DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1004#0281
238 CHURCHES OF ARTA.
The churches of Arta arc remarkable for their size
and beauty; that of the Madonna Paregoritza, or of
Consolation, is one of the oldest and most magnificent
among them: the interior of its principal dome i
inlaid with gilded and painted mosaic in the Byzantin
style, from the centre of which hangs a tall
branching candelabrum. In its pavement is an
inscription of the early times of Ambracia,
too mutilated to be transcribed, and ^g
containing only a few syllables of
proper names, which, like those of
greater men, who have been deprived
of immortality by some evil chance,
have been broken off from after-
ages only by a few inches.
Another church of some
interest is that of St. Theo-
dora: it contains the
tomb of that saint, _..:.-"
who is described as one of the Comnenian family, and foundress of a
monastery dedicated to the Virgin. On the pannelling between the
nave and the chancel, and above the three doors which lead to the latter,
are whole-length portraits inlaid with gilding in a gaudy style, as is
usually the case in Greek churches of large dimensions: the figures are
thirteen in number, and placed as follows:—At each of the two extremities
are two apostles; nearer to the centre, on each side, are two Evangelists;
corresponding to each other, are St. Peter and St. Paul; next to the former
is the Virgin, and to the latter, St. John the Baptist; and in the centre of
them all, is the person of their Lord. The order in which they are arranged
is that which is usually adopted in such paintings by the Greek church. On
the walls of the Triforium are portraits of male and female saints. It is
remarkable, that while the former face the spectator, the latter are seen only
in profile. This method of representation seems to have derived its origin
from the opinion, that while the faith of a Christian man should exhibit
itself in bold and intrepid bearing, the rehgion which best 1
female character is of a retiring and unostentatious nature.
The churches of Arta arc remarkable for their size
and beauty; that of the Madonna Paregoritza, or of
Consolation, is one of the oldest and most magnificent
among them: the interior of its principal dome i
inlaid with gilded and painted mosaic in the Byzantin
style, from the centre of which hangs a tall
branching candelabrum. In its pavement is an
inscription of the early times of Ambracia,
too mutilated to be transcribed, and ^g
containing only a few syllables of
proper names, which, like those of
greater men, who have been deprived
of immortality by some evil chance,
have been broken off from after-
ages only by a few inches.
Another church of some
interest is that of St. Theo-
dora: it contains the
tomb of that saint, _..:.-"
who is described as one of the Comnenian family, and foundress of a
monastery dedicated to the Virgin. On the pannelling between the
nave and the chancel, and above the three doors which lead to the latter,
are whole-length portraits inlaid with gilding in a gaudy style, as is
usually the case in Greek churches of large dimensions: the figures are
thirteen in number, and placed as follows:—At each of the two extremities
are two apostles; nearer to the centre, on each side, are two Evangelists;
corresponding to each other, are St. Peter and St. Paul; next to the former
is the Virgin, and to the latter, St. John the Baptist; and in the centre of
them all, is the person of their Lord. The order in which they are arranged
is that which is usually adopted in such paintings by the Greek church. On
the walls of the Triforium are portraits of male and female saints. It is
remarkable, that while the former face the spectator, the latter are seen only
in profile. This method of representation seems to have derived its origin
from the opinion, that while the faith of a Christian man should exhibit
itself in bold and intrepid bearing, the rehgion which best 1
female character is of a retiring and unostentatious nature.