Vorizia.
Vrontisi Monastery.
CRETE
272
was created in two phases, as attested by the two founders’
inscriptions. From the original phase the letter Θ is preserved,
associated with the name “Θεόδωρος” (Theodoros), known
from sources as the archbishop of Crete. He was the only sup-
porter of Byzantine Emperor Justinian I’s (r. 527-565) religious
politics in the whole of Illyricum, of which Crete was a part.
The inscription from the second phase of the mosaic floor
mentions archbishop of Crete Vetranios, unknown from other
sources, as the renovator of the original mosaic. In terms of
style, the original mosaic floor dates from the first half of the
6th c., while its renovation is placed in the late 6th c. or early
7th c. Investigation of a circular structure with peristyle, pos-
sibly a baptistery, is in progress.
439.
Vorizia.
In the Timios Stavros church (Holy Cross), possibly a chapel
of Valsamonero monastery, survive Gothic-style doorframes,
windows and belfry, typical of the late 14th c. Of the same
period are the exquisite wall-paintings, among the finest ex-
amples of Constantinopolitan painting.
440.
Valsamonero Monastery.
The Valsamonero monastery is located close to Vorizia. It was
Crete’s most significant religious location in the last decades
of the 14th c. and the first decades of the 15th c. The catholi-
con was built gradually. To the original aisleless church of
Panagia were added the S aisle, dedicated to Saint John Pro-
dromos, and a transept, dedicated to Aghios Phanourios, to
which a narthex was added. The Gothic doorframes, the agi-
othyrida (small windows of the shrine) and the belfry are typi-
cal of the period. The style of the painted decoration follows
the building phases. The barrel vault of the original nave is
covered with the “Akathist Hymn” (mid-14th c.). The frescoes
in the bema feature evangelical scenes, the Ascension, Pen-
tecost, two scenes from the life of the Virgin, and Abraham’s
Sacrifice, which are distinct works of art and early examples
of Constantinopolitan painting. An inscription dates them to
1400. Of the same period and artistic style is the representa-
tion of the hymn “Anothen oi Prophetai” (the Prophets Above)
in the drum of the W wall of the aisle. The Assumption of the
Virgin on the N wall, with full-body figures of saints on the
side, differs in quality – it was created by a different painter
– though all the wall-paintings in this church are of the same
tendency. In the Saint John Prodromos aisle, which is cov-
ered with a half barrel vault, the selection and arrangement of
iconography deviate from the typical system encountered in
441. Vrondisi
monastery, Aghios
Antonios, wall
paintings (Μονή
Βροντησίου,
Άγιος Αντώνιος,
τοιχογραφίες)
441.
Vrontisi Monastery.
The Vrontisi monastery was one of the most significant reli-
gious and cultural centres of Crete from the early 14th c. The
Cretan churches. The frescoes in Saint John’s date to 1407,
according to an inscription. In the intrados of the E arched
opening is the unique painting of Aghios Gregorios Palamas
and of Anthimos, Proedros of Crete. In the W section of the
aisle develops a series of scenes from the life of Saint John
Prodromos, one of the richest in Crete. It is dated to 1427, ac-
cording to the inscription on the W arched opening. The scene
of the Massacre of the Innocents, on a second layer, is the
later work of a different painter, added after the destruction of
the original layer during the expansion and final formation of
the S and main entrance into the Gothic order. In the transept,
also covered with a half barrel vault, is the only known series
of the life of Aghios Phanourios, a saint newly introduced to
Crete at the time. The monastery of Aghios Phanourios, origi-
nating from Rhodes, was the main centre of the cult. A dedica-
tory inscription dates the addition of an aisle to 1427 and of
wall-paintings by the painter Constantine Rikos to 1431, spon-
sored by abbot Jonas Palamas, one of the leaders of the early
Cretan Renaissance. In the spacious transept, frescoes date
from the mid-15th c.
