Kaddi.
Pyrgi.
EUBOEA
167
171. Spilies, Panagia Hodegetria (Σπηλιές, Παναγία Οδηγήτρια)
167.
Kaddi.
In the centre of the Kaddi village a Late Byzantine tower is pre-
served.
168.
Kipoi.
In the village stands a Late Byzantine tower.
169.
Oxylithos.
At Oxylithos three Byzantine churches survive. At Chatzirianoi
the funerary church of the Koimesis of the Theotokos is cross-
vaulted with a narthex and a second, subsequent space in the
W. The exquisite wall-paintings (late 13th c.) are attributed to
the same artist who decorated the church of Aghios Demetrios
at Makrychori. The cross-vaulted church of Saint Nicholas at
Ritzanoi preserves very few wall-paintings, though among them
a dedicatory inscription with the date 1304. The small church
of Aghia Anna at Alexianoi is aisleless, barrel-vaulted and or-
namented with two layers of wall-paintings, dating from circa
1310-20 and 1370, respectively.
170.
Vrysi.
At the archaeological site on Draggonara hill remains of the
Late Byzantine fortress of Koupa (La Cuppa) or Episcope have
been detected.
171.
Spilies.
The small cross-vaulted church of Panagia Hodegetria features
a later narthex in the W and refined cloisonné masonry on the
conch of the bema. According to an inscription, the church was
established and adorned with icons in the years 1310-11. The
surviving wall-paintings have been declared the best examples
of Western-influenced painting in Euboea. Judging by its ico-
nography, the church was possibly of a funerary type.
172.
Orio.
Outside the village of Orio, close to Oxylithos, lies the church
of the Nativity of Saint John Prodromos or “Agrioyiannis”. From
the original Byzantine church, whose type remains unknown,
only the E side and a few parts of the side walls are preserved.
All the rest are a result of later interventions. The bema features
wall-paintings of the 14th c.
173.
Pyrgi.
The small church of the Metamorphosis of the Soter is cross-
vaulted and bears a painted dedicatory inscription with an es-
tablishment date of 1296. The fine wall-paintings in the church,
along with those on the first layer of Aghia Thekla, have been
created by the same artist. The scene of Jesus as the “Lamb of
God”, influenced by Western iconography, is astounding.
173. Pyrgi, Metamorphosis of the Soter (Πυργί, Μεταμόρφωση του
Σωτήρα)
