Figures of mounted warrior saints in medieval . The representation of the equestrian Saint George “Thalassoperatis” at Diavaide in Heraklion

Maria Bormpoudaki1 Byzantine and Christian Museum, Athens

UDC 75.052:75.041](495.9+564.3) 271.2–36:355 DOI 10.2298/ZOG1741143B Оригиналан научни рад

In the of Saint George Sfakiotis, built on the outskirts The church of Saint George Sfakiotis5 is built on of the settlement Diavaide in the Perfecture of Heraklion the outskirts of the settlement Diavaide,6 within short in Crete, narrative interest is focused on the large painting distance of the nearest village Kastelli, a large village of with the mounted figures of the military saints George and Demetrios. Saint George is shown together with the young Pediada which constituted one of the most significant pillion rider, whereas the element of water on the lower part provinces in Venetian Crete. The iconographic pro- of the scene establishes a connection between the episode of gramme of the church at Diavaide, which is typically the slave’s release and a rarer variant according to which the encountered in the churches of the island, includes rep- liberator saint crosses the sea (‘thalassoperatis’, trans. he who resentations of the Dodekaorton, narrative scenes from crosses the sea). The iconographic and stylistic analysis of the the life of Saint George and standing saints, dated to the representation of Saint George as well that of Saint Demetri- os at Diaviade reflects the artistic environment of the East- end of the 13th/early 14th century according to Manolis ern Mediterranean, possibly that of Cyprus, where images of Borboudakis7. In the church of Sfakiotis narrative in- equestrian military saints form part of the tradition of the terest is focused on the large painting that occupies the island. south wall of the church with the mounted figures of Key words: Thalassoperatis, Saint George, Saint Demetrios, the two military saints George and Demetrios galloping mounted military saints, Cyprus, Crete, Diavaide left, beneath scenes from the biographical cycle of Saint George (fig. 1). To our right is depicted the mounted In 1950 and 1951 the renowned Cretan academic Saint Demetrios (O AΓIOC ΔHMH [ΤΡΙΟC]), por- Manolis Chatzidakis conducted two surveys on the is- trayed with his head in a three-quarters turn riding on land of Crete in order to inspect the mural decoration a chestnut-red horse with lavish tack. The saint wears of some monuments of the island and ensure their con- his hair long and is dressed in long dark red sleeved tu- servation and rescue. He thus visited and briefly record- nic, ornamented with a pearl-embroidered band, scale ed the churches at the east and west part of the Cretan breastplate, girdled high just below the chest, whereas countryside and published the findings of his research the ochre mantle, which is decorated with heart-shaped in the journal Kretika Chronika of 1952, including patterns, flutters behind him. He holds a spear in his iconographic and stylistic analyses of the Cretan paint- right hand and the horse’s reins in his left hand while he ing during the Palaeologan era.2 Chatzidakis explored carries a round shield with radial decoration. The fig- Pediada District and among other monuments he vis- ure of Saint George, to whom the church is consecrated, ited the church of Saint George Sfakiotis at Diavaide.3 shown clad in military attire riding on a white horse The large representation of Saints George and Dem- with rich tack, will be the focus of this study. The saint etrios (fig. 1) on horseback seems to have captured his is frontally depicted, with lightly oval face, large finely attention. In his study reference is made to the fact that outlined almond eyes, short curly hair crowned with the two equestrian saints were depicted walking on the diadem decorated with pearls and a large semiprecious sea while he drew comparisons with the wall painting gemstone in the centre (stemmatogyrion). He wears next of Saint George Diasoritis from the church of Archan- gel at Pedoulas in Cyprus dating from the 15th 5 G. Gerola, Τοπογραφικός κατάλογος των τοιχογραφημένων century.4 εκκλησιών της Κρήτης, Mετάφραση, Πρόλογος και Σημειώσεις Κ. Λασσιθιωτάκης, Ηράκλειο 1961, 80; Μ. Μπορμπουδάκης, 13η Εφορεία Βυζαντινών Αρχαιοτήτων, ΑΔ 54 (1999) Χρονικά Β2, 889; Μ. Ανδρι- 1 [email protected] ανάκης, Κ. Γιαπιτζόγλου, Χριστιανικά Μνημεία της Κρήτης, Ηράκλειο 2 Μ. Χατζηδάκης, Τοιχογραφίες στην Κρήτη, ΚΧ 6 (1952) 2012, 157. 59–91. 6 The settlement is referred to in the sources since 1577. Cf. 3 Ibid., 67 Ν. Ανδριώτης, Πληθυσμός και οικισμοί της Ανατολικής Κρήτης (16ος– 4 Γ. Σωτηρίου, Τα Βυζαντινά Μνημεία της Κύπρου, Aθήνα 19ος αι.), Ηράκλειο 2006, 382. 1935, pl 103. 7 Μπορμπουδάκης, 13η Εφορεία, 889. 143 ЗОГРАФ 41 (2017) [143–156]

Fig. 1. Mounted Saint George and Demetrios from the Church of Saint George Sfakiotis at Diavaide, Pediada Province

to his skin a shirt, from which only the wristbands are Cretan countryside in the 14th and the 15th centuries,10 shown, long dark red sleeved tunic, and deep blue leg- with the earliest representations being found sporadically gings embellished with an oblique checkerboard orna- in churches dating from the 13th century.11 The figures ment under red boots.8 His breastplate, which is belted of the equestrian saints, which have been linked with the high around the chest, is covered by scales, rectangular Byzantine tradition,12 are encountered in numerous mu- in cross-section, ending in lappets around the thighs. ral paintings of the Christian East during the Middle Byz- A large round shield with a diagonal checkerboard pat- antine period,13 whereas from the 13th century onwards tern painted red and blue hangs from his right side and 10 a red ample chlamys billows behind him. In his right Mounted Saints are very popular in the art of Crete. Evi- dence of equestrian soldiers is preserved, for example, in the church hand he grabs the reins of his horse, while in his left of Platania at Amari dated at the early 14th c. (I. Spatharakis, hand he holds a lance and simultaneously embraces a T. van Essenberg, Byzantine wall paintings of Crete III, Amari province, boy who sits on the horse’s croup. The youth is shown Leiden 2012, fig. 518) where the images of the mounted Saints George carrying a small pitcher in his right hand and a cup in and Demetrios are depicted in a frontal pose, of Saint John at Discouri his raised left hand whereas he wears an eastern type Mylopotamos Province dated to the late 14th c. (Μ. Borboudakis, K. Gallas, K. Wessel, Byzantinisches Kreta, München 1983, 122, fig. 73) or headgear. On the lower part of the representation (fig. in the church of the Virgin at Thronos, Amari dated to the 3rd quar- 4) the sea waves are indicated by semicircles tangent to ter of the 14th c. (Spatharakis, Essenberg, Amari Province, fig. 571–2). each other, arranged in three parallel rows, whereas fish For more examples v. Κ.Kαλοκύρης, Αι βυζαντιναί τοιχογραφίαι της and sea creatures, such as crabs, cuttlefish and moray Κρήτης. Συμβολή εις την Χριστιανικήν Τέχνην της Ελλάδος, Αθή- να 1957, 120–121. For the imagery of Saint George in the iconogra- eels, complete the decoration. phy of Crete v. I. Spatharakis, Byzantine wall paintings of Crete II, The representation illustrates one of the most popu- Mylopotamos province, Leiden 2010, 317–318. 11 lar pairs of military saints on horseback,9 depicted either For example, the mounted Saint George from the first individually or one next to the other in churches of the fresco layer in the church of Saint Marina at Chalepa, Mylopotamos province dated during the 13th c. (personal observation). Also, the painting from the central aisle of the church of Panagia Kera at , 8 For military costume v. Μ. Parani, Reconstructing the reality in Merambello (Μ. Μπορμπουδάκης, Παναγιά Κερά. Βυζαντινές of images. Byzantine material culture and religious iconography 11th– τοιχογραφίες στην Κριτσά, Αθήνα, s. a., fig. 26). 15th centuries, Leiden–Boston 2003, 101–158. 12 Walter, Warrior saints. 9 For the figure of Saint George v. C. Walter, The warrior saints 13 T. Velmans, Une image rare de saint cavalier à Chypre et ses 144 in and tradition, Aldershot–Burlington 2003, 109–144. origines orientales, ΔXΑΕ 30 (2009) 239. In particular military saints Bormpoudaki M.: Figures of mounted warrior Saints in medieval Crete

Fig. 2. Mounted Saint George from the Church of Saint George at Sklavopoula in Selino, Prefecture of . Photographic archive Ephorate of Antiquities of Chania they appear mainly in regions under Latin rule, namely of the Eastern Mediterranean,17 with the icons from Sinai in the Holy Land,14 Cyprus15 and the Latin-occupied the being prime examples.18 Peloponnese.16 Figures of military saints on horseback are Saint George on horseback has been a favourite sub- also portrayed in a series of icons of the 13th, the 14th ject matter in the decoration of the churches of the Cretan and the 15th century which have been associated with countryside. In the church of Saint George Sfakiotis, the the so-called ‘Crusader art’ and the artistic environment namesake saint is shown together with the young pillion rider, an element that establishes a link between the Cre- are found in the art of Cappadocia and Georgia (Ν. Iamanitze, Saint tan representation and a relevant variation of the Synax- cavaliers. Culte et images en Géorgie aux IVe–XIe siècle, Weisbaden 2016; also A. Nicolaïdès, The murals of the narthex. The paintings of arion of the saint referring to his posthumous miracles, the twelfth century, in: Asinou across time. Studies in the architecture according to which Saint George rescued from captiv- and murals of the Panagia Phorbiotissa, Cyprus, ed. Α. Weyl Carr, A. ity a boy from Mytilene that had been abducted by the Nicolaïdès, Washington, DC 2012, 99, note 19). During the Middle Saracen pirates of Crete during the feast day of the saint Byzantine period paintings of mounted saints are rarely found in the 19 mural decorations of the Greek lands/territories (v. Μ. Αχειμάστου- and who was brought back home across the sea. The Ποταμιάνου, Άγιος Γεώργιος ο Διασορίτης της Νάξου. Οι τοιχογραφίες του 11ου αιώνα, Aθήνα 2016, 103). 17 R. Cormack, S. Mihalarias, A crusader painting of St. George. 14 K. Weitzmann, Icon painting in the Crusader Kingdom, DOP ‘Maniera greca’ or ‘lingua franca’?, The Burlington Magazine 126 20 (1966) 71–73. M. Immerzeel, Holy horseman and crusader banners. (1984) 132–141; Folda, Mounted warrior saints, 87–104; Π. Βοκοτό- Equestrian saints in wall paintings in Lebanon and Syria, ECA 1 (2004) πουλος, Κυπριακές εικόνες στην Αμοργό, ΔΧΑΕ 30 (2009) 225–240; Α. 29–60. Kατσιώτη, Άγιος Γεώργιος ο Πολιβαριότης. Μια εικόνα a la “maniera 15 For example, the figure of Saint George, mounted on horse, cypria” στην Πάτμο, in: Αφιέρωμα στον ακαδημαϊκό Παναγιώτη Λ. Βο- at the church of the Virgin Afentika at the Convent of Chrysostomos κοτόπουλο, ed. Β. Κατσαρός, Α. Τούρτα, Αθήνα 2015, 539–546. (A. Stylianou, J. Stylianou, The painted churches of Cyprus. Treasures of 18 Weitzmann, Icon painting in the Crusader Kingdom, 51–83. Byzantine art, London 1985, 468, fig. 280); the mounted Saint George 19 There are three versions of the episode of the rescue of the killing the Dragon, Saints Christopher and Theodor in the church of young captive by Saint George, attributed to the texts of the Synaxarion the Virgin of Moutoulas (D. Mouriki, The wall paintings of the church of the Saint, published by Aufhauser (J. B. Aufhauser, Miracula of the Panagia at Moutoullas, Cyprus, in: Byzanz und der Westen, ed. Sancti Georgii, Leipzig 1913, 13–18, 18–42, 100–103; idem, Das I. Hutter, Wien 1984, 193–195, fig. 18–20); the fresco of Saint George Drachenwunder des heiligen Georg in der griechischen und lateinischen in the church of Saint Anthony at Kellia in Larnaka (Χ. Χοτζάκογλου, Überlieferung, Leipzig 1911, 4–6, 166). These texts have been interpret- Βυζαντινή αρχιτεκτονική και τέχνη στην Κύπρο, in: Ιστορία της Κύ- ed by Myslivec [J. Myslivec, Svatý Jiří ve východokřestanském иmění, BS πρου III, ed. Θ. Παπαδόπουλος, Λευκωσία 2005, 193, fig. 343β). For 5 (1933–1934) 337–341, 374] and A. J. Festugière [idem, Saint Thècle, mounted warrior saints in Cyprus v. J. Folda, Mounted warrior saints Saints Côme et Damien, Saints Cyr et Jean (extraits), Saint Georges, in crusader icons. Images of the knighthoods of Christ, in: Knighthoods Paris 1971, 267, 313–315]. [For the versions v. P. Grotowski, The legend of Christ. Essays on the history of the crusades and Knights Templar. of St. George saving the youth from captivity and its depiction in art, Presented to Malcom Barber, Hampshire–Burlington 2007, 91. Series Byzantina 1 (2003) 27–77]. The version referring to the young 16 Sh. Gerstel, Art and identity in the medieval Morea, in: The child from Mytilene (Aufhauser, Miracula Sancti Georgii, 100–103) is crusades from the perspective of Byzantium and the Muslim world, ed. preserved in the Cod. Vatic. gr. 1190 of 1542, although Festugière be- A. Laiou, R. Mottahedeh, Washington, D.C. 2001, 263–285. lieves that it actually dates back to the period of the Arabic occupation 145 ЗОГРАФ 41 (2017) [143–156]

Fig. 3. Mounted Saint George, from the Church of Archangel Michael at Sarakina in Selino, Prefecture of Chania. Photographic archive Ephorate of Antiquities of Chania

episode of the young prisoner’s rescue is illustrated as a plainer variation prevails and appears in churches and narrative scene already since the 11th century in the art icons of Greek lands/territories, mainly the islands (Rho- of Georgia,20 whereas from the 13th century the known des, Cyprus, the Cyclades)21 and the Near East, namely Syria and Lebanon.22 On Crete the representation of the of Crete (v. Cormack, Mihalarias, A crusader painting of St. George, 132–141). According to a second version, the young captive was born in Paphlagonia and was the son of the general Leontios and Theopha- the mounted saint and the youth (v. Velmans, Une image rare de saint no. He was captured in the war by the Bulgarians, or the Ungrs/Hungrs cavalier à Chypre, 235–236, fig. 2, 6–7). or the Scythians or the Turks, according to the version of the manu- 21 For examples on the subject v. Βοκοτόπουλος, Κυπριακές script, and was liberated by the Saracens, who assigned him the role of εικόνες στην Αμοργό, 225 ff; Θ. Αρχοντόπουλος, Ο ναός της Αγίας Αι- thermodotes (delivering the liquids). The young child prayed to Saint κατερίνης στην πόλη της Ρόδου και η ζωγραφική του ύστερου μεσαίωνα George who liberated him on his feast day while serving water to his στα Δωδεκάνησα (1309–1453), Ρόδος–Αθήνα 2010, 138–140, 153–155, master. They both crossed the seas and reached the house of the young fig. 32. For the episode of the child’s rescue and the depiction of Saint captive where he finally met his parents. This version is traced for the George “in parade” v. Ν. Chatzidakis, Saint George on horseback in first time in the manuscript Cod. Mosquensis Bibl. Syn. 381, dated “parade”. A fifteenth century icon in the Benaki Museum, in: Θυμίαμα at 1028, (Aufhauser, Miracula Sancti Georgii, 18–42) and is found in στη μνήμη της Λασκαρίνας Μπούρα, Αθήνα 1994, 62. other manuscripts as well (Grotowski, The legend of St. George, 29ff). 22 In the churches of Saint Theodore at Bahdeidat (1250–1270) According to a third version the youth was captured in Paphlagonia and Saints Nohra and Sophia in Dmalsa in the County of Tripoli by the Hagarens. This version appears for the first time in the 11th- (Immerzeel, Holy horseman and crusader banners, 55), in the chapel of century manuscript Codex Parisinus 1604 (Aufhauser, Miracula Sancti the castle of Crac de Chevaliers dated to the 13th c. [J. Folda, Crusader Georgii, 13–18). frescoes at Crac des chevaliers and Masqab castle, DOP 26 (1982) 194, 20 The earliest fresco of Saint George rescuing the youth from no. 63a, fig. 22] and in the church of Saint Moses from Ethiopia at Mytilene is found in the church of Saint George Ikvi at Kartli dated Mara Musa al-Habashi near Nebek at Syria [E. Cruiksbank Dodd, The to the 11th c. In the church of Saint Eirene dated to the 12th c. and monastery of Mara Musa al-Habashi, near Nebek, Syria, Arte Medievale the church of Saint George at Ozaani appears a plainer representation 6/1 (1992) 86–87, fig. 29; Τ. Velmans, Observations sur quelques 146 of the episode which consists of the joint depiction (symplegma) of peintures murales en Syrie et Palestine et leur composante byzantine Bormpoudaki M.: Figures of mounted warrior Saints in medieval Crete saint carrying the young prisoner was popular, as it has est preserved depictions appear in the “crusader East” and already been recorded in thirteen churches of the Cretan referred to the wall paintings of Saint George Thalassop- countryside, most of which are situated in the west part of eratis that decorated the chapel of the crusader castle at the island23 and date back to the 14th century predomi- Crac de Chevaliers (1170–1200)29 and the church of Saint nantly. Distinctive examples among them are the badly Moses the Black (the Ethiopian) at Mar Musa al– Habashi preserved representation of Saint George on horseback in near Nebek in Syria (1192–1193 or 1208).30 In the ear- the homonymous church at Sklavopoula in the Province lier icons of this type he also included the icon of Saint of Selino in Chania Prefecture (fig. 2),24 dating between George of Cappadocia from the church of Saint Marina 1290 and 1291,25 and also the depictions in the church of Philousa, now at the Byzantine Museum of the Metropolis Archangel Michael at Sarakina in Selino dated to the early of Paphos, which dates back to the 13th century.31 14th c.26 (fig. 3) and at Plemeniana in Selino (1409/10).27 Moreover, a series of early images of Thalassopera- Nevertheless, the element of water on the lower part tis reflect the spread of this particular variation across the of the scene at Diavaide (fig. 4) establishes a connection Eastern Mediterranean during the 13th and the 14th cen- between the episode of the slave’s release and a rarer vari- tury. More specifically, in the Latin Kingdom of Jerusa- ant according to which the liberator saint crosses the sea. lem and in the church of Saint Sabbas at Edde al–Batrum This iconographic type was first identified and studied by (Lebanon) are preserved fragments of a wall painting that depict a portion of a horse and a marine environ- Georgios Dimitrokallis who bestowed on the saint the ep- 32 ithet ‘thalassoperatis’ (trans. he who crosses the sea).28 In ment with fish (1264). Research has identified the figure as Saint George on horseback crossing the sea. Further- his study Dimitrokallis reported ten representations dated more, in Christian Egypt, at the Convent of Saint Mer- between the 12th and the 17th century, including the one curius (Deir Abu Sayfayn), in Cairo, a Coptic templon under consideration at Diavaide, and expressed the view epistyle dating to the 13th century is preserved on which that the theme originates in the southern Greek mainland ten equestrian saints are depicted encompassed in arched and the islands. However, he acknowledged that the earli- compartments, including Saint George Thalassoperatis.33 The subject is also encountered in the Holy Monastery orientale, CA 42 (1994) 134–135, fig. 12; Cormack, Mihalarias, A of Saint Catherine at Sinai where four icons have been crusader painting of St. George, 132 ff]. recorded,34 possibly of the 13th, the 14th and the 15th 23 In particular the type of Saint George on horseback with the child of Mytilene appears in the church of Saint George at Vathe- century, and one diptych with the figure of Saint George iako of Amari, at Skaloti of Sfakia, and at Nispita in Rethymnon [Κ. Thalassoperatis portrayed on one of the panels whereas Kαλοκύρης, Βυζαντινά Μνημεία της Κρήτης. Η Παναγιά (Κερά) της the second panel is occupied by Saint John the Baptist.35 Κριτσάς, ΚΧ 6 (1952) 248, n. 154], in the church of Saint Paraskevi Among them is the crusader icon inv. no 357 of the 13th outside the village of Meronas in Amari (Spatharakis, Essenberg, century that, according to Folda, conforms to the Franco- Amari Province, fig. 453), of Saint George Anydriotis, Anydri (1323) Byzantine style.36 (K. Kalokyris, Byzantine Wall Paintings of Crete, New York 1973, BW 108), of Panagia in Saitoures, Rethymnon Prefecture dated at around The wall painting in the church of Saint George 1300 (Ι. Spatharakis, Byzantine wall paintings of Crete I, Rethymnon Sfakiotis bears resemblance to the icon inv. no 357 of Si- province, London 1999, 231–232, fig. 290, of the Saint Michael in Sara- nai and that of Saint George the Cappadocian, now dis- kina at Chania (1348/9) [Borboudakis, Gallas, Wessel, Byzantinisches played at the Byzantine Museum of the Metropolis of Kreta, fig. 159; Κ. Λασσιθιωτάκης, Εκκλησίες της Δυτικής Κρήτης, ΚΧ 37 22 (1970) 145], of the Virgin in Spilia, Kissamos (14th c.) (Kαλοκύρης, Paphos, which are both related to the art of the Eastern Αι βυζαντιναί τοιχογραφίαι της Κρήτης, 121), St Athanasios at Keph- Mediterranean during the Crusader period. To be more ali of Kissamos (1393) [Κ. Λασσιθιωτάκης, Εκκλησίες της Δυτικής specific, in all three representations the element of water Κρήτης, ΚΧ 21 (1969) 218, fig. 74], in the church of Saint George at is clearly denoted on the lower part of the composition Plemeniana, Selino (1409–1410) [idem, Εκκλησίες της Δυτικής Κρή- with fish and sea creatures imparting a naturalistic and της (1970) 207, fig. 294; Borboudakis, Gallas, Wessel, Byzantinisches Kreta, 218–219, fig. 168], at Panagia at (Karanou), Kydonia charming flavour to the scene. In addition, the equestrian [Λασσιθιωτάκης, Εκκλησίες της Δυτικής Κρήτης (1969) 463, fig. 109], saint is frontally depicted in all three examples, looking Saint Anna Anissaraki, Kandanos (1352) (Kαλοκύρης, Αι βυζαντιναί straight out towards the viewer,38 crowned with a jewelled τοιχογραφίαι της Κρήτης, 108, pl. LXX; Borboudakis, Gallas, Wes- sel, Byzantinisches Kreta, 221; Οι βυζαντινές εκκλησίες της Καντάνου, 29 Folda, Mounted warrior saints, 194, no 63a, fig. 22. Χανιών 1999, 57) and in the church of the Virgin at Thronos, Amari 30 Cruiksbank Dodd, The monastery of Mara Musa al-Habashi, (Spatharakis, Essenberg, Amari Province, fig. 571). The type is also de- 89, 126– 127, 86–87, fig. 29. Velmans, Observations, 134–135, fig. 12. picted in Cretan icon painting, as in the icon of the Historical Museum 31 Α. Παπαγεωργίου, Εικόνες της Κύπρου, Λευκωσία 1991, 77, of Moscow dated to the 15th c. (Εικόνες της Κρητικής τέχνης. Από τον 79, no 53. Χάνδακα ως τη Μόσχα και την Αγία Πετρούπολη, ed. Μ. Μπορμπου- 32 δάκης, Ηράκλειο 1993, 399, no 37 (entry Kyzlasova) or in the icon at Immerzeel, Holy horseman and crusader banners, 33 pls. 6, 7. 33 Corfu dated at 1500 (Π. Βοκοτόπουλος, Εικόνες της Κέρκυρας, Αθήνα Z. Skalova, G. Gabra, Ιcons of the Nile Valley, Cairo 2006, 1990, 22–24, fig. 12, idem, Κυπριακές εικόνες στην Αμοργό, 227–228. 184–185. 34 24 I would like to thank Mrs Papadopoulou, director of the Michigan Inventory Number 357, The Sinai Icon Collection, Ephorate of Antiquities of Chania for giving me the license to use this http://vrc.princeton.edu/sinai/items/show/6141. Michigan Inventory photo and the archeologist Mrs. N. Apostolaki. Number 299, The Sinai Icon Collection, http://vrc.princeton.edu/sinai/ 25 Λασσιθιωτάκης, Εκκλησίες της Δυτικής Κρήτης (1970) 152, items/show/6106. Michigan Inventory Number 348, The Sinai Icon 154, figs 179–180; I. Spatharakis, Dated Byzantine wall paintings of Collection, http://vrc.princeton.edu/sinai/items/show/6134 Crete, Leiden 2001, 12–13, fig. 6. 35 Michigan Inventory Number 845, The Sinai Icon Collection, 26 Borboudakis, Gallas, Wessel, Byzantinisches Kreta, 207, fig. 159. http://sinai.princeton.edu/sinai/items/show/7535. 27 Ibid., 218–219. 36 Cormack, Mihalarias, A crusader painting of St. George, 137, 28 According to Dimitrokallis the saint is called after the name fig. 8; Folda, Mounted warrior saints, 93. “thalassoperatis”, although he does not refer to relevant inscriptions on 37 Παπαγεωργίου, Εικόνες της Κύπρου, 77, 79, no 53. Cretan monuments [G. Dimitrokallis, Saint Georges passant sur la mer, 38 On Crete the depiction of the mounted Saint George facing ΔΧΑΕ 26 (2005) 367–372]. forward occurs rarely in churches dated to the 13th c. or around 1300, 147 ЗОГРАФ 41 (2017) [143–156]

Fig. 4. Mounted Saint George and Demetrios from the Church of Saint George Sfakiotis at Diavaide, Pediada province

diadem decorated with pearls and a large ornament in the “crusader artists” who combine Byzantine and other tra- centre, clad in military attire belted high around the chest ditions. Meanwhile certain iconographic characteristics of and holding a spear vertically with the spearhead upwards our Saint, like the pose of the body, the military attire and as in a military parade, since he is not shown slaying a the tack of the horse, have also been identified in regions serpent, carrying a round shield, wearing red billowing associated with the Latin conquest and they are encoun- mantle that takes the form of a seashell.39 Furthermore, tered in wall paintings of the 13th and the 14th century.43 Saint George keeps his leg thrust forward through his In the Greek mainland and especially in the Pelopon- long tunic in a posture favored by Latin horsemen, wears nese44 they are found in a series of frescoes in the Ortho- spurs on his boots and supports his feet on a triangular dox churches of the region with the painting of the eques- stirrup adhering to the western fashion, recalling knight trian George in the church of Saint John Chrysostom at seals of the 12th and the 13th century with that of Florent Geraki (13th century) being a prime example.45 In Crete of Hainault being a prime example40. The aforementioned the figure of mounted George with the outstretched leg, elements are particularly popular in the iconography of the red billowing cloak and the rendering of the military equestrian military saints in a series of icons, especially costume appears on the lower decorative register in small from Sinai41 and Cyprus,42 that have been attributed to Orthodox churches of the island as, for instance, in the churches of Archangel Michael at Sarakina in Chania (fig. 46 as in the first paint layer in the church of Saint Marina at Chalepa, 3), and Panagia at Platania (early 14th c.). In addition, Mylopotamos (Spatharakis, Mylopotamos Province, 131, fig. 149), in the central aisle of the Panagia Kera of Kritsa, Merambello province well as the icon of Saint George Polivariotis from the island of Patmos (Μπορμπουδάκης, Παναγιά Κερά, fig. 26) (fig. 19), the church of Saint (Kατσιώτη, Άγιος Γεώργιος ο Πολιβαριότης, 539–546). Paraskevi at Meros (1300) (Spatharakis, Essenberg, Amari Province, 43 These iconographic details recur also in later depictions of fig 453) and at Saint George at Sklavopoula in Selino (Spatharakis, Saint George Thalassoperatis, with the representations from the church Dated Byzantine wall paintings of Crete, 12–13, fig. 6). However in the of the Archangel Michael at Pedoulas in Cyprus (1474) (Σωτηρίου, aforementioned depictions the saint is not portrayed crossing the sea Βυζαντινά Μνημεία της Κύπρου, pl. 103; Dimitrokallis, Saint Georges neither having the youth of Mytilene mounted on his horse. passant sur la mer, 369, fig. 3) and the church of Saint Catherine in 39 This decorative motif is usually depicted in the Cretan Rhodes being characteristic examples (Αρχοντόπουλος, Ο ναός της churches, as in the fresco of the Annunciation in the church of Saint Αγίας Αικατερίνης στην πόλη της Ρόδου, 138–140, 153–155). Nicholas at Kyriakoselia of Apocoronas (unpublished painting), v. 44 Gerstel, Art and identity, 168–272. Μ. Μπορμπουδάκης, Ο ναός του Αγίου Νικολάου στα Κυριακοσέλια 45 Ν. Μητσόπουλος, Γ. Δημητροκάλλης, Γεράκι. Οι εκκλησίες Αποκορώνου, in: Πεπραγμένα του Ι΄ Διεθνούς Κρητολογικού Συνεδρίου του οικισμού, Θεσσαλονίκη 1981, 40–41, figs. 65–66) (Χανιά, 1–8 Οκτωβρίου 2006) II/3, Χανιά 2010, 298. Also in the 46 Kalokyris, The Byzantine wall paintings of Crete, pl. C24; painting of the Ascension in the church of the Virgin Kardiotissa in Spatharakis, Essenberg, Amari Province, 518. The same imagery is Pediada District (Bormpoudaki 2010, fig. 1) and in the church of Saint used for the equestrian Saint George in the church of Saint Marina George Anydriotis (1323) (Kalokyris, The Byzantine wall paintings of at Mourne in Hagios Bassileios Province dated to the beginning of Crete, BW 113). the 14th c. (I. Spatharakis, Byzantine wall paintings of Crete IV, Agios 40 Gerstel, Art and identity, 268. Basileios province, Leiden 2015, fig. 407) and the church of the Virgin 41 Weitzmann, Icon painting in the Crusader Kingdom, 71–73; at Alikampos in Apokoronas (1315/6, work attributed to the painter Cormack, Michalarias, A crusader painting of St. George, 132–141; Fol- Pagomenos) [Λασσιθιωτάκης, Εκκλησίες της Δυτικής Κρήτης (1969) da, Mounted warrior saints, 96–97. 489, fig. 155] or for the figure of Saint Demetrios and of Saint George 42 The icon of Saint George Valsamitis from the Monastery in the church of Saint George Apodoulou dated to the beginning of the of Hozoviotissa of Amorgos dated to the 14th c. (Βοκοτόπουλος, 14th c. (Spatharakis, Essenberg, Amari Province, fig. 70, 72) and the 148 Κυπριακές εικόνες στην Αμοργό, 225 ff.) has been related to Cyprus as one of the Virgin at Platania, Amari Province (beginning of the 14th. Bormpoudaki M.: Figures of mounted warrior Saints in medieval Crete the round shield of Saint George in the Cretan church at Aegina,52 is rendered in a naturalistic manner indicating Diavaide is decorated with a diagonal checkerboard motif the chainmail barding that protected the body of the cru- with small crosses inscribed in squares —a direct refer- saders’ horses.53 It is also striking that the image of Saint ence to a coat of arms of the time period— which accord- Demetrios at Diavaide bears additional iconographic sim- ing to the western tradition alludes possibly to the ktetor ilarities to crusader icons and especially that of Saint Ser- (founder) of the church or most probably draws attention gius with a female donor from Sinai, attributed to a Cyp- to the cultural identity of the Venetian landlord of the riot-influenced Syrian artist as argued by L.A. Hunt,54 M. fief,47 without excluding influence exerted by the icono- Immerzeel55 and J. Folda56 in respect of the facial features graphic model of the representation.48 of the saint, the hairstyle, the jewelled cuffs and tunic, the Some of the details of the tack illustrated on the pose of his leg, the tack of the horse, the wide girth with fresco of Saint George at Diavaide have been identified the diagonal motif fastened around the barrel of the horse in representations of military saints related to “crusader and the round shield although the style of our Saints indi- works” or are found in areas under Crusader control,49 cates that the painter at Diavaide was trained in the region such as the jewelled saddle, with the tall western can- of Crete. tle, decorated with a diagonal checkerboard pattern, the To the representations of Thalassoperatis which are double crupper with a bow on the rear part of the har- encountered in the art of the Cretan countryside is added ness, but also the wide girth with the angular black and one more scene from the church of Archangel Michael white motif fastened around the barrel of the horse of Astratigos, a dependency (metochion) of the Holy Monas- Saint George.50 The horse of Saint Demetrios at Diavaide tery of Saint George Epanosifis, at Agalantes, also in Her- bears similarities whereas the covering of his horse’s body aklion Prefecture,57 where all of the examples of this icon- with faint round scales, as on the murals that depict the ographic type are found.58 Fish and sea creatures which same subject matter found in Crete,51 Rhodes, Chalki and are noticed on the lower part of the partially preserved scene that constitutes the second paint layer of the church c) (ibid., fig. 518). We could also mention the mounted Saints in the dating to the early 14th century, and also the leg of the church of Saint George at Anydri, Selino (1323) (Borboudakis, Gallas, figure which is shown sitting on the horse’s hindquarters Wessel, Byzantinisches Kreta, 232, fig. 185), at Diskouri Mylopotamos (end of 14th c.) (ibid., 122, fig. 73; Spatharakis, Mylopotamos province, indicate that it is a representation of Saint George Thalas- 151, fig. 234) and at Panagia of Roustika at Rethymnon (Unpublished soperatis carrying the young captive from Mytilene. What painting. For the church v. Borboudakis, Gallas, Wessel, Byzantinisches is more, in the country church of Saint Marina outside Kreta, 261–263; Spatharakis, Dated Byzantine wall paintings of Crete, the village Panagia at the site Hani Moulefe in Arkalo- 137–141). 47 chori, among the wall paintings dating from the first half The diagonal checkerboard motif is also encountered on of the 14th century, lies one more representation of Saint the emblem of the sculpted proskynetarion in the church of Saint George in the Castle of Geraki, being identified as the coat of arms George crossing the sea, next to an unidentified figure of of the Knights of Saint John d’ Alfero [Α. Λούβη-Κυζή, Το γλυπτό an equestrian saint.59 On the lower part of the obscure “προσκυνητάρι” στο ναό του Αγίου Γεωργίου του Κάστρου στο Γεράκι, mural and below the legs of the horse of Saint George, ΔΧΑΕ 25 (2004) 111–125] or of the Frankish landlords of Geraki. the sea waves and fish within a semicircular rocky land- The same motif is found in the church of Saint George in the tower at scape are similarly rendered as on the Sinai icon inv. no Kollakio of Rhodes. Cf. Α. Μ. Κάσδαγλη, Εισαγωγή στην Εραλδική της Ρόδου, Δελτίον Εραλδικής και Γενεαλογικής Εταιρίας της Ελλάδος 7 52 (1988) 39, dr 15, idem, Κατάλογος των θυρεών της Ρόδου, ΑΔ 49–50 For examples from the islands of Rhodes, Aegina and Chalki (1994–1995) Μελέτες, pl. 52, dr 79. v. Kατσιώτη, Άγιος Γεώργιος ο Πολιβαριότης, 539. 53 48 The checkerboard motif in blue and red colour decorates Ibid., 540. 54 the shield of the equestrian military saint in the church of Saint Elias at L. A. Hunt, A woman’s prayer to St Sergios in Latin Syria. Blat of Lebanon dated to the 13th c. (v. Immerzeel, Holy horseman and Interpreting a thirteenth-century icon at Mount Sinai, Byzantine and crusader banners, fig. 43). Modern Greek Studies 15 (1991) 96–145. 55 49 Folda, Mounted warrior saints, 96; Gerstel, Art and identity, Immerzeel, Holy horseman and crusader banners, 39–53. 268–271. 56 Folda, Mounted warrior saints, 91. 50 The angular black and white geometric design that fastens 57 Π. Επιτροπάκης, Γ. Κατσαλής, Ο ναός του Μιχαήλ Αρχαγγέ- around the belly of the horse of the mounted George at Diavaide occurs λου στο Μετόχι Αστράτηγος της Ιεράς Μονής Αγίου Γεωργίου Επανω- also in the Sinai bilateral icon image of Saints Sergius and Bacchus σήφη Ηρακλείου, in: Αρχαιολογικό Έργο Κρήτης 2. Πρακτικά της 2ης which has been identified as a crusader work (J. Folda, Crusader art. Συνάντησης, (Ρέθυμνο, 26–28 Νοεμβρίου 2010), ed. Μ. Ανδριανάκης, The art of the crusaders in the Holy Land, 1099–1291, Aldershot– Π. Βαρθαλίτου, Ι. Τζαχίλη, Ρέθυμνο 2012, 338. Burlington 2008, 122–125, fig. 81) as well as in the fresco of saint 58 My warmest thanks to the archaeologist Paris Epitropakis George on horseback with the child in the church of Saint Theodore from the Ministry of Culture for sharing information with me about at Bahdeidat of Lebanon (1250–1270) (Ιmmerzeel Holy Horseman and the church of Archangel Michael Astratigos as well as to George Crusader Banners, 55). It is also found in the figure of the mounted Katsalis from the Ephorate of Antiquites of Heraklion. For the Church Saint Demetrios in Panagia at Thronos, Amari (Spatharakis, Essenberg, of Archangel Michael v. Π. Επιτροπάκης, Μονόχωρες καμαροσκέπαστες Amari Province, 268, fig. 571). βασιλικές με προεξέχον χαμηλό εγκάρσιο κλίτος. Ιδιόρρυθμοι “σταυρεπί- 51 This element occurs in monumental decoration in Venetian- στεγοι” της πρώιμης Ενετοκρατίας στην Κρήτη, in: Ανταπόδοση, Μελέ- occupied Crete. It is depicted on the horse of the mounted George τες βυζαντινής και μεταβυζαντινής αρχαιολογίας και τέχνης προς τιμή in the church of Saint John at Trahiniako, Kantanos (1328–1329) της καθηγήτριας Ελένης Δεληγιάννη-Δωρή, Αθήνα 2010, 147. [Λασσιθιωτάκης, Εκκλησίες της Δυτικής Κρήτης (1970) pl. 67, fig. 59 Ανδριανάκης, Γιαπιτζόγλου, Χριστιανικά Μνημεία της Κρή- 283], of the Presentation at Kakodiki Selino (1331/2) [Θ. Ξανθάκη, Ο της, 179; Ι. Βολανάκης, Ο ναός της Αγίας Μαρίνας στον οικισμό της ναΐσκος του Ευαγγελισμού στο Κακοδίκι Σελίνου. Οι τοιχογραφίες και Παναγιάς Πεδιάδας Ηρακλείου, in: Μαργαρίται. Μελέτες στη μνή- η κτητορική επιγραφή, ΔΧΑΕ 32 (2011) fig. 6] of Archangel Michael μη του Μανόλη Μπορμπουδάκη, ed. Μ. Πατεδάκης, Κ. Γιαπιτζόγλου, at Kouneni, Kissamos (14th c.) [Κ. Λασσιθιωτάκης, Δύο εκκλησίες Ηράκλειο 2016, 229–230, figs 13–14. I would like to warmly thank του νομού Χανίων, ΔΧΑΕ 2 (1960–1961) pl. 16.2]. It is also identified Mrs. Helen Kanaki from the Ephorate of Antiquities of Heraklion who in the figure of a mounted soldier in the Crucifixion scene in the informed me of the scene. Also I would like to express my gratitude church of Saint John Alikianos, Kydonia Province dated to the 14th c. to Kostis Giapitzoglou from the Ephorate of Antiquities of Rethymnon (Spatharakis, Essenberg, Amari Province, fig. 670). for providing me with a photo of the scene from Moulefe. 149 ЗОГРАФ 41 (2017) [143–156]

Fig. 5. Mounted Saint George with the boy from Mytilene in the Church of Saint George at Apostoloi, Pediada District

150 Bormpoudaki M.: Figures of mounted warrior Saints in medieval Crete

357. Behind him, the badly preserved figure on horseback of the church, but also the style in which the figure has could be identified with Saint Demetrios, who is normally been rendered suggesting a Cypriot model, suggest that not depicted standing on the sea. Besides, the accounts of the painter in the village of Apostoloi assimilated foreign the Synaxaria do not confirm any kind of relation of Saint elements which are incorporated within the artistic lan- Demetrios with the sea. Given the differences between guage of the Eastern Mediterranean and particularly Cy- the two representations at Moulefe and Diavaide and de- prus. Moreover, the representation on the lower part of the spite the poor condition of the mural in the church of the scene with the continuous circles that are tangent to one Virgin, the presence of a common iconographic model another, possibly indicate the sea waves, although the poor in both churches is ascertained, on the one hand, by the preservation state of the paint layer and the absence of fish individual details, such as the saddle, the sea waves, the that would normally suggest marine environment do not hooves, the straps of the tack, the cantle that is decorated allow a positive identification. with pearls and, on the other hand, by the attempt to ren- The iconographic analysis of the representation der in a painterly manner the pair of the equestrian saints of Saint George as well that of Saint Demetrios at Dia- of which Saint George is depicted in the iconographic viade reflects the artistic environment of the Eastern type of Thalassoperatis. Nonetheless, it can be argued that Mediterranean,65 possibly that of Cyprus, where images of the joined depiction of the two saints standing on the sea equestrian military saints form part of the tradition of the waves at Diavaide possibly reflects the technical deficiency island.66 The type of Thalassoperatis appears on a total of of the provincial painter who wished to combine two dif- four representations on the island of Cyprus, both icons ferent models in a single representation. The depiction of and frescoes dating from the 13th to the 16th century,67 equestrian saints in alignment is presented in the Coptic although it cannot be excluded that a greater number of templon epistyle from the Convent of Saint Mercurius in images have been produced. It is possible that the image Cairo,60 in which Saint George Thalassoperatis is clearly of the mounted George from the church of Saint Nicholas distinguished from the rest of the represented figures tes Steges in Kakopetria (1300) can be identified with the of equestrian saints, as he is similarly encompassed in a type of Thalassoperatis since the figure of the equestrian vaulted compartment. The portrayal of Saints George and saint seems to have been combined with sea waves on the 68 Demetrios on horseback crossing the sea together in the lower part of the painting. The partly preserved mural church of Saint Marina and also at Diavaide enables us to of the equestrian saint from the church of Panagia Aphen- assume that it constitutes a local variation of the theme, trika (12th–13th c.) at the Monastery of Saint Chrysos- given that it appears in the two churches of Heraklion Pre- tom at Koutsovendis in Cyprus during the period of the Lusignans69 could possibly be considered as depicting the fecture and, based on the hitherto published monuments, 70 remains unknown in the iconography of the Eastern same subject matter. It has been maintained that a ma- rine environment is illustrated beneath the horse’s legs71 Mediterranean. Meanwhile, one more example of Thalas- although the poor state of preservation of the wall paint- soperatis could be traced on the depiction of Saint George ing does not allow reliable identification with the icono- on horseback (fig. 5) in the church of Saint George in the graphic type of Thalassoperatis. On the other hand, the neighbouring village of Apostoloi located in the Province 61 image of Saint George Thalassoperatis is also identified in of Pediada. Based on stylistic grounds the saint at Apos- the churches of Rhodes which however are later in date, toloi dates back to around the middle of the 14th century with the frescoes of Saint George Diasoritis in the church and up to 1360 and displays several iconographic features of Saint Nicholas at Fountoukli (1497/8)72 and of Saint that are also found in the fresco of Saint George Sfakiotis. George Kamariotis in the church of Saint Catherine (Ilk These include the pose of the saint with the leg thrust for- ward, the red billowing cloak, the posture of the horse, as 65 Images of equestrian military saints are usually depicted well as the tack. Furthermore, the relief fleur-de-lis motif in Cretan fresco paintings of the 13th, the 14th and the 15th c. and on the halo of the saint, which is encountered on Cypriot share a number of iconographic traits with the representation of the icons and has been associated with the Lusignan dynasty,62 Thalassoperatis from Diavaide, e.g. in the churches of Saint George and also the emblem of the yellow cross set against red at Sklavopoula, Selino (1290–1) [Λασσιθιωτάκης, Εκκλησίες της 63 64 Δυτικής Κρήτης (1970) 152, 154, figs 179–180; Spatharakis, Dated background in the triangular western shield of the Byzantine wall paintings of Crete, 12–13, fig. 6], Archangel Michael in saint that possibly recalls visually a crusader or the ktetor Sarakina, Selino dated to the early 14thc. (Borboudakis, Gallas, Wessel, Byzantinisches Kreta, 207, fig. 159) and in Saint George at Plemeniana, 60 Skalova, Gabra, Ιcons of the Nile Valley, 184–185. Selino (ibid., 218, 219). 66 61 Μ. Μπορμπουδάκη, Η τοιχογραφική διακόσμηση της εκκλησί- Folda, Mounted warrior saints, 91; C. Vanderheyde, La ας του Αγίου Γεώργιου στους Αποστόλους Πεδιάδος στο νομό Ηρακλείου, monture des saints cavaliers dans l’ art byzantin, in: Le cheval dans les Ιωάννινα 2014 (doctoral dissertation, University of Ioannina), 138–145. sociétés antiques et médiévales, ed. S. Lazaris, Turnhout 2012, 206–207. 67 62 Μ. S. Frinta, Relief decoration in gilded pastiglia on the Dimitrokallis, Saint Georges passant sur la mer, 363–364. 68 Cypriot icons, in: Πρακτικά του Δεύτερου Διεθνούς Κυπριολογικού Nicolaïdès, The murals of the narthex, 100, fig. 4.5. Συνεδρίου (Λευκωσία, 20–25 Απριλίου 1982) II, Λευκωσία 1986, 541; 69 Παπαγεωργίου, Εικόνες της Κύπρου, 77, 79, no 53. Ch. Chotzakoglou, Reconsidering the 13th century painting in Cyprus, 70 The Metropolitan Museum of Paphos purchases an icon of in: Maniera Cypria. The Cypriot painting of the 13th century between Saint George Perivoliatis dated to the 16th c. On the island of Cyprus are two worlds, ed. I. Eliades, Nicosia 2017, 33. found two more frescos depicting Saint George crossing the sea dated to 63 The emblem on the shield of Saint George resembles that of the 15th c., in the church of Saint Michael of Pedoulas and of the Cross the Ordre des Hospitaliers (Η. Kόλλιας, Η μεσαιωνική πόλη της Ρόδου at Agiasmati (v. Dimitrokallis, Saint Georges passant sur la mer, 369). και το παλάτι του Μεγάλου Μαγίστρου, Αθήνα 1994, 39; Κάσδαγλη, Κα- 71 Grotowski, The legend of St. George. Stylianou who first pub- τάλογος των θυρεών της Ρόδου, 214–219), however it is not the same. lished the painting do not refer to the depiction of the sea (v. A. Stylianou, 64 The triangular western shield is usually encountered in the J. A. Stylianou, The painted churches of Cyprus, 467, fig. 280, Χοτζάκογλου, monumental paintings of Crete. Cf. Ε. Θεοχαροπούλου, Οι τοιχογραφί- Βυζαντινή αρχιτεκτονική και τέχνη στην Κύπρο, 598, fig. 382). ες του ναού των Αγίων Γεωργίου και Κωνσταντίνου στον Πύργο Μονο- 72 Μ. Αχειμάστου-Ποταμιάνου, Οι τοιχογραφίες της οικογένει- φατσίου, ΑΔ 57 (2002) Μελέτες, 293. ας Βαρδοάνη στον Άγιο Νικόλαο στο Φουντουκλί της Ρόδου, in: Θωρά- 151 ЗОГРАФ 41 (2017) [143–156]

Mihrab) in the city of Rhodes (end of 14th/ beginning of Saint George the strong linearity, the two-dimensional 15th c.)73 being prime examples. drawing style as well as the motionless and austere pose In the accompanying inscription at Diavaide Saint of the saint bears similarities to images from monumen- George bears the epithet CΦΑΚΙΟΤΗC (Sfakiotis). It de- tal painting of Crete dating to the 13th century, such as notes a toponym and is linked with the region of Sfakia in the equestrian Saint George from Sklavopoula in Seli- the Province of Selino in the southern part of the island, no (1291) (fig. 2) and that from Panagia Kera, at Mira- which presumably is the place of origin of the dedicator bello Province (13th c.).77 It should be noted, however, (or dedicators) of the church. As far as I am aware, the that even though the technique which is employed on epithet Sfakiotis is not encountered in any other represen- the garments and the anatomical details shown through tation in Crete or elsewhere, but is found as a surname in the robes is purely linear, on the flesh parts the figure of Venetian documents.74 This hagionym is also referred to George (fig. 6) is enlivened by the use of green shadow in the dedicatory inscription on the west arch that faces on the cheeks, ochre for the brighter portions and a few westwards in the church of Saint George. In the ktetoric white highlights, thus indicating that the mural at Dia- inscription the date when the building was erected and vaide should be dated after the fresco of Saint George at decorated has not survived. On the contrary, the names Sklavopoula (firg. 2) and in particular around 1300 up of the donors Markos, Georgios and their spouses are to the first decade of the 14th century, along with the still legible: ΟικοΔΟΜΗΘ[η και εικ]ΟΝΟΓΡΑΦΗ[θη rest of the decoration at the church of Sfakiotis. Mean- ο πά]ΝCEΠΤΟC [και θείο]C NAOC TOY AΓΙΟΥ while stylistic affinities can be traced with the icons of Κ[αι] ΕΝΔ[όξου μεγαλο]ΜΑΡΤΙΡΟC ΓΕΩΡΓΙΟΥ ΤΟΥ Saints Sergius and Bacchus on horseback and the one of CΦΑΚ[ιώτη....] K[αι] MAΡΚΟΥ ΚΕ ΤΗC CΗΝΒΙΟΥ ΑΥ- Saint Sergius, both in the collection of Saint Catherine at ΤΟΥ. ΓΕΩΡΓΙΟΥ ΚΕ ΤΗC CΗΝΒΙΟΥ ΑΥΤΟΥ. ΑΜΗΝ Mount Sinai, dated to the middle of the 13th century and ΜΗΝ[ί...]Κ. ΕΕ...Ε..75 Meanwhile, a graffito with the date attributed to the so called “workshop of the soldier saints”, 1414 on the north wall establishes a terminus ante quem which is believed to reveal a number of similarities with for the execution of the murals of the church. Since the Cypriot painting.78 Although the images are dissimilar in last letters of the inscription that would refer to the year in details and quality, with the icon of Saint Sergius revealing which the church was decorated have not been preserved, a superior artistic quality, the figures in the two icons as the wall paintings at Diavaide can be dated, judging solely well as the fresco at Diavaide have heads which are large by stylistic criteria, to around 1300.76 Hence, we can ob- in relation to their short and two-dimensional bodies. serve that despite the damages which the paint layer has The faces, sophisticated and elegant, are further enhanced suffered in places and the disparity in the way the scenes with a linear treatment revealing the facial features and in have been treated that could be attributed to the presence particular the eyes. Meanwhile the rendering of the horses of two painters, at Diavaide shading has been employed which is, however, characterized by a rather flattened and in combination with the linear rendering, particularly of schematic rendering at Diavaide, displays their close re- details, especially for the modeling of the saints of the semblance. At the same time the image of our Saint finds lower zone. Nevertheless, the linear treatment has been close parallels with the figure of Saint George on horse- decreased compared to earlier paintings that belong to back from Panagia Asinou in Cyprus dating possibly to the 13th century. The faces, which are marked by contour the late 12th century,79 regarding the design of the details lines, are modelled with brown underpaint with superim- of the face with the large almond eyes and the flat and lin- posed broad brushstrokes of ochre for rendering brighter ear modelling. Yet, besides the above mentioned stylistic passages, restricted areas of green shadows, whereas a few affinities which could be attributed to a Cypriot model, highlights of white paint emphasize the linear features. the fresco at Diavaide reveals clearly that it was created by The figures are stiff, portrayed in restrained postures and a local Cretan artist. movement, and cannot be compared with the figures in Based on the aforementioned the following remarks monuments of the mid-14th century in Cretan painting, can be extracted: The image of Saint George Thalass- shown full of vitality and vibrancy. Meanwhile, concern- operatis at Diavaide is rare in the painting of Venetian- ing the style in the firmly frontal figure of the equestrian occupied Crete and constitutes one of the earliest repre- sentations of the subject in the Greek lands/ territories, κιον. Αφιέρωμα στη Μνήμη του Παύλου Λαζαρίδη, Αθήνα 2004, 259, predated only by the icon of Saint George of Cappadocia fig. 84b. dating to the 13th century at the church of Saint Marina 73 Archontopoulos, Ο ναός της Αγίας Αικατερίνης, 138–140, Philousa, now exhibited at the Byzantine Museum of the 153–155. 74 It is interesting that a person named Georgios Sfakiotis ap- Metropolis of Paphos. Two more wall paintings of Saint pears in a contract of 1325 into which he had entered with the Sinaitic George crossing the sea have been recorded in the art of Monastery regarding a pasture that he rented from the establishment the Cretan countryside, at the church of Saint Marina in for a year, on condition that the lease would be extended the following the settlement Panagia in Hani Moulefe of Arkalochori year (Χ. Γάσπαρης, Η γη και αγρότες στη μεσαιωνική Κρήτη, 13ος–14ος αι., Αθήνα 1997, 120, n. 33). 75 Δ. Τσουγκαράκης, Ε. Αγγελομάτη-Τσουγκαράκη, Ανέκδοτα 77 Μπορμπουδάκης, Παναγιά Κερά, fig. 26. χαράγματα και επιγραφές από ναούς και μονές της Κρήτης, Μεσαιωνι- 78 D. Mouriki, Thirteenth-century icon painting in Cyprus, The κά και Νέα Ελληνικά 9 (2008) 328. Griffon 1–2 (1985–1986) 69–74; Folda, Mounted warrior saints, 90–93. 76 Manolis Borboudakis, who described the style of the paint- 79 Mouriki, Thirteenth-century icon painting in Cyprus, 36; S. ing decoration as provincial, dated the frescoes at the end of the 13th/ Kalopissi-Verti, The murals of the narthex. The paintings of the late beginning of the 14th century (Μπορμπουδάκης, 13η Εφορεία Βυζα- thirteenth and fourteenth centuries, in: Asinou across time. Studies in ντινών Αρχαιοτήτων, 889). Andrianakis and Giapitzoglou reached also the architecture and murals of the Panagia Phorbiotissa, Cyprus, ed. A. to the same conclusion. Cf. Ανδριανάκης, Γιαπιτζόγλου, Χριστιανικά Weyl Carr, A. Nicolaïdès, Washington, D.C. 2012, 198; Nicolaïdès, The 152 Μνημεία της Κρήτης, 179. murals of the narthex, 93–101, fig. 4.1. Bormpoudaki M.: Figures of mounted warrior Saints in medieval Crete

Fig. 6. Portrait of the mounted Saint George from the Church of Saint George Sfakiotis at Diavaide, Pediada Province and the church of Archangel Michael, Astratigos, depend- the Eastern Mediterranean, possibly via Cyprus. The icon ency (metochion) of the Holy Monastery of Saint George depicts the Virgin Dexiokratousa with figures of saints on Epanosifis, all dating from the beginning of the 14th cen- the carved frame, and, according to Nano Chatzidaki, it tury. The representation in the church of Saint George at is believed that it was produced in Crete during the 13th Apostoloi in Pediada cannot be safely identified, yet it be- century by a painter who maintained obvious ties with the longs to the depictions of the miracle of the rescue of the crusader environment. In addition, the abovementioned young captive by Saint George, which is found in approx- figure of Saint George on horseback from the church at imately thirteen churches of the island and in a limited Apostoloi in Pediada Province (fig. 5) seems to have been number of Cretan icons. Based on the iconographic and produced by a painter who reproduced a Cypriot mod- stylistic analysis that was attempted in this study, it is be- el or whose origins were traced in the Eastern Mediter- lieved that the model of the mural should be sought in the ranean, possibly Cyprus, to which a large number of the artistic environment of the Eastern Mediterranean, where workshops of the East had been relocated shortly before, the subject of the equestrian military saints was particu- but also after the fall of Acre in 1291.82 It is also possible larly widespread,80 and possibly in an icon of the 13th that artists from the East were active in Venetian Crete century from Cyprus or by a Cypriot painter. Meanwhile too. Information on the import of icons or the arrival mounted warrior saints, bearing iconographic similarities of artists from Cyprus or the Eastern Mediterranean in to the figure of George at Diavaide are encountered in a Crete during the time period have poorly been attested by series of churches on the island of Crete dated to around the sources as far as I am aware, except in the case of the 1300 and during the 14th century. Cypriot painter Baylianus Catellanus who was traveling to Crete from Cyprus with the Constantinopolitan artist The representation at Diavaide demonstrates the fa- George Chryssokefalos in 1357.83 Meanwhile, the close miliarity of our painter with the art of the Eastern Medi- connections between the Monastery of Sinai, Cyprus and terranean and particularly Cyprus, whereas the possible Crete is suggested by the bull of Pope Honorious III of circulation of such works in Venetian-occupied Crete can- 1217 addressed to Symeon in which all the possessions not be excluded. The icon of a Cretan collector, now kept 81 at the Benaki Museum, leads us to this assumption, as it 82 suggests that the icon was influenced by the workshops of Mouriki, Thirteenth-century icon painting in Cyprus, 71; D. Jacoby, The eastern Mediterranean in the later Middle Ages. An island world?, in: Byzantines, Latins and Turks in the eastern Mediterranean 80 Folda, Crusader art, 122–127; idem, Mounted warrior saints, 91. world after 1150, ed. J. Harris, C. Holmes, E. Russel, Oxford 2012, 97; A. 81 Ν. Chatzidaki, A Byzantine icon of dexiokratousa Hodigitria Weyl Carr, Iconography and identity. Syrian elements in the art of crusader from Crete at the Benaki Museum, in: Images of the Mother of God. Cyprus, Church History and Religious Culture 89/1–3 (2009) 127–151. Perceptions of the Theotokos in Byzantium, ed. M. Vassilaki, London 83 M. Constantoudaki-Kitromilides, Viaggi di pittori tra 2005, 337–350; eadem, Ο χαρακτήρας της ζωγραφικής εικόνων από Costantinopoli e Candia. Documenti d’ archivio e influssi sull’ arte (XIV– λατινοκρατούμενες περιοχές της ηπειρωτικής Ελλάδας και των νησιών, XV sec.), in: Βενετοκρατούμενος Ελληνισμός. Άνθρωποι, χώρος, ιδέες in: Η βυζαντινή τέχνη μετά την τέταρτη Σταυροφορία. Η τέταρτη (13ος–18ος αι.). Πρακτικά Διεθνούς Επιστημονικού Συνεδρίου (Βενετία, Σταυροφορία και οι επιπτώσεις της. Διεθνές Συνέδριο (Ακαδημία Αθηνών, 3–7 Δεκεμβρίου), ed. Χ. Μαλτέζου, Α. Τζαβάρα, Δ. Βλάσση, Venezia 9–12 Μαρτίου 2004), ed. Π. Λ. Βοκοτόπουλος, Aθήνα 2007, 127–128. 2009, 709–831, 711. 153 ЗОГРАФ 41 (2017) [143–156]

of the Monastery in the Sinai Peninsula, Egypt, Palestine, Acknowledgements Syria, Crete, Cyprus and , were placed un- der his protection.84 Therefore one could not exclude that I am grateful to Mrs Acheimastou-Potamianou, Cypriot icons were imported from Sinai to Crete. Nonethe- Honorary Director of the Byzantine Museum of Athens, less, the evidence, which has been presented so far, points for her helpful advices and her critical comments on the to this speculation. In fact, the new geopolitical conditions text. I would also like to warmly thank my friend and that emerged from the dissolution of the crusader and colleague Mrs Gelly Katsioti from the Ephorate of Antiq- Frankish kingdoms of the East in 1291 reinforced the posi- uities of Rhodes for her diligent reading and helpful re- tion of Candia within the network of maritime trade routes marks. This paper was presented during the 12th Inter- of the East and contributed to the strengthening of contacts national Congress of Cretan Sudies held in Heraklion in with the Eastern Mediterranean and Cyprus in particular. September 2016. The harbour of Candia as a major station for the transit trade that was conducted across the Eastern Mediterranean played a pivotal role in the transport of commodities, luxu- rious goods, but also people to and from Constantinople, Πεπραγμένα του Γ΄ Διεθνούς Κρητολογικού Συνεδρίου (Ρέθυμνον, 85 18–23 Σεπτεμβρίου 1971), Αθήνα 1973, 67–175; Χ. Γάσπαρης, Θα- Cyprus, Rhodes and the Middle East, thereby turning λάσσιες μεταφορές μεταξύ των λιμανιών της Κρήτης (1326–1360), in: Crete into a hospitable place. Πεπραγμένα του ΣΤ΄ Διεθνούς Κρητολογικού Συνεδρίου (Χανιά, 24–30 Αυγούστου 1986) II, Χανιά 1991, 97–101; Χ. Μαλτέζου, Η Κρήτη στη 84 Mouriki, Thirteenth-century icon painting in Cyprus, 73. διάρκεια της περιόδου της Βενετοκρατίας (1211–1669), in: Κρήτη. Ιστο- 85 For the trade that took place between Crete and the Eastern ρία και Πολιτισμός II, ed. Ν. Παναγιωτάκης, Ηράκλειο 1985, 139–142; Mediterranean world v. Α. Luttrell, Crete and Rhodes, 1340–1360, in: Jacoby, The Eastern Mediterranean, 97, 103.

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Фигуре светих коњаника на средњовековном Криту. Представа светог Георгија „Таласоператиса“ на коњу у Диаваидеу у Ираклиону

Марија Борбудаки Музеј византијске и хришћанске уметности, Атина

У цркви Светог Георгија Сфакијског у пред- ра Епаносифиса посвећеног св. Георгију у Агалантесу, грађу насеља Диаваиде, у критском округу Ираклион, такође у округу Ираклион, где се налазе сви примери највећу пажњу привлачи монументална представа на тог иконографског типа. Штавише, у сеоској цркви јужном зиду цркве, на којој су приказана два света Свете Марине надомак села Панагија, код хана Му- ратника на коњима у галопу, свети Георгије и свети лефе у Аркалохорију, на фрескама из прве половине Димитрије, усмерени налево. У седлу иза светог Геор- XIV века такође је приказан свети Георгије како пре- гија налази се још један млади јахач, а елемент воде лази море, а поред њега налази се фигура још једног у доњем делу сцене повезује епизоду о ослобађању светог коњаника, чији идентитет није утврђен. Ико- роба и ређу верзију према којој је свети ослободилац нографска и стилска анализа указују на то да пред- прешао море, па се отуд назива „таласоператис“ (онај става светог Георгија и светог Димитрија у Диаваидеу који је прешао море). Приказима Таласоператиса на одражава схватања и обичаје уметничке средине источ- које наилазимо у уметности руралног Крита треба ног Средоземља, могуће Кипра, где је тема светих додати и сцену из цркве Светог арханђела Михаила коњаника била посебно распрострањена. у Астратигосу са почетка XIV века, метоха манасти-

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