Plate 33. Touch Me Not. Plate 34. The Palm Bearer. Plate 35. Pentecost. Details of illustrations from the Gospel of Saint Dionysios Monastery. 54 Plate 36. Saint Dionysios' ikon on the picture screen of the homonymous church in Zakynthos (dimensions 1,44 m X 1,05 m) 55 56 " e Plate 37. The front panel of the Reliquary of Saint Dionysios (dimensions 2 m X 0,54 cm). 57 Plate 38. The angel standing on the top of Saint Dionysios' Reliquary (height 0,43 cm). 58 Plate 39. Saint Catherine's plate (diameter 0,38 cm). 59 Plate 40. The ikon of "Panton H aras", on the picture screen of Saint John's Monastery in Langhada (dimensions 0,96 cm X 0,69 cm). 60 Plate 41. The plate of Chrysopigi (diameter 0,41 cm). 61 Plate 42. Saint George's ikon in the United Churches of Katastarion (dimensions 1 m X 0,64 cm). 62 Plate 43. Detail from the ikon of Saint George. 63 This book has been published by the National Organisation of Hellenic Handicrafts. It was printed in November 1972 in the graphic arts workshops of "Alexandros Matsoukis, S.A. The photographs were taken by the photographic department of the N.O.H.H. and the artist-photographer Demetris. Artwork by the Publications Department of the Commercial Development Service of the N.O.H.H. POPI ZORA Two great silversmiths ATHANASIOS TZEMOURES GEORGE DIAMANTIS BAFAS NATIONAL ORGANIZATION OF HELLENIC HANDICRAFTS I 9 7 2