Polish Archaeology in the Mediterranean (15.2003(2004))

BANGANARTI

SUDAN

eagle with spread wings, its back turned to
the left. The yellow mantle thrown across
the right arm is pinned on the left
shoulder. It is decorated with an oblique
dark-brown cross-hatching and rows of
white dots. A blue band runs at the bottom
edge. Around the neck there is a maniakion.
The ruler wears a horned crown with a
bucranion in front of it (cf. Fig. 4). The
bucranion is attached to the band placed
on the blue cap. The band of the crown and
the horns are yellow, decorated with round
blue and white elements contoured with a
dark brown line.
Round hoops with hanging ornaments
decorate the ears of the figure.
The representation is very dignified.
The proportions of particular elements are
regular. There is a note of refined beauty in
the features of the face. The robes are rich
but without an excess of ornamentation.
The yellow elements of the crown are
presumably meant to be golden and the
round motifs depict jewels.
The manner of drawing is neat and
precise, especially in the part of the crown
and the eagles in the medallions decorating
the outer robe. The painting style
resembles that already observed in the
depiction of the anargyroi from Chapel 13 ■
It is likely that the two murals were
created at about the same time. The
rendering of the robes, on the other hand,
evokes the images from Chapels 2 and 3.
The image of the saint on horseback is
on the same coating of plaster as the ruler
and the manner of painting of the two
figures appears similar. Again, it is possible
that they were done at about the same time.
To the right of the ruler there is the
silhouette contour of yet another figure of
much smaller size. The painting layer is so
washed out here that nothing but the
contour of a frontally standing figure
survives. The right arm is bent in front of

the figure; the left is raised (perhaps
holding a palm branch). The figure appears
to be dressed in a long robe and a turban or
cap on the head. This could have been the
image of the donator of the entire
composition, especially as the legend above
the head reads: Gase, son of Mara {»}.
The scene painted on the pilaster in the
entrance to Chapel 20 depicted a Nubian
standing under a cross. The cross is raised
on a three-step platform. The upper parts
have been damaged but the little bells
suspended between its arms have survived.
On the west wall of Chapel 21 the bottom
of a composition was uncovered, depicting
the lower part of a warrior saint and two
figures at his feet (Fig. 6). The saint is
shown frontally, standing on spread legs.
His feet are clad in high military boots
reaching above the knee. He is dressed in
a short tunic that is richly draped at the
bottom, presumably serving as an under-
tunic for armor, and a long mantle thrown
over it. With the lance in his hand he is
spearing a man lying beneath his left foot.
The head of the man is in profile and lifted
toward the saint. There is blood gushing
from his mouth. His feet and hands are
thrown apart in a dramatic gesture, but
there is a strong impression as if the body
was falling through space. It is difficult to
describe the dress as the painting layer here
is quite worn, but the man seems to have
had a loincloth. There may be something
like a chain shackling his feet.
Another male figure shown below the
saint’s left foot is depicted in a wide-
mouthed vessel. Only the head, shown in
profile, and torso can be seen. The man
appears to be looking toward the saint and
raising his right arm, apparently pointing
to the warrior saint. The composition is of
interest in terms of the iconography, as it is
the second such image known from Nubia.
A scene depicting a man in a vessel at the

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