The Digital Collection of 3D Objects of the Holy Monastery of Hosios Loukas includes selected objects that highlight the elaborate decoration and architecture of the temples of the complex, as well as relics exhibited in the monastery's museum or kept in the monastery's collections. Frescoes, mosaics, marble mounts, decorative elements of the exterior decoration, ecclesiastical and historical relics were digitized in three dimensions and are available for educational and research purposes to the general public and specialists. Specialized software and equipment, such as 3D scanners and 3D design software, were used to the digitization of the objects to ensure an accurate and realistic representation of the original objects.
The walls of the Catholicon are lined with marble slabs, a technique called marble revetment. Marble is...
The scene of the Descent from the Cross is located on the eastern wall of the south - eastern compartment...
On the ceiling of the Crypt there are ten groin vaults with rich floral decoration and a total of forty busts in...
The central gate of the main temple is dominated by a bust of Christ Pantocrator (Ruler of All), that stands...
The Catholi con Narthex of Hosios Loukas is covered with three elevated square groin vaults. These are...
Together with Saint Loukas, Athanasios the Athonite and Christodoulos Latrinos of Patmos, he is...
The central gate of the main temple is dominated by a bust of Christ Pantocrator (Ruler of All), that stands...
The Catholi con Narthex of Hosios Loukas is covered with three elevated square groin vaults. These are...
Together with Saint Loukas, Athanasios the Athonite and Christodoulos Latrinos of Patmos, he is...
To the left of the main gate above the small side entrance to the nave is the Crucifixion scene. It is...
To the right of the main gate above the small side entrance to the main temple is the Resurrection...
In the shallow dome covering the Sanctuary above the Altar Table, there is a Pentecost scene. The Pentecost...
To the left of the main gate above the small side entrance to the nave is the Crucifixion scene. It is...
To the right of the main gate above the small side entrance to the main temple is the Resurrection...
In the shallow dome covering the Sanctuary above the Altar Table, there is a Pentecost scene. The Pentecost...
The wonderful mosaic of Saint Loukas, founder of the monastery is the Saint’s oldest surviving depiction...
The three corner niches supporting the dome depict scenes from the life of Christ: His birth, baptism and...
The niche of the sanctuary's arch features a crafted icon of our Lady of the Sign. The Virgin Mary was...
The wonderful mosaic of Saint Loukas, founder of the monastery is the Saint’s oldest surviving depiction...
The three corner niches supporting the dome depict scenes from the life of Christ: His birth, baptism and...
The niche of the sanctuary's arch features a crafted icon of our Lady of the Sign. The Virgin Mary was...
The mosaics of the Catholicon are admirable examples of 11th They feature more than 140 hagiographic...
In the four small niches under the galleries of the main church, one can admire the busts of the three...
Following the Descent from the Cross on the side wall, the iconographic narration continues with the...
In the four small niches under the galleries of the main church, one can admire the busts of the three...
In the south west chapel, the east and northern walls show a depiction of Christ’s meeting with John the...
This depiction is part of an entire scene from the Old Testament representing Joshua with the angel. Joshua...
The lower dome, directly above the scene with Christ and John the Baptist, depicts a cross, decorated with...
The excellent mosaic decoration of the Catholicon’s nave and Narthex are complemented by frescoes in...
This depiction is part of an entire scene from the Old Testament representing Joshua with the angel. Joshua...
The lower dome, directly above the scene with Christ and John the Baptist, depicts a cross, decorated with...
The excellent mosaic decoration of the Catholicon’s nave and Narthex are complemented by frescoes in...
Following the Descent from the Cross on the side wall, the iconographic narration continues with the...
On the ceiling of the Crypt there are ten groin vaults with rich floral decoration and a total of forty busts in...
In the south west chapel, the east and northern walls show a depiction of Christ’s meeting with John the...
The mosaics of the Catholicon are admirable examples of 11th They feature more than 140 hagiographic...
The scene of the Descent from the Cross is located on the eastern wall of the south - eastern compartment...
| Project coordinator | Dr. Emmanouil Koutlis |
| Deputy coordinator | Elena Mantzari |
| Scientific coordination of documentation | Giannοulis Lymperopoulos |
| Quality Control | Efstathia Chatzi, George Sofianopoulos |
| Implementation | Talent Information Systems S.A. Fotis Barakis |
| 3D scanning & model generation | A.M.S. Archiving Services Ltd Dimitris Papoutsakis, Kostis Vaxalis |
| Content development & text editing | Katerina Servi |
| Graphic design | Katerina Psimmenou |
| Translation | Sotiris Lappas |
| Recordings | BASEMENT PRODUCTIONS Studios |
| Sound design | Nikos Giatrakos |
| Sound engineering | Io Halda |
| Mixing | Kostas Savouidakis |
| Narrator | Ian Robertson |
Copyright © 2023
Copyright © 2023
Designed & developed by Talent S.A.
Isaiah’s gilded Gospel
A small gilded gospel that the Bishop of Salona brought from Constantinople. It is believed that the region’s revolutionaries, such as Panourgias, Athanasios Diakos and Dyovouniotis, took their oaths on this gospel.
The Gospel’s form
The Gospel has a metal gilded lining and bears embossed decoration. The broad border on both its sides features foliate ornaments and intertwines with the thin and curved cruciform frame in the centre, thus creating space for the depiction of individual saints.
The front features a relief of the Crucifixion with the Virgin Mary and John the Evangelist. Its four edges are bordered by the forms of Prophet David, Solomon, Daniel and Jeremiah. The back features a relief of the Crucifixion with an angel and two Roman guards at the Christ’s Tomb. The forms of the Evangelists Matthew, Mark, Lucas and John depicted in the four corners, outline the Gospel.
The Gospel’s binding is designed in three zones. In the centre there are two - winged angel heads facing each other, while in between them in an elliptical shape is a hexapterygon (a liturgical fan). The upper and lower zones bear the following inscriptions in an oval frame: ΤΕΤΡ (Tetraevangelion or the Canonical gospels of the Four Evangelists.) ΣΟΛΟΝΟΣ/ ΗΣΑΪΑΣ ( ISAIAH ) respectively.
The gospel is sealed with the help of metal clasps bearing circular sepals.
Isaiah’s ceremonial mitre
A mitre is the ceremonial headdress Bishops wear in Liturgies. It symbolizes Christ’s royal rank, since the Bishop officiates "in the way and the place of Christ", and also stands as a reminder of the crown of thorns placed on Jesus prior to his Crucifixion. The shape of the mitre is directly linked to the crown of the Byzantine Emperor.
The Mitre’s form
The mitre of the Bishop of Salona is made of fine purple fabric and is surrounded by a gilded metal cruciform bearing foliate decoration with precious stones, in accordance with the aesthetic perception of its times.
Each quadrant has metal relieves featuring busts of prophets: David, Solomon, Aaron and Jeremiah (?) enclosed within cruciform stems bearing semi - precious stones - green horizontally and white vertically.
The edge of the mitre is covered by circular humanlike depictions of the Holy Trinity. The Father and the Son give their blessings holding an open scroll and a gospel respectively, while the sign on their halos reads Ο ΩΝ (He who is). Their footstools are many - eyed cherubs. Above them the Holy Spirit is represented in the form of a pigeon within a rayed circle. Behind the two figures emerge the symbols of the four evangelists. (Angel/Matthew, Eagle/John, Calf/Luke, Lion/Mark). At the bottom, between Father and Son, a six - winged Cherub holds an unfolded scroll that reads: ΑΓΙΟΣ ΑΓΙΟΣ ΣΑΒΑΩΘ ΠΛ. (Holy Holy Lord of Sabaoth). The mitre’s perforated Cross decorated with emerald gems in the corners rises in the middle of the relief.
The base of the mitre consists of the crown. A metal wreath with embossed decoration of plant stems, featuring busts of the twelve apostles in oval relieves in the form of a peripheral second band. The centre is a depiction of Jesus Christ in the form of a blessing High Priest and right below him, semi - precious stones of different colours form a cross.
Isaiah's crozier
Την ποιμαντορική ράβδο, πατερίτσα, κρατούσε ο Επίσκοπος, ως σύμβολο της εκκλησιαστικής του εξουσίας. Στην κορυφή φέρει έναν σταυρό μεταξύ δύο αντικριστών φιδιών, που παραπέμπουν στο χάλκινο φίδι που ύψωσε ο Μωυσής στην έρημο, αλλά και στη ρήση του Χριστού,
«γίνεσθε οὖν φρόνιμοι ὡς οἱ ὄφεις», η οποία αναφέρεται στο Κατά Ματθαίον Ευαγγέλιο. Εκτός από τους Επισκόπους, πατερίτσα κρατούν σε κάποιες περιπτώσεις και ηγούμενοι ιερών μονών.
The Mitre’s form
The ceremonial metal crozier of the Bishop of Salona, Isaiah, is gold - plated, six - sided with fine carvings featuring five different floral motifs. It is divided into four parts. A dark perforated belt decorated with gilded stones runs through it. The top features two snakes facing each other with scales carved in gold and black. The snakes have red gems for eyes.
Isaiah’s crozier
The crozier, also known as a bishop’s staff, was held by the Bishop as a symbol of his ecclesiastical authority. Its head features a cross framed by two serpents facing each other. The scene refers to the bronze serpent rod Moses lifted in the desert to save his people as well as to Christ’s saying, ” so be as wise as serpents” mentioned in the Gospel of Matthew. Other than bishops, in some cases croziers are also held by hegumens – namely abbots.
The crozier’s form
The ceremonial metal crozier of the Bishop of Salona, Isaiah, is gold – plated, six – sided with fine carvings featuring five different floral motifs. It is divided into four parts. A dark perforated belt decorated with gilded stones runs through it. The top features two snakes facing each other with scales carved in gold and black. The snakes have red gems for eyes.
Wood-carved blessing cross
A wood - carved portable cross used to this day in archiepiscopal services in the Holy Monastery of Hosios Loukas to bless attendees.
The Cross is an excellent example of small metal craftsmanship.
The body is gilded and mildly crafted with geometric shapes, mainly rhomboids in its width and bears semi - precious stones.
The fronts of both sides have six openings in which Dodekaorton scenes are presented with wood carvings.
Side A’ displays the Annunciation of the Virgin on the upper part, directly below in its large central opening the Birth of Christ, on the left the Presentation, on the right the Baptism, followed by a vertical section of the Resurrection of Lazarus and Palm Sunday.
Side B’ displays the Transfiguration, the Crucifixion, the Resurrection, and the Ascension on the vertical axis. On the horizontal bar, it features the Pentecost on the right and the Dormition on the left.
The gold frame over each representation is engraved with the respective inscription.
Outside the body of the Cross, in the lower part, there are two large leaves, which on the interior of both sides have wood carvings of ten busts of Saints, probably Prophets, emerging through shoots.
At the base of the Cross there is a small opening on the four sides with wood - carved full - length figures of Saints in veneration.
19th century pistol
Silver pistol from Epirus. It is decorated with niello and has a flintlock mechanism. It dates back to the beginning of the 19th century. It probably belonged to Athanasios Diakos.
Who was Athanasios Diakos?
During the years of the 1821 Revolution, the Holy Monastery of Hosios Loukas was a stronghold for Greek chieftains, such as Athanasios Diakos. Born in a village in mountainous Fokida, he was one of the leaders of the Revolution in Central Greece. His real surname was probably Grammatikοs, however he was known as Diakos (Deacon) as he became a monk at a very young age and was then ordained a deacon.
Belt buckle of a priest’s vestment
Ornate belt buckle of a priest’s vestment. The belt worn by priests holds their cassock together, symbolising their spiritual mission, which requires temperance, mental strength and sobriety. Initially the belt was simple and plain, but later on became luxurious, with varied decorations.
The Sigillion of Gregory V
The official patriarchal document is called sigillion. This one bears the seal of Gregory V, Patriarch of Constantinople who was hanged by the Ottomans on Easter Sunday 1821, as a reprisal for the Greek Revolution that had just broken out.
Dome cross of the church of the Virgin Mary
Ornate Latin cross made of marble. Its surface is covered by a grid of stripes, ending in two protruding loops at the end of each of its bars. The extension of the vertical bar is a rhombus between two horizontal stripes connected to it with two small nods. The rhombus contains a smaller equal - armed Maltese cross type, also seen above the dividing cones of the dome windows. According to the architect Efstathios Stikas, the cross was once placed on top of the roof of the church the Virgin Mary. Today, it is part of the collection of sculptures exhibited in the museum of the monastery’s Refectory.
The Cistern
The cistern is made of colourful and expensive marble and has a unique shape in the form of the ancient Greek levis - a deep bowl with a rounded bottom. Its basin with two lion heads, rests on a solid leg emulating the metal base, and is held by four supports with lion - shaped endings. The cistern bears no Christian symbols on its decoration which, combined with the precious marble and its shape, indicates that this is possibly an ancient object used anew in the monastery. The cistern was found in the south - west chapel of the Catholicon and was apparently used for the consecration ceremony.
How did this special item get here?
Stone vessels of this type were rare and precious and could only be found in temples of special importance such as Episcopal churches or catholica of big monasteries. The precious and possibly ancient cistern may have been sent to the monastery of Hosios Loukas from Constantinople. This hypothesis seems valid, not only because of the monument’s connection to Constantinopolitan art but al so because the Byzantine capital was the place where such rare objects were collected and recycled.
The central entrance glass panes
The Catholicon features some of the best - preserved fixed window panes of the Middle - Byzantine period (8th – 12th century) . These perforated plaster slabs, with rosette - shaped openings are fitted with glass discs.
The elegant arched partition over the main entrance of the Catholicon has been preserved in excellent condition. It is a unique work of micro - sculpture. It is decorated wit h fifteen rosettes and a band featuring twenty - eight different relief signs, birds and small animals appearing within circles.
Carved lintel
Two exceptional marble lintels have been placed above the gates on the western wall of the church and the corresponding wall of the Liti. The Liti lintel is decorated with acanthus leaves alternating with lotus themes. A foliated cross adorns the middle.
The capitals of the Liti
The two pillars of the Liti are crowned by Corinthian-type capitals. The capitals are spolia, meaning architectural parts of an older monument that have been reused. This phenomenon is widespread in Byzantine architecture. Corinthian-type capitals were used in the Byzantine era and are inspired by the ancient Corinthian-order capitals, whose basic characteristic is the acanthus-leaf decoration.
What is their form like and when are they dated?
The capitals of Liti are decorated with a single row of eight acanthus leaves, a rather unusual choice for Greece. This modification is usually due to their small size. It is however worth mentioning that many characteristics of the Liti capitals resemble the capitals of triumphal arches of the Roman times in Eleusis. Based on this information, the capitals of the Liti could be dated to the 2nd century AD, probably a little earlier than those of Eleusis.
The “pseudo - kufic” decoration of the church of the Virgin Mary
Externally, the church of the Virgin Mary is very elaborate, built with an excellent cloisonné technique (rectangular stones surrounded by bricks). However, in this case ceramic decoration imitating Arabic letters, the so - called "pseudo - Kufic", is interspersed among the stones.
What does "pseudo - kufic" decoration mean?
The word comes from the old square Arabic script in which the Koran was initially written at the city of Kufa in Iraq.
What do these decorations look like?
The ceramic pseudo - kufic decorations of the Virgin are divided into two categories: in friezes made of symmetrical complexes that encircle the superstructure of the building and in individual pseudo - kufic characters inserted in the vertical joints of the cloisonne masonry. These are sometimes combined with Christological symbols.
Was this kind of decoration common?
The Church of the Virgin Mary is the first monument where this external decoration appears. It is a monument that presents a great wealth of theme and exquisite master y. It also bears the greatest similarity to authentic Islamic standards.
Why were "pseudo - Kufic" decorations used?
It is known that from the beginning of the 10th century the constant conflicts on the eastern front and Crete brought a large number of Arab war prisoners and booty to the Byzantines. This is probably the reason Byzantine art of the time has Islamic influences. It is difficult to ascertain whether pseudo - Kufic decorations had any other meanings for the inhabitants of the Greek regions, i. e. warding off evil. However, this view would give a satisfactory answer as to their spread following a number of victorious campaigns against the Arabs, especially since this monastery was founded by a local saint who had predicted the triumph of the Byzantines against the Arabs of Crete.
The outer walls of the Church of the Catholicon
The exterior masonry of the Catholicon is particularly elaborate, especially in the upper part. The large limestone blocks used in the construction are from an ancient building, possibly walls. Using ancient building material was a common practice of the Byzantines. The stones are combined with thin Byzantine clay bricks, in the way of the typical Byzantine building technique: cloisonne masonry. The use of marble is also typical. Many of the marbles used also came from ancient monuments. Other typical elements are the dentate ceramic bands as well as the abundant single- double- and triple-lobed windows illuminating the interior and enriching the exterior. Here, especially on the south side, the marble shields, the perforated stucco glazing, the marble frames on the windows, create an admirable effect, of high aesthetic value.
A masterpiece of a floor
The floor of the church of the Virgin Mary is lai d with marble and bands of opera sectilia. Opera sectilia are colourful stones and cut pieces of marbles matched in such a way so as to create geometric patterns on walls or floors.
The Synthronon
Standing out is the marble synthronon of the Sanctuary embracing the Altar Table. In the centre of the synthronon is the bishop’s throne. Its right and left were kept for priests during the Holy Eucharist.
Λίθινη/Μαρμάρινη κατασκευή καθισμάτων, των παλαιοχριστιανικών κυρίως ναών, στον χώρο της αψίδας του Ιερού Βήματος, που πλαισίωνε την Αγία Τράπεζα καιχρησίμευε για τους ιερείς. Εκεί καθόταν ο Επίσκοπος με την έναρξη της θείας λειτουργίας και από εκεί ευλογούσε τον λαό.
Όπως αναφέρει στο έργο του ο Συμεών Θεσσαλονίκης τον 15ο αιώνα για τον συμβολισμό του συνθρόνου: «…Ἡ μέν οὖν ἄνω καθέδρα, ὡς εἴρηται, τὴν ὑπερουράνιον δείκνυσι καθέδραν τοῦ Ἰησοῦ· αἱ ὑπ’ αὐτὴν δὲ βαθμίδες τὴν ἑκάστου τῶν ἱεραρχῶν καὶ ἱερέων τάξιν τε καὶ ἀνάβασιν· ἔνθα δὴ καὶ οὐ θέμις τινὰ ἕτερον καθίσαι, οὐδὲ τῶν διακόνων αὐτῶν…»
Black and white contrast
Of the three bands separating the temple vertically, the one under the arch is noteworthy. It consists of marble slabs decorated with inlaid black material that creates a strong contrast with the white marble.
What is the decorative theme?
The theme of the decoration is unusual and complex. Seven - leaf palmettes open up downwards to mingle with five - leaf palmettes. In the upper spaces between the palmettes other elongated ones are formed, with two stylized flower garlands hanging in pairs. The fact that the beautiful black and white decoration is indoors has attributed to its preservation.
Marble works of art
The mosaics and painted iconography of the Catholicon are complemented by the marble revetments and opera sectilia on walls and floors. Marble revetments are walls in marble stone, while opera sectilia are colourful stones and cut pieces of marbles matched in such a way so as to create geometric patterns on walls or floors.
The colourful, highly aesthetic opera sectilia in the nave and the Narthex of the Catholicon present a wide variety and artistic interest. They are the artful continuation of the marble cladding of the construction’s vertical surfaces and create a unique contrast with the large slabs covering the floor.
An exquisite opus sectile
An impressive opus sectile can be found in the Sanctuary, in front of the Altar Table. It constitutes an evolution of the scene of the “Five loaves” and it is a decorative theme referring to the miracle of the loaves in Tiberias. In this scene, four disks, linked together through concentric winding white bands, create a circle, while a fifth, smaller disk occupies the centre of the composition.
The iconostasis
An iconostasis is the “curtain” separating the sanctuary from the nave and is usually an exceptional work of art. The surviving marble iconostasis in the Catholicon of Hosios Loukas falls under this category. It is disproportionately high compared to the size of the church reaching up to 3.40 m in its central part. It features pillars with rectangular bases, octagonal trunks and architraves above the capitals, with rich carved decoration: rosettes, stars, arabesque designs, arches with thorn leaves and unidentifiable animals. The alabaster shields that cover the gaps to the right and left of the Royal Doors have been placed here from a different part of the temple.
Despotic images
During the Ottoman rule, in 1569, Sultan Selim II decided to auction the estates, buildings and income of all Christian churches and monasteries. The monks of Hosios Loukas were forced to buy their monastery. The acquisition and reopening of the monastery were followed by a restoration and a beautification effort. Thus, among others, the leading 16th century Cretan painter, Michail Damaskenos, produced four despotic icons for the iconostasis (depicting Christ, the Virgin Mary, John the Baptist and Saint Loukas). Unfortunately, in 1980 they were stolen from the monastery. Today's icons are copies of the original works.
In the Gospel held by Christ it is written:
«Δεῦτε πρός με πάντες οἱ κοπιῶντες καὶ πεφορτισμένοι, κἀγὼ ἀναπαύσω ὑμᾶς. Ἄρατε τὸν ζυγόν μου ἐφ ̓ ὑμᾶς καὶ μάθετε ἀπ ̓ ἐμοῦ, ὅτι πρᾷός εἰμι καὶ ταπεινὸς τῇ καρδίᾳ, καὶ εὑρήσετε ἀνάπαυσιν ταῖς ψυχαῖς ὑμῶν» . (Ματθαίος 11.28 – 29).
«Ελάτε σ’ εμένα όλοι εσείς, που είστε κουρασμένοι και φορτωμένοι, κι εγώ θα σας δώσω ανάπαυση. Σηκώστε επάνω σας τον ζυγό μου και μάθετε από εμένα, ότι είμαι πράος και ταπεινός στην καρδιά, και θα βρείτε ανάπαυση στις ψυχές σας».
An original dome
The dome of the church of the Virgin Mary is an original creation that has been widely imitated in Southern Greece. It is considered highly artistic due to its impeccable form and rich decoration. It is believed to have been built by craftsmen brought to the site from Constantinople.
Why is it considered original?
Its originality lies in its octagonal shape. In the region of Greece, church domes were cylindrical and bore little or no decoration. On the contrary, the eight sides of the dome of the Virgin Mary are lined with marble slabs and are decorated with elaborate relieves, the dominating element being the cross. The elegant arched fringes in the edges of the tympana end up in lion heads, originally utilized as rain water drainage. Eight biphora windows perforate its sides and shower the church’s interior in ample light. The original roof was cylindrical and covered with lead sheets. It later was replaced by radial tiles. The top of the dome features a later addition - that of a marble cross.
The capitals of the nave
Four granite columns, supporting the dome dominate the centre. Their capitals are original sculptural creations and are separated into two categories according to the type of decoration.
Simple capitals
This category includes capitals of the SW and the NE pillar, which may be characterized as simple Corinthian-type capitals which were used in the Byzantine era and are inspired by the ancient Corinthian-order capitals, whose basic characteristic is the acanthus-leaf decoration. The Corinthian capitals of the church of the Virgin Mary are some of the finest specimens of their kind in Byzantine sculpture.
The capitals with cherubim
The second category includes capitals of the NW and SE pillar and their decoration is divided into two zones. The first category features floral decoration. The second one however has different decoration on every one of its four sides. The east and west include figures of angels and cherubim, while the north and south are covered with plant themes.
Why do the capitals have two imposts at the top?
The four capitals of the church of the Virgin Mary are crowned with marble decorated imposts, above which there is a second plaster impost without decoration. The construction of the second impost was deemed necessary either because the capitals were delivered ready - made to the monastery or because some mistake was made in the calculation of their dimensions.
Marble walls
The walls of the Catholicon are lined with marble slabs, a technique called marble revetment. Marble is a precious material, which, given the appropriate treatment and placement contributes both to the colour unity as well as to the decorative harmony in the church’s interior. Despite variations in colour, the marble revetment technique seems to obey simple rules of rhythmic balance, alternating between warm and cold and light and dark marbles. In addition, the prevailing horizontal zones instil a sense of calmness and stability in visitors.
What types of marbles have been used?
Various types of marbles have been used in the monastery. The predominant one is the semi - white marble of Prokonnisos, followed by the pink marble of Eretria, the green marble of Karystos, the green marble of Tinos, the green marble of Lakonia, the red marble of Hierapolis and Phrygia and many others.
The Descent from the Cross
The scene of the Descent from the Cross is located on the eastern wall of the south - eastern compartment of the Crypt.
What exactly does the scene depict?
A large cross between two triangular mountains dominates the scene. On the left, Joseph of Arimathea is standing on a wooden ladder placed diagonally on the cross and is taking the body of Jesus down from the cross. Next to him is the Mother of God mourning and holding her son’s right hand. Below, on the right, Nicodemus the Righteous is depicted on a smaller scale, kneeling. The upper part of his body is naked as he pulls the nails from Christ's feet, while behind him John the Evangelist weeps and supplicates his master.
The inscription in capital letters has survived and reads: Η ΑΠΟ//ΚΑΘH ́// ΛΩ//CIC (The Descent from the Cross).
Digital Restoration of Mural Painting
Giannoulis Lymberopoulos.
2023.
The groin vault of the hegumens
On the ceiling of the Crypt there are ten groin vaults with rich floral decoration and a total of forty busts in medallions. Among them, except for Saint Loukas, are Apostles, holy martyrs, holy healers, various hermits, and people who played an important role in the monastery’s early history. In this particular vault we see hegumens (abbots) Athanasios, Philotheos, Theodosios and Loukas. They are depicted facing forward, within medallions, surrounded by rosettes on a white background. Their presence here provides us with information about the construction history of the monastery. Additionally, their depictions are a way of paying tribute to persons who led the Holy Monastery of Hosios Loukas to the height of its prosperity.
Who were the four hegumens?
Philotheos was the one who carried out the exhumation of the relics of Saint Luke in the 11nd century, and is considered by some scholars to be the founder of the Catholicon. Theodosios, born Theodoros Leovachos, was a member of a prominent family of Thebes. There is little information about him. Loukas founded a metochion (glebe) in 1014 in Aliveri, Evia. Athanasios remains unidentified.
Christ Pantocrator
The central gate of the main temple is dominated by a bust of Christ Pantocrator (Ruler of All), that stands out for its exquisite art and beauty. Christ blesses with his right hand, while with his left, covered by a mantle known as himation, he holds an open gospel with the inscription: "I am the light of the world. Whoever follows Me shall not walk in darkness, but shall have the light of life”.
Why is Christ Pantocrator depicted here?
The dominant position of Christ Pantocrator, as well as the selection of representations and saints for the decoration of the Narthex, have to do with the place, which serves as an introduction and preparation for the main temple.
In the Gospel held by Christ it is written:
ΕΓΩ ΕΙ/ΜΙ ΤΟ ΦΩC/ ΤΟΥ ΚΟ/CΜΟΥ Ο Α/ΚΟΛΟΥΘΩΝ/ ΕΜΟΙ ΟΥ// ΜΗ ΠΕΡΙ/ΠΑΤΗCΕΙ/ ΕΝ ΤΗ CΚΟ/ΤΙΑ, ΑΛΛ’ Ε/ΞΕΙ ΤO ΦΩC /ΤΗC ΖΩΗC ( Iω. Θ΄12).
«Εγώ εἰμι τὸ φῶς τοῦ κόσμου· ὁ ἀκολουθῶν ἐμοὶ οὐ μὴ περιπατήσῃ ἐν τῇ σκοτίᾳ, ἀλλ’ ἕξει τὸ φῶς τῆς ζωῆς».
The central groin vault
The Catholicon Narthex of Hosios Loukas is covered with three elevated square groin vaults. These are produced by the intersection at right angles of two barrel vaults.
What does the illustration of the central groin vault mean?
The central groin vault, with the five medallions forming a Cross, is symbolically connected to the image dominating the central gate: It is part of a prayer to Christ Pantocrator. To the east, the Virgin prays to her son. To the west, John the Baptist blesses, while to the north and south, the archangels Michael and Gabriel turn to bow before Christ and the Virgin Mary. The smaller medallion, in the centre of the groin vault, is decorated with a radiant, jewelled cross.
Nikon the "Metanoite"
Together with Saint Loukas, Saint Athanasios the Athonite and Saint Christodoulos Latrinos of Patmos, he is considered one of the reformers of monasticism, during the middle Byzantine period (9th – 10th century). Nikon the “Metanoite” was born in Pontus, around 925, to pious and well-to-do parents. At the age of 20, he left his family home to become a monk at the Chrysopetro Holy Monastery (Golden Stone). He then became an itinerant preacher in various regions, his most important stop being his seven-year stay in Crete, immediately after the island’s liberation from the Arabs (961). In his sermon he constantly repeated John the Baptist’s words “Repent, for the Kingdom of Heaven is at hand” (Matthew, C: 2). This is why he was given the nickname “Metanoite” (Greek for Repent).
His icon in the Catholicon
The figure of St. Nikon was featured in a notable spot of Hosios Loukas’ Catholicon. This is a real portrait based on the art of a painter immediately after his death on 26th November 998. The saint is represented in his monk’s attire his hands in supplication. The size of the figure as well as the position of Nikon are the same as that of Saint Loukas. The inclusion of a contemporary saint to the iconography of the Catholicon is a sign of his great reputation and his work in liberated Crete. Crete is associated with Hosios Loukas who prophesied that the Byzantines would retrieve it from the Saracens. Nikon’s depiction is part of an iconographic trend, according to which, the Catholicon should include other contemporary saints of the region together with the new local saint.
The Crucifixion
To the left of the main gate above the small side entrance to the nave is the Crucifixion scene. It is composed of the following: The predominant icon on the golden background is that of Jesus on the cross, while to the left and right side of the cross there is Mary and St. John the Evangelist in a noticeably smaller scale. The site of the Crucifixion is indicated by a stylized small rock mass at the base of the Cross. Adam’s skull can be seen in the centre.
How are the figures depicted?
The figure of Christ is calm and has closed eyes. By His side stands the Virgin Mary, who turns to face him, her silent pain depicted in her face, and extends her right hand in supplication. In front of her, his beloved disciple mourns, holding his head between his hands. The sun and moon join the lamentation, while their personifications are depicted at the top of the representation. The inscription on the cross bears the initials IC XC (Jesus Christ) On the contrary, the names of the other two characters are not mentioned. However, the inscriptions do mention “here is Your Son” and “here is Your Mother”. Those were the words Christ spoke to the Virgin Mary and John, urging them to love and care for one another like a mother and son.
We see the Lord's words to his Mother and his beloved disciple:
ΙΔΟΥ Ο Υ(Ο)C CΟΥ/ IΔΟΥ Η ΜΗ(ΤΗ)Ρ COY.
The composition bears the capitalized inscription: Η CΤΑΥ/ ΡΩCΙC.
Κατά Ιωάννην Ευαγγέλιο
Κεφ. 19, 26-27
Ἰησοῦς οὖν ἰδὼν τὴν μητέρα καὶ τόν μαθητὴν παρεστῶτα ὅν ἡγάπα, λέγει τῇ μητρί· γύναι, ἴδε ὁ υἱὸς σου. Εἴτα λέγει τῷ μαθητῇ· ἴδε ἡ μήτηρ σου.
The Resurrection
To the right of the main gate above the small side entrance to the main temple is the Resurrection scene. The scene follows the type referred to as The Descent in Hades, illustrating the victory of life over death. That is why it is not entitled The Resurrection of Jesus but RESURRECTION, as it in essence depicts the resurrection of the entire human race.
What exactly does the scene depict?
In the middle of the scene, Christ rises triumphantly from the depths of death and the underworld through an opening in the rocks. Having broken the locks, the bars and the gates of Hades, he forcefully pulls the entire human race to life. Humankind is represented by Adam and the praying Eve. On the side, among open sarcophagi rise the righteous kings of the Old Testament, David and Solomon. Christ holds the holy Cross, the symbol of death and the victory of life, like a flag.
Why is the scene depicted here?
This scene is related to the Liturgy of the Resurrection held at the Narthex. During the liturgy, the hymn “Christ has Risen” was sung for the first time. It is also connected to the funeral services that were held in the Narthex and the blessing of the koliva - sweetened berry wheat prepared for memorial services.
The Pentecost
In the shallow dome covering the Sanctuary above the Altar Table, there is a Pentecost scene. The Pentecost took place on the fiftieth day after the Resurrection of Christ, when the Holy Spirit descended upon the Apostles.
What exactly does the scene depict?
The scene depicts the Twelve Apostles in a circular arrangement sitting in pairs on small thrones with footstools. At the centre of the composition, the symbolic rendering of the Holy Trinity forms an embedded second representation, called: "Preparation of the Throne". The empty throne within the blue circle symbolises God the Father, the Gospel and the tunic symbolise the Son, and the white dove the Holy Spirit. Rays of tongues of fire start at the cyclical composition and reach the heads of the Apostles, as described in the New Testament. Further down, the scene is complemented by figures of people who, according to the inscription, represent the different races and tongues, a reference to the global outreach and unity of the Church.
Is it customary to depict a Pentecost in the Sanctuary?
The Catholicon of Hosios Loukas is the first known monument featuring a Pentecost scene in the Sanctuary. This scene was originally used only in dome iconography, as is the case of the church of the Apostles in Constantinople or San Marco in Venice.
Digital Restoration of Mural Painting
Giannoulis Lymberopoulos.
2023.
The Pentecost
In the shallow dome covering the Sanctuary above the Altar Table, there is a Pentecost scene. The Pentecost took place on the fiftieth day after the Resurrection of Christ, when the Holy Spirit descended upon the Apostles.
What exactly does the scene depict?
The scene depicts the Twelve Apostles in a circular arrangement sitting in pairs on small thrones with footstools. At the centre of the composition, the symbolic rendering of the Holy Trinity forms an embedded second representation, called: “Preparation of the Throne”. The empty throne within the blue circle symbolises God the Father, the Gospel and the tunic symbolise the Son, and the white dove the Holy Spirit. Rays of tongues of fire start at the cyclical composition and reach the heads of the Apostles, as described in the New Testament. Further down, the scene is complemented by figures of people who, according to the inscription, represent the different races and tongues, a reference to the global outreach and unity of the Church.
Is it customary to depict a Pentecost in the Sanctuary?
The Catholicon of Hosios Loukas is the first known monument featuring a Pentecost scene in the Sanctuary. This scene was originally used only in dome iconography, as is the case of the church of the Apostles in Constantinople or San Marco in Venice.
Digital Restoration of Mural Painting
Giannoulis Lymberopoulos.
2023.
Saint Loukas
The wonderful mosaic of Saint Loukas, founder of the monastery is the Saint’s oldest surviving depiction. The saint is depicted as a middle - aged man in a monk’s attire, with his hands raised in supplication. Both the monk’s veil covering the head as well as the small, dark - coloured beard have a characteristic sharp shape. He is depicted in the same form in all of the monastery’s icons.
The Life of Saint Loukas
The abundant information we have today on Saint Loukas is derived from his Biography, a text written by an anonymous author, possibly a monk. This is how we know that Loukas was born around 896 at the village of Kastri, today’s Delphi, Fokis. He showed a tendency towards monasticism at a very young age. At the age of 14, he followed two monks from Rome to Athens, where he became a monk. His sudden disappearance was a great blow to his widowed mother, Euphrosyne, who prayed to God for her son's return. Indeed, Lucas returned to his birthplace and to his mother. However, soon, this time with her blessings, he left for good to become a hermit south of Desfina, at Mount Ioannitzi.
How did he end up at Stiri?
Seven years later he was forced to move to Corinth, due to Bulgarian raids, which he had predicted. He served a Stylite (a hermit living on top of a pillar) for ten years. After that he returned to Ioannitzi for a short period of time and later he became a hermit on the islet of Ampelos in the Corinthian Gulf. Throughout the years of his ascetic life, his reputation and fame grew because of his benevolence, his prophecies and his healing abilities. The saint pleaded with the people he had benefited and managed to leave the island and settle in Stiri. Here he created the first monastic community which morphed into one of the most important pilgrimage sites of the Grecian world.
The Baptism of Christ
The three corner niches supporting the dome depict scenes from the life of Christ: His birth, baptism and presentation. Unfortunately, the imagery in the fourth niche, was not saved. It depicted the Annunciation. The wonderful mosaics are a form of “graphic” religious teaching, which was useful at times when most people were illiterate.
What exactly does the scene depict?
The Baptism scene is dominated by the figure of a naked Jesus covered up to his chest by the waters of Jordan. The absence of a rocky landscape is indicated by simple linear lines wherever necessary. Around Christ to the right is the large figure of the Baptist moving to touch the head of the Lord, while to the left, two Angels approach him their hands covered in lintea . The upper part of the scene features a symbolic depiction of the Holy Trinity’s two additional characters: The Holy Spirit, in the form of a dove, according to the scriptures and God the Father in the form of a blessing hand in a semicircular upper section. The vertical white ray reflected on all three figures shows the Epiphany of the Holy Trinity. It reads: 'Η ΒΑ'ΠΤΗ:CIC (The Baptism).
Our Lady of the Sign
The niche of the sanctuary's arch features a crafted icon of our Lady of the Sign. The Virgin Mary was called so because she carried the Lord, Creator of Heaven and Earth. This wonderful depiction is inspired by the icon of Our Lady of the Sign at the Sanctuary of Hagia Sophia in Constantinople.
What exactly does the scene depict?
Η μορφή της Παναγίας προβάλλει έντονα στο λαμπρό χρυσό φόντο. Καθισμένη σε θρόνο στολισμένο με πολύτιμες πέτρες, με υποπόδιο, κρατά στα γόνατά της τον μικρό Χριστό. Φορά μαφόριο σε σκούρο μπλε χρώμα, όπως σε όλες τις απεικονίσεις της στον ναό, και φέρει τρεις χρυσούς σταυρούς στους ώμους και στο μέτωπο, που συμβολίζουν την Αγία Τριάδα ή την αιώνια παρθενία της. Τα υποδήματά της είναι πορφυρά, χρώμα που συμβολίζει τη βασιλεία, είτε στη γη είτε στον ουρανό. Το θείο βρέφος φορά χρυσό μανδύα και χιτώνα, όπως οι βασιλόπαιδες, και κρατά στα χέρια του ένα κλειστό ειλητάριο – χειρόγραφο τυλιγμένο γύρω από ένα κυλινδρικό ξύλο. Τη μορφή συνοδεύει η επιγραφή ΜΡ ΘΥ, δηλαδή Μήτηρ Θεού.
Στο ψηφιδωτό περιμετρικά της κόγχης αναγράφεται:
Ψαλμός 92ος
«τῷ οἴκῳ σου πρέπει ἁγίασμα, Κύριε, εἰς μακρότητα ἡμερῶν». (Ψαλμός 93 – Δαυίδ).
Ερμηνεία: Εἰς τὸν ἱερὸν ναόν σου Κύριε,ἁρμόζει ἡ ἁγιότης καὶ ἡ καθαρότης πάντοτε, ὅπως καὶ ἡ ἁγιότης ὅλων ἐκείνων, οἱ ὁποῖοι εἰσέρχονται εἰς αὐτόν.
Ὁ οἶκος τοῦ Κυρίου εἶναι ἡ Ἐκκλησία τῶν πιστῶν. Ὁ οἶκος πρέπει νὰ εἶναι ἅγιος καὶ καθαρὸς ἀπὸ κάθε μόλυνση καὶ αὐτὸ πρέπει νὰ ἰσχύει αἰώνια. Σύμφωνα μὲ τὸν Ἀπόστολο, κάθε πιστὸς εἶναι ἁγίασμα αἰώνιο.
Our Lady of the Sign
The niche of the sanctuary’s arch features a crafted icon of our Lady of the Sign. The Virgin Mary was called so because she carried the Lord, Creator of Heaven and Earth. This wonderful depiction is inspired by the icon of Our Lady of the Sign at the Sanctuary of Hagia Sophia in Constantinople.
What exactly does the icon depict?
The figure of the Virgin Mary stands out against a brilliant golden background. Seated on a throne adorned with precious stones her feet on a footstool, she is presented holding the infant Jesus on her knees. She is wearing a dark blue mantle, in line with all her depictions in the church, and bears three golden crosses on her shoulders and forehead, which stand for the Holy Trinity or her eternal virginity. Her shoes are Royal purple, a colour fit for royalty, both on earth or in heaven. The Infant Jesus is wearing a golden mantle and a tunic, in the way of the royal children and holds a scroll rolled on cylinder – shaped wood. The inscription accompanying the figure reads MΡ ΘΥ meaning Mother of God in Greek.
On the mosaic around the niche is inscribed:
Ψαλμός 92ος
«τῷ οἴκῳ σου πρέπει ἁγίασμα, Κύριε, εἰς μακρότητα ἡμερῶν». (Ψαλμός 93 – Δαυίδ).
Ερμηνεία:Εἰς τὸν ἱερὸν ναόν σου Κύριε,ἁρμόζει ἡ ἁγιότης καὶ ἡ καθαρότης πάντοτε, ὅπως καὶἡ ἁγιότης ὅλων ἐκείνων, οἱ ὁποῖοι εἰσέρχονται εἰς αὐτόν.
Ὁ οἶκος τοῦ Κυρίου εἶναι ἡ Ἐκκλησία τῶν πιστῶν. Ὁ οἶκος πρέπει νὰ εἶναι ἅγιος καὶ καθαρὸς ἀπὸ κάθε μόλυνση καὶ αὐτὸ πρέπει νὰ ἰσχύει αἰώνια. Σύμφωνα μὲ τὸν Ἀπόστολο, κάθε πιστὸς εἶναι ἁγίασμα αἰώνιο.
Attention to detail
The mosaics of the Catholicon are admirable examples of 11th century art. They feature more than 140 hagiographic portraits and 9 scenes narrating significant moments of Jesus’ life. The figures represent a number of military saints, since during those times, the Byzantine Empire fought great battles against external enemies.
The golden tesserae
The mosaic made of golden tesserae is dazzling. The golden plain brings the entire imagery together with its infinite reflections of the light. It gives a lighter sense to the surfaces, while it warms the space up contrasting the cold feeling the marble on the floor and walls creates.
Decorative bands
The decorative bands are also of unique beauty and great attention to detail. Compositions with crosses, stylized flowers and geometric shapes artfully decorate the surfaces of the walls both in the main temple as well as in the Narthex. Additionally, they frame the scenes or the individual forms of saints.
Saint John Chrysostom
In the four small niches under the galleries of the main church, one can admire the busts of the three holy hierarchs of Christianity, among them John Chrysostom. The popular saint, patron of education along with Gregory the Theologian and Basil the Great, is represented in his liturgical attire: A dark phelonion (chasuble) and light-coloured omophorion (a brocade band). He is depicted blessing with a cross and holding a closed gospel.
The Burial and Resurrection (The Empty Tomb next to the angel)
Following the Descent from the Cross on the side wall, the iconographic narration continues with the Entombment and Resurrection of Jesus, which form a single depiction.
What exactly does the scene of the Burial depict?
On the left, Joseph of Arimathea and Nicodemus the Righteous are laying the body of Jesus in a marble tomb, while the Mother of God watches them in silent mourning. Christ is wrapped in funeral shrouds and a sudarium (a small piece of cloth used to wrap the head of the deceased). Nicodemus' figure separates the two scenes.
What exactly does the scene of the Resurrection depict?
To the right of the Burial scene, there is the Empty Tomb depicting the Resurrection. The holy myrrh bearers, Mary Magdalene and the Virgin Mary, stand side by side, terrified by the earthquake and the sight of an angel bathed in light, who is sitting on the open tomb stone. The angel announces the Resurrection, showing them the empty tomb with his right hand, where the funeral shrouds and the sudarium have remained intact. The inscription of the depictions has not survived.
Digital Restoration of Mural Painting
Giannoulis Lymberopoulos.
2023.
Christ meets John the Baptist
In the south west chapel, the east and northern walls show a depiction of Christ’s meeting with John the Baptist prior to his baptism. This particular scene indicates that the space was probably used as a Baptistery.
What exactly does the scene depict?
It is a particularly simple depiction against a dark blue plain and green grounds. Jesus moves towards a motionless John the Baptist holding a folded scroll, his mantle fluttering. The Baptist lowers his head and praises the Lord, holding a cross in his right hand. He is wearing a long mantle and a fleece.
Between the two figures there is a capital-letter inscription reproducing their dialogue according to the scriptures. The Baptist's side reads: “I have need to be baptized by You the Sinless, and do You come to me?" (Matthew 3:16). The Lord's side reads: "Allow it now, for thus it is fitting for us to fulfil all righteousness”. (Matthew 3:16).
On the Baptist side it is noted:
ΕΓΩ ΧΡΕΙΑΝ ΕΧΩ// ΥΠΟ CΟΥ ΒΠΑΤΙC//ΘΗΝΑΙ// ΚΑΙ CΥ ΕΡΧΕΙ ΠΡΟC// ΜΕ (Ματθαίου γ΄ 16).
From the Lord's side the answer is written:
ΑΦΕC ΑΡΤΙ ΟΥΤΩ ΓΑΡ// ΠΡΕΠΟΝ ΕCΤHΝ// ΠΛΗΡΩCΑΙ ΠΑCΑΝ ΔΙΚE//ΟCΥΝΗΝ («Άφησε κάθε αντίρρηση, γιατί με το βάπτισμά μου πρέπει να εκπληρωθεί το θέλημα του Θεού».) (Ματθαίου γ΄ 16).
Joshua
This depiction is part of an entire scene from the Old Testament representing Joshua with the angel.
Joshua, an eminent leader of the Jews, the successor of Moses, organised the Jewish army in an impeccable manner and fought victorious battles against other tribes inhabiting the region. In this scene he is depicted standing and conversing with archangel Michael prior to the famous collapse of the walls and the fall of Jericho. Only the top of the angel’s left wing can be seen today.
The subject symbolizing triumphant campaigns is probably a reference to the re - appropriation of Crete by the Byzantines in 961 - a fact that Saint Loukas had prophesied.
What is the significance of this mural?
This mural is of particular importance since it is the only one to have survived from the initial decoration of the Church of the Virgin Mary. It is located at the eastern wall of the southern compartment of the Exonarthex, which has been integrated into the northern bar of the Catholicon. It was revealed, during the extensive restoration work carried out in the 1950s and 1960s, under the Catholicon’s marble revetment. The discovery of this mural changed the dating as well as the construction phases of the two churches. Up until that point the prevailing view was that the Catholicon was older. The mural of Joshua is the oldest Byzantine scene that has been identified so far in Boeotia.
An extensive large-letter inscription accompanies the scene which reads:
[ΗΜΕ]ΤΕΡΟΣ ΕΙ Η ΤΩΝ ΥΠΕΝΑΝΤΙΩΝ ΚΑΙ [ΕΓΩ] ΕΙΜΙ ΜΙΧΑΗΛ Ο ΑΡΧΙ/[ΣΤΡΑΤΗΓΟΣ] ΤΗΣ ΔΥΝΑΜΕ[ΩΣ] Κ[ΥΡΙΟ]Υ ΚΑΙ ΗΛΘΟΝ ΤΟΥ/ [ΕΝΙ]ΣΧΥΣΑΙ ΣΕ (Ιησούς Ναυή, 5, 13-14).
Cross and blessing hand
The lower dome, directly above the scene with Christ and John the Baptist, depicts a cross, decorated with stones, against a star-lit sky. The blessing hand of God is depicted on the eastern bar of the cross. This is a well-known theme derived from the iconography of the Baptism.
What is the meaning of this representation?
This representation complements the imagery and makes the meaning of the chapel’s illustration clearer. It originates from dome iconographies of early Christian baptisteries.
The importance of the brush
The excellent mosaic decoration of the Catholicon’s nave and Narthex are complemented by frescoes in the side chapels, the women’s quarters and the Crypt. This practice is common in other great Byzantine monuments of the 11nd century, for reasons of economy. Mosaic decoration was expensive and donor funds didn’t always suffice for the completion of the work. Thus, lower - cost frescoes complemented the decoration plan on secondary surfaces.
When are the frescoes dated?
The frescoes of the Catholicon of Saint Loukas date back to the third quarter of the 11th century and, according to scholars, they form part of a single iconographic schedule, together with the mosaics.
What is their relationship with Constantinople?
Both the frescoes and the mosaics stand out for their high quality, which leads to the presumption that they were created by artists who had studied in Constantinopolitan workshops. After all, they boast iconographic similarities not only with Constantinopolitan monuments but also with manuscripts from the capital.