(II)*

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,

UDC 75.033.052(497.11 ia)

75.025.21
DOI 10.2298/ZOG1135145V

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This paper, as the second in a series with the same name, ,
represents a continuaton of attempts at studying the de-
stroyed parts of the wall painting of the Ascension church in
.
ia on the basis of old research documentation, primarily
drawings and photographs. , ,
Keywords: monastery of ia, destroyed painting, research
documentation, iconography, style of painting .
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** dvojvodi@f.bg.ac.rs
, , 1
. , (I),
. , 34 (2010) 7277.
, 2
. -,
. , in: . , ed. .
, 2000, . 7; . ,
1925. -
, -
, 7 (2006), . . 39.
, , . 3
S. Tomekovi, Les saints ermites et moines dans la peinture
, murale byzantine, Paris 2011, 41.
(. 1, . 1), .
4
Ibid. 5 Ibid., 95. 6 Ibid.
7
,
, - XIV XV . Cf. D.
(. 2, 3). Mouriki, Les fresques de lglise de Saint-Nicolas Platsa du Magne,
Athns 1975, 35, fig. 102; E. Constantinides, The Wall Paintings of the 145
 35 (2011) [145154]
-
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-
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.
XIII
,11
XIII e -
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Fig. 1. West wall of the exonarthex in ia with numbers
designating the positions of the fragments of frescoes Panagia Olympiotissa at Elasson in Northern Thessaly, Athens 1992, Vol.
I, 221, Vol. II, 92, 225; etc.
(based on drawing by M. anak-Medi) 8
Tomekovi, Les saints ermites et moines, 45, 95; . -
,
, , 33 (1994) 169; . , , -
- 1998, 127.
. 9
,
,
-
(f. -,
- , 169, . 1). ,
.8 , , (cf.
- . , XIV , 1980, 77,
. 14, . 52).
. - 10
, -
, E-.
, Cf. . , XIV , 11
(1980) 76, . 1; , , 77, . 14,
. 52; , , 203204, . 111; Tomekovi, Les
.
saints ermites et moines, 3536, 95, fig. 13, 21, 54, 103, 110a.
, 11
. , , 1971, 20, 82, . XL; . -
. , , , 1977, 95, . 71; . ,
- . , 1984, 28; . Demus, The mosaics
of San Marco in Venice II/2, Washington 1984, fig. 26; . ,
.
XIII . ,
8 (1997) 4950, . 2; I. Sinkevi, The Church of St. Panteleimon
- at Nerezi. Architecture, Programme, Patronage, Weisbaden 2000, 61, fig.
, LI; S. Brodbeck, Les saints de la Cathdrale de Monreale en Sicilie, Rome
2010, 646649.
. 12
-
. -
, (Tomekovi, Les saints ermites et moines, 42). ,
, -
(1294/1295) . -
T . Cf. V. J. Djuri, Les
.9 , - conceptions hagioritiques dans la peinture du Protaton,
, - 8 (1991) fig. 3.
. 13
, , -
f. D. Talbot Rice, The Church of Haghia Sophia at
Trebizond, Edinburgh 1968, 134, fig. 96.
, 14
. zali, Starine u Dobrunu, Glasnik hrvatskih zemaljskih
- muzeja u Sarajevu 53 (1941) 115, 116; . , ,
, .10 , 1973, . 57; . . , XIV .
, 17 (1981) 101, . 29; . , .
- , 1988, 109, . 110; S. Tomekovi, Le
. portrait dans lart byzantin: Exemple deffigies de moines du Mnologe
de Basile II Deani, in: XIV
, - , ed. . . , 1989, 127, . 13; . , -
. , 1990, 37; Tomekovi, Les saints ermites
et moines, fig. 7172.
15
. . , . , . , ,
146 . - 1990, 160, . 99; J. Prolovi, Die Kirche des Heiligen Andreas
 .: (II)
.16 , -
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(. 1, . 2). . 2.

- Fig. 2. Remains of the wall painting on the southern part of the
, , , , west wall of the ia exonarthex
(. 6). , ,

. - , <> <>
<>. Cf. , XIV , 76,

. 1; . , . , 1993, 36.
#eod<&ry> 17
-
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, (. 7). .
- ,
.
. , 18
cf. Tomekovi, Le portrait dans
lart byzantin, 123124, 126; -,
,20 - , 167168; . . ,
, , , in: idem,
, 2008, 7881.
, . 19

, ,
- f. , . , . , , 1990,
, 160, . 99; . , . -
, 45 (19681971) 235236.
.21 20

cf. . ,
an der Treska, Wien 1997, 177, sch. 4, Abb. 76.
, in: -
( ), . . , 1995, 594597, 621; idem, -
16
- . , in: .
. , 1995, 198204.
, , e . 21

, - 147
 35 (2011) [145154]

. 3.

. 5. ,
Fig. 3. Drawing of the remains of the wall painting on the

southern part of the west wall of the ia exonarthex
Fig. 5. St. Antony the Great and St. Paul of Thebes, Graanica

. , ,

. , -
,
, -

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.22

-
.23 -
, ,
, ,
, -
, ,
.24

, -
.
cf. A. Trifonova, The iconographical type of saints Theodore
Teron and Theodore Startelates facing each other and its diffusion during
the Byzantine and post-Byzantine period, 34 (2010) 5364.
22

cf. M. , -
, 2009,
177178, n. 335
. 4. , 23
Tomekovi, Les saints ermites et moines, 272.
24
. , . , 1985, 12, 25,
Fig. 4. St. Euthymios the Great and St. Paul of Thebes, 32; . , ,
148 church of the Virgin Hodegetria in Pe 1998, 307308; , (I), 72.
 .: (II)

. 7. ,
. 6
Fig. 7. Remains of the epigraph above the representation
of St. Theodore, detail from the fig. 6

,26

.27
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, (. 1, . 3).
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-
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. 508).
( , . . 3688)
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XIV
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.28

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. 6.

Fig. 6. Remains of the representation of St. Theodore on the south
doorjamb of the entrance in the ia exonarthex 25
,
. Cf. G. Millet, La
peinture du Moyen ge en Yugoslavie. Serbie, Macdoine et Montngro,
Album prsent par A. Frolow, I, Paris 1954, Pl. 57.4; , ,
. , 1213, 1617, 34; , ,
307308; , (I), 7981.
26
, , 12, 14, 24, 36; ,
, 307308; ,
. (I), 72.
. ,
27
, , 3536; ,
, 308.
, 28
Cf. . , . , . , . ,
, , , , 1969, . . 186189; . -
.25 a , . , , 1999, . . 51. 149
 35 (2011) [145154]

. 8.
Fig. 8. Fragments of frescoes on the northern side of the west wall of the exonarthex in ia

.
.
, , ,
.29
,

(. 8, 10, 11).
,

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.

.


(. 2, 7).30
29
, (I), 76.
30
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,
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,
-
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. 9. .
Fig. 9. Damaged figure of the saint above the entrance in the ia ,
150 exonarthex .
 .: (II)

. 10. ,
Fig. 10 Representations of the philosophers of Classical Antiquity in the lower row on the north wall of the ia exonarthex, aquarelle of
Mihailo Valtrovi

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(. 1, . 4).
,
(. 8, 10, 11).

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.31 . 11.
, ,
XIX . , Fig. 11. Ancient philosopher from the upper row on the north wall
. - of the ia exonarthex, drawing of Mihailo Valtrovi
. ,

1884. a ,
31
. , , 1966, 97;
, , , , 198199; . ,
, , , 1978, 18; . ,
(. 10).32 , in: -
XIV , ed. . , 1978, 116, 118, etc.
!lmn, !l.n.
32
, .
. 4671. Cf. .
18711884, ed. . , 2006, 79.
,33 - 33
,
,34 , a , cf. . , -
, -

1978, 937, 29, 31, 3537.
!liny. , , 34
. , -
. , 6 (1960) 43, . . 45, 48, 51.
,
, , . ,
jat&j.. . , XVI (cf. ibid., n. 53).
35
-
<pl>at&<ny>.35 (cf. 151
 35 (2011) [145154]

,
,
. ,
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(. 1, . 5), ,
(. 12). -
.

, 1866. ( 8764-
5436).38
,
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XIII .44
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, -
. 12. . , -
,
1866. , ( 8764-5436) ). -
Fig. 12. Fragments of frescoes above the entrance , ( -
and on the northern side of the west wall of the exonarthex ).
in ia, photograph taken in 1866, detail (The Russian Museum
36
, . . 4672 (
. , 67).
of Ethnography, St Petersburg, no. 8764-5436) 37
, . 3688.
38

7 (2006).
. - 39
Cf. V. Milanovi, The Tree of Jesse in the Byzantine Mural
. Painting of the Thirteenth and Fourteenth Centuries, 20 (1989)
4859, fig. 1, 411, 13, 17, 2021.
36 37 40
, , 18.
41

(. 8, XIV,
11). , - XV . Cf. Milanovi, The Tree of Jesse, 4859; . . ,
, in: ,
, 1992, 6779.
. 42
Milanovi, The Tree of Jesse, 5254.
- 43

-
. , (. , . , , 1975, 67,
, 139), , , .
152 . 44
, (I), 7277.
 .: (II)
, ( ).
. -
. -

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.45
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cf.
, , 105125;
, , , 7883, 8687.

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On the trail of the lost frescoes of ia ()
Dragan Vojvodi
In the search for evidence about the lost and damaged
frescoes of ia, the painting in the exonarthex of the Church
of the Ascension deserves special attention. Throughout the
centuries, it suffered the greatest damage so that very little is
known about its programme, iconographic and artistic fea-
tures. Old photographs, drawings and aquarelles offer valu-
able data about the frescoes on the western wall of the exon-
arthex. Two saintly figures are depicted in the lowest zone at
the southern end of the west wall (fig. 1, no.1). Facing each
other, it seems as if they are communicating with each other
(fig. 23). Standing on the right is a slim figure in the charac-
teristically long tunic with quite narrow and short sleeves. On
the basis of analogies (fig. 45), it is possible to recognise St.
Paul of Thebes, who is painted in a long straight tunic woven
of palm leaves, sometimes with quite short sleeves. It was
also highly characteristic of his presentations in Palaiologan
times for his right hand to be raised. In the majority of ex-
amples, St. Paul of Thebes raises it in a gesture of blessing.
However, in the Virgin Hodegetria in Pe or in St. Andrews
at the River Treska, as well as here in ia, the palm is open
as though he is giving a sermon. According to the custom
cultivated especially in the times of the Palaiologoi, St. Paul
of Thebes was depicted in the company of other renowned
Egyptian and Palestinian monks. For that reason, the monk
painted on his left should be identified as one of them. As
one can notice that the painted monk is an almost completely
bald man with some white hair, it most probably refers to St.
Euthymius the Great or St. Sabas the Sanctified.
Modest remains were also visible on the southern
doorjamb of the entrance to the exonarthex at the beginning
of the last century (fig. 1, no. 2). Here, in the presentation of
a holy warrior one could make out the part of a head cov-
154
., . , 1990 (ivkovi B.,
Ravanica. Crtei fresaka, Beograd 1990).
., . , 1984 (ivkovi B.,
ia. Crtei fresaka, Beograd 1985).
ered with dark hair and illuminated by a nimbus and, slightly
lower down, a left hand lowered next to the body support-
ing the top of a shield (fig. 6). Based on the remains of the
inscription that can be seen on an old photograph (fig. 7),
one can conclude that this was a presentation of one of the
two saints Theodore. Considering the fact that the images of
those two warriors were almost regularly painted as a pair
in Palaiologan times, one must assume that the figure of the
second St. Theodore occupied the opposite wall surface,
north of the entrance. On the northern side of the west wall
of the exonarthex, earlier on, it was easier to make out two
registers with rows of shortened figures (fig. 8). According
to the iconographic analysis, they were identified as ancient
philosophers, as part of the damaged presentation of the Tree
of Jesse. The aquarelle done by Mihailo Valtrovi in 1884
adds much more reliability to such an identification (fig. 10).
He documented some of the damaged letters of the accompa-
nying inscriptions. In them the attribute Hellene (!liny),
meaning pagan, was repeated, and, next to the second figure
from the left in the lower register, Valtrovi recorded several
letters of Platos name <pl>at&<ny>.
Few vestiges of the painting on the western wall of
the exonarthex in ia remain. Nevertheless, along with the
scenes from the cycle of the acts of St. John the Baptist in
the southeastern corner which were described in the pre-
vious issue1 it proves that this space was decorated by a
separate group of painters. That group was stylistically more
advanced than the other painters of ia from the beginning
of the 14th century, and it regularly applied the iconographic
and thematic novelties of its time.
1
D. Vojvodi, On the trail of the lost frescoes of ia (I), Zograf
34 (2010) 7277.