Church of Panagia tou Arakos

Lagoudera, Cyprus

The church of Panagia tou Arakos is inscribed on the UNESCO World Heritage List, which includes nine other painted Byzantine churches of the Troodos range. Panagia tou Arakos used to be the katholicon (monastery church) of a monastery bearing the same name, which seems to have been built during the second half of the 12th century, when monastic life was flourishing in Cyprus. When Vassili Barsky, a Russian monk, visited the island in 1735, the monastery was almost abandoned and was only inhabited by three monks. According to other written sources, the monastery survived until the first decades of the 19th century. Today, apart from the church, a two-storeyed monastery building survives to the north, used as the priests' residence. It is not clear however, whether it was intended for the church to be a monastic one. Initially the church may have been a private chapel.

The church is a single-aisled domed structure with a cross-shaped roof. Sometime, probably in the 14th century, it was covered with a protective timber roof with flat tiles. The steep-pitched roof extends beyond the main structure on three sides, thus forming a portico with latticed woodwork. The dome is covered by a separate wooden roof, a feature which is unique amongst the churches of Troodos. During the 18th century, the west wall was demolished and the church was extended.

The entire interior of the church is painted. According to an inscription above the north entrance, the church was decorated with the donations of Leon Afthentis in December 1192. The paintings are of exceptional quality and follow the late Comnenian style constituting the most complete series of frescoes of the Middle Byzantine period in Cyprus. Both the style and the iconographic programme express the trends of the art of Constantinople. Bearing in mind that almost nothing survives from this period in the Empire's capital, one realises how important this monument is in the history of Byzantine art.

It is believed by some that the painter is Theodoros Apsevdis, the same artist who in 1183 painted the Enkleistra of Agios Neophytos in Pafos. Two portable icons, which represent Jesus Christ and Panagia Arakiotissa and are exhibited in the Byzantine Museum of the Archbishop Makarios III Foundation in Lefkosia, come from this church and are attributed to the same painter.

The frescoes in the apse of the bema are of a different style to those in the rest of the church, and it is believed that they were painted by another artist a little earlier than 1192. A rarity worth noting is the depiction of the seven Cypriot saints painted on the semi-cylindrical apse wall. The Virgin on the blind arch above the north entrance and some other scenes were painted in the 14th century. The church was decorated for the last time in the 17th century and it is during this last phase that the Saints on the exterior north wall and the wooden iconostasis, which dates to 1673, were created.

References:

Comments

Your name



Details

Founded: 12th century
Category: Religious sites in Cyprus

More Information

www.mcw.gov.cy
whc.unesco.org

Rating

4.7/5 (based on Google user reviews)

User Reviews

Nikolaos Tziolas (16 months ago)
very nice !
Nikolaos Tziolas (16 months ago)
very nice !
Andreas Sevastides (17 months ago)
Nice places for peace and relaxation
Andreas Sevastides (17 months ago)
Nice places for peace and relaxation
Benjamin Jackson (22 months ago)
The architecture of the church is very interesting. Especially the low roof, which is probably the first thing that'll come to your mind every time you mention it or think about it.
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Luxembourg Palace

The famous Italian Medici family have given two queens to France: Catherine, the spouse of Henry II, and Marie, widow of Henry IV, who built the current Luxembourg palace. Maria di Medici had never been happy at the Louvre, still semi-medieval, where the fickle king, did not hesitate to receive his mistresses. The death of Henry IV, assassinated in 1610, left the way open for Marie's project. When she became regent, she was able to give special attention to the construction of an imposing modern residence that would be reminiscent of the Palazzo Pitti and the Boboli Gardens in Florence, where she grew up. The development of the 25-hectare park, which was to serve as a jewel-case for the palace, began immediately.

The architect, Salomon de Brosse, began the work in 1615. Only 16 years later was the palace was completed. Palace of Luxembourg affords a transition between the Renaissance and the Classical period.

In 1750, the Director of the King's Buildings installed in the wing the first public art-gallery in France, in which French and foreign canvases of the royal collections are shown. The Count of Provence and future Louis XVIII, who was living in Petit Luxembourg, had this gallery closed in 1780: leaving to emigrate, he fled from the palace in June 1791.

During the French Revolution the palace was first abandoned and then moved as a national prison. After that it was the seat of the French Directory, and in 1799, the home of the Sénat conservateur and the first residence of Napoleon Bonaparte, as First Consul of the French Republic. The old apartments of Maria di Medici were altered. The floor, which the 80 senators only occupied in 1804, was built in the middle of the present Conference Hall.

Beginning in 1835 the architect Alphonse de Gisors added a new garden wing parallel to the old corps de logis, replicating the look of the original 17th-century facade so precisely that it is difficult to distinguish at first glance the old from the new. The new senate chamber was located in what would have been the courtyard area in-between.

The new wing included a library (bibliothèque) with a cycle of paintings (1845–1847) by Eugène Delacroix. In the 1850s, at the request of Emperor Napoleon III, Gisors created the highly decorated Salle des Conférences, which influenced the nature of subsequent official interiors of the Second Empire, including those of the Palais Garnier.

During the German occupation of Paris (1940–1944), Hermann Göring took over the palace as the headquarters of the Luftwaffe in France, taking for himself a sumptuous suite of rooms to accommodate his visits to the French capital. Since 1958 the Luxembourg palace has been the seat of the French Senate of the Fifth Republic.