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327

Titos Papamastorakis

THE PREFIGURATIONS OF THE VIRGIN AND THE EXALTATION

OF THE CROSS AS PARTS OF AN ORIGINAL ICONOGRAPHIC
CYCLE IN THE CHURCH OF ST. GEORGE AT VIANNOS, CRETE

L he church of St. George at Viannos in Crete belongs to

the one-aisled type, and its interior is decorated with
wall-paintings. According to a surviving inscription, it
was dedicated to St. George by the patron George Damoro, who employed the priest and painter Ioannis
Mousouros to execute the wall-paintings in 1401. Those
adorning the western half of the vault are of particular
importance. The iconographie programme on the north
side consists of the following subjects: a) Four small
scenes depicting the Creation and the Fall of Man. b)
Prfigurations of the Virgin. The latter comprise three
subjects: the Prophets on High, the Seven-Branched
Candlestick and the Ark of the Covenant, organized
around the figure of the enthroned Virgin holding the
infant Christ, with the patron in an attitude of proskynesis at the bottom left. This is unique in Palaeologan
iconography, c) The Exaltation of the Cross. The lower
register of this representation includes, in addition to
the Bishop raising the Cross, groups of bishops, clergymen and emperors. The upper register depicts the Exaltation of the Cross in a Glory held by angels, and the
Throne of God with the Holy Spirit. This composition
is also unique in Palaeologan painting from an iconographie point of view. The south side has the Tree of
Jesse and the Crucifixion.
The above representations are closely linked together in
a dialectic relationship, and should be seen in the context of the illustration of the story of mankind: the creation, the fall, and salvation through the Incarnation and
sacrifice on the Cross. The cycle is completed by the
return of man to paradise through the elevation and
exaltation of the Cross.
The iconographie programme was without doubt con-

328

ceived by the patron and efficiently realized by the painter. Its specific ideological structure was probably based
on the hymns of Romanos Melodos and the homilies of
Andreas of Crete and Philotheos Kokkinos, which refer
to the Cross. A prominent feature of these texts is. the
cycle between the fall and salvation with the Cross as
protagonist, integrating all the above representations into an iconographie unity.
Careful study of the iconographie symbols in the Prfigurations of the Virgin and the Elevation and Exaltation of the Cross confirms that there was an intention to
communicate ideological and political messages. More
specifically, the Prfigurations themselves, taken as a
whole, give expression to the idea of the incorruptible
capital of the Byzantine empire, which was under God's
protection. Furthermore, the presence of the bishops
and emperors in the representations of the Elevation of
the Cross symbolizes the Greek Orthodox Church and
the Palaeologan dynasty that is, the religious and secular authorities respectively. The relationship in which
the patron stands to the Prfigurations of the Virgin
shows his attachment to Constantinople, and the relationship of the clergy to the bishops is an assertion of
the dependence of the Cretan clergy on the Greek Orthodox Church. The empty throne with the Holy Spirit
in the representation of the Exaltation of the Cross
symbolizes Greek Orthodox doctrine, in contrast with
the Catholic stress on the Filioque.
The patron and ideological author of this iconographie
programme succeeded in giving visual expression to his
anti-Catholic, anti-Union views in a period and in a
region in which the dispute about the Union of the
Churches was very intense.