Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.106
P. Komatina
{"title":"Slavic Ethnonyms in the Bavarian Geographer: A Historiographic Linguistic Analysis","authors":"P. Komatina","doi":"10.21638/spbu19.2020.106","DOIUrl":"https://doi.org/10.21638/spbu19.2020.106","url":null,"abstract":"","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67786292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.209
A. Lavrentyev
The article discusses the reasons and circumstances of the trip made by the famous icon painters Andrei Rublev and Daniil Cherny in 1408 to Vladimir-on-Klyazma in 1408, commissioned by the Grand Prince Vasily Dmitrievich in order to «renew» frescos of the Assumption Cathedral. The trip resulted in one of the most famous fresco ensembles of the Russian Middle Ages. In historiography, it is customary to explain the arrival of the icon painters to Vladimir by the constant concern of the Grand Prince authorities about the cultural and political «Vladimir heritage». The article suggests that a possible reason for the beginning of the works was the preparation of Vladimir and other cities on the former lands of the Grand Principality of Vladimir for their transfer to the governance of the Lithuanian Prince Svidrigailo Olgerdovich. In the summer of 1408 Svidrigailo left for Russia accompanied by the Bryansk bishop, Lithuanian Orthodox princes, boyars and a military squad. Awarding the ancient capital of the Great Principality to the new «servant» of the Grand Prince Vasily Dmitrievich Vladimir was unprecedented. Vladimir-on-Klyazma was never mentioned among the Russian territories granted to other Lithuanian princes who passed into the service of Moscow in the 14–15th centuries. Svidrigailo Olgerdovich’s «departure» and the simultaneous commanding of the icon painters to the city to work on the paintings of the cathedral was hardly an accident. At the end of the same year, Svidrigailo Olgerdovich left his new «service», and due to that the works on frescos were suspended and never not resumed in the future.
{"title":"To the history of the appearance of frescoes by Andrey Rublev and Daniil Cherniy in the Assumption Cathedral of Vladimir","authors":"A. Lavrentyev","doi":"10.21638/spbu19.2020.209","DOIUrl":"https://doi.org/10.21638/spbu19.2020.209","url":null,"abstract":"The article discusses the reasons and circumstances of the trip made by the famous icon painters Andrei Rublev and Daniil Cherny in 1408 to Vladimir-on-Klyazma in 1408, commissioned by the Grand Prince Vasily Dmitrievich in order to «renew» frescos of the Assumption Cathedral. The trip resulted in one of the most famous fresco ensembles of the Russian Middle Ages. In historiography, it is customary to explain the arrival of the icon painters to Vladimir by the constant concern of the Grand Prince authorities about the cultural and political «Vladimir heritage». The article suggests that a possible reason for the beginning of the works was the preparation of Vladimir and other cities on the former lands of the Grand Principality of Vladimir for their transfer to the governance of the Lithuanian Prince Svidrigailo Olgerdovich. In the summer of 1408 Svidrigailo left for Russia accompanied by the Bryansk bishop, Lithuanian Orthodox princes, boyars and a military squad. Awarding the ancient capital of the Great Principality to the new «servant» of the Grand Prince Vasily Dmitrievich Vladimir was unprecedented. Vladimir-on-Klyazma was never mentioned among the Russian territories granted to other Lithuanian princes who passed into the service of Moscow in the 14–15th centuries. Svidrigailo Olgerdovich’s «departure» and the simultaneous commanding of the icon painters to the city to work on the paintings of the cathedral was hardly an accident. At the end of the same year, Svidrigailo Olgerdovich left his new «service», and due to that the works on frescos were suspended and never not resumed in the future.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67787495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.109
K. Kasatkin
{"title":"The image of the Serbs in the works of I. P. Liprandi of the 1830–1860s","authors":"K. Kasatkin","doi":"10.21638/spbu19.2020.109","DOIUrl":"https://doi.org/10.21638/spbu19.2020.109","url":null,"abstract":"","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67786428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.207
D. V. Naydenova
St. Christopher was one of the few Christian saints whose image was portrayed in vivid and remarkable iconic art. Although the anthropomorphic iconographic image of the martyr was known in the Byzantine world since ancient times, the painters purposely proceeded to depict this saint in his zoomorphic guise. The belief in his miraculous power allowing to prevent troubles and to guard against diseases, fostered by the diverse artistic interpretations of the zoomorphic face representation, emphasized his particular mystical status, which enabled this unprecedented martyr’s iconography to survive almost until the present day. The zoomorphic iconography featuring Saint Christopher in the art of the Balkan countries was rather diverse and did not correspond to any persistent canon until the 19th century. The lack of metropolitan works representing St. Christopher in zoomorphic appearance led to a variety of interpretations of his face representation. This article focuses on the zoomorphic iconography of Saint Christopher in the art of the Balkan countries (Greece, Serbia, Macedonia, Bulgaria, Romania). Based on the analysis of the extensive corpus of the martyr’s images, portrayed in the monumental and easel paintings of the Balkan countries, the author identifies several subtypes of the martyr’s zoomorphic iconography (with a head of a dog, a horse and actually of a lamb), reveals the possible ways of emergence of each subtype, as well as outlines the regional distinctive features of the prevalence of one or another zoomorphic subtype.
{"title":"Zoomorphic iconography of St. Christopher in the Art of the Balkan countries","authors":"D. V. Naydenova","doi":"10.21638/spbu19.2020.207","DOIUrl":"https://doi.org/10.21638/spbu19.2020.207","url":null,"abstract":"St. Christopher was one of the few Christian saints whose image was portrayed in vivid and remarkable iconic art. Although the anthropomorphic iconographic image of the martyr was known in the Byzantine world since ancient times, the painters purposely proceeded to depict this saint in his zoomorphic guise. The belief in his miraculous power allowing to prevent troubles and to guard against diseases, fostered by the diverse artistic interpretations of the zoomorphic face representation, emphasized his particular mystical status, which enabled this unprecedented martyr’s iconography to survive almost until the present day. The zoomorphic iconography featuring Saint Christopher in the art of the Balkan countries was rather diverse and did not correspond to any persistent canon until the 19th century. The lack of metropolitan works representing St. Christopher in zoomorphic appearance led to a variety of interpretations of his face representation. This article focuses on the zoomorphic iconography of Saint Christopher in the art of the Balkan countries (Greece, Serbia, Macedonia, Bulgaria, Romania). Based on the analysis of the extensive corpus of the martyr’s images, portrayed in the monumental and easel paintings of the Balkan countries, the author identifies several subtypes of the martyr’s zoomorphic iconography (with a head of a dog, a horse and actually of a lamb), reveals the possible ways of emergence of each subtype, as well as outlines the regional distinctive features of the prevalence of one or another zoomorphic subtype.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67787532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.210
H. A. Flikop-Svita
The article discusses the unique cultural and religious phenomenon which was formed and existed for about a century and a half in the Greek Catholic (Uniate) Church of the Rzeczpospolita — altars, included in the iconostasis. To denote these sacred objects in the Uniate records of the 18th century, as it became known from numerous researched historical documents, the Polish-language term «ołtarze namiesne» («local altars») was used. «Local altars» was created with the setting of the throne to the icons of the local (lower) rank of the iconostasis — hence the name. Their occurrence is related to the adoption of Uniate religious practices, which was originally preserved in the Eastern Christian rites, the Western-Christian traditions. «Local altars» is an alternative to the traditional Catholicism of the side wall of the altars. In liturgical practice they were used with the same purpose — they can serve custom-made mass, but in manufacturing it was more simple and budget method: it was necessary only to put the throne to the iconostasis under the local icon. With time, formed a way of creating iconostases originally included in them aedicules — architecturally designed niches for local icons, which visually resembled the traditional architectural retablo altars. With the abolition of the Uniate Church in 1839 temples were converted to Orthodoxy, and all attributes of Catholicism were dismantled. Up to the present time on the territory of Belarus has no surviving full «local altar» with the throne. The study was conducted on the basis of historical documents of the late 17th – early 19th centuries with descriptions of nearly two thousand parish, branch, monastery and Cathedral Greek-Catholic churches in Belarus. It was found that by 1676 the practice of using «local altars» already existed, as evidenced by the revealed date of creation of the only preserved in Belarus, Uniate iconostasis with aedicules from the Church of Assumption monastery in Zhirovichi village, Slonim district of Grodno region. Thus, the «local altars» to the last quarter of the 17th century became the Uniate practice, where it was used until the early 19th century. Due to the complete loss of the artifacts to date, this sacred phenomenon in the Greek-Catholic churches in Belarus was not known.
{"title":"«Local altars» ― a unique phenomenon of the Greek-Catholic church in Belarus (late 17th – early 19th centuries)","authors":"H. A. Flikop-Svita","doi":"10.21638/spbu19.2020.210","DOIUrl":"https://doi.org/10.21638/spbu19.2020.210","url":null,"abstract":"The article discusses the unique cultural and religious phenomenon which was formed and existed for about a century and a half in the Greek Catholic (Uniate) Church of the Rzeczpospolita — altars, included in the iconostasis. To denote these sacred objects in the Uniate records of the 18th century, as it became known from numerous researched historical documents, the Polish-language term «ołtarze namiesne» («local altars») was used. «Local altars» was created with the setting of the throne to the icons of the local (lower) rank of the iconostasis — hence the name. Their occurrence is related to the adoption of Uniate religious practices, which was originally preserved in the Eastern Christian rites, the Western-Christian traditions. «Local altars» is an alternative to the traditional Catholicism of the side wall of the altars. In liturgical practice they were used with the same purpose — they can serve custom-made mass, but in manufacturing it was more simple and budget method: it was necessary only to put the throne to the iconostasis under the local icon. With time, formed a way of creating iconostases originally included in them aedicules — architecturally designed niches for local icons, which visually resembled the traditional architectural retablo altars. With the abolition of the Uniate Church in 1839 temples were converted to Orthodoxy, and all attributes of Catholicism were dismantled. Up to the present time on the territory of Belarus has no surviving full «local altar» with the throne. The study was conducted on the basis of historical documents of the late 17th – early 19th centuries with descriptions of nearly two thousand parish, branch, monastery and Cathedral Greek-Catholic churches in Belarus. It was found that by 1676 the practice of using «local altars» already existed, as evidenced by the revealed date of creation of the only preserved in Belarus, Uniate iconostasis with aedicules from the Church of Assumption monastery in Zhirovichi village, Slonim district of Grodno region. Thus, the «local altars» to the last quarter of the 17th century became the Uniate practice, where it was used until the early 19th century. Due to the complete loss of the artifacts to date, this sacred phenomenon in the Greek-Catholic churches in Belarus was not known.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67787672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.110
A. Mikhaylova
{"title":"Black and white memories of Old Serbia: To the informative value of archival photographs of the early XX century","authors":"A. Mikhaylova","doi":"10.21638/spbu19.2020.110","DOIUrl":"https://doi.org/10.21638/spbu19.2020.110","url":null,"abstract":"","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67786442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.104
D. V. Sen
{"title":"Frontier research in present-day Russia: Shaky boundaries of the academic dialogue","authors":"D. V. Sen","doi":"10.21638/spbu19.2020.104","DOIUrl":"https://doi.org/10.21638/spbu19.2020.104","url":null,"abstract":"","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"36 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67786400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2018.202
J. Dolak
{"title":"Thing in museum. Museum collection as structure","authors":"J. Dolak","doi":"10.21638/spbu19.2018.202","DOIUrl":"https://doi.org/10.21638/spbu19.2018.202","url":null,"abstract":"","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":"25-35"},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67786486","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.203
Gvido Straube
For a long time, the dominant opinion in the historiography was that the situation of the peasants in Livonia and later in Vidzeme in the 17th-18th centuries was steadily worsening year by year. But analysis of the information on the peasant households in the so called Hackenrevision of the 17th and 18th century. It shows that the situation was more complicated. If we compare the data of 1624, 1730, 1750–1751 we can see the following tendencies. There is a quantitative growth of all indicators of prosperity of the peasantry. The number of cattle, horses and workers per household increased several times (from one or four in 1624 to 12 at the maximum in the 18th century). A horse was important for field work, and the more horses in a farm, the more effectively the work was organized, the easier it was to allocate resources to carrying the barch, the horses could rest after hard work. In addition, a large number of horses on a farm already indicated a certain well-being, when they were kept not only for work, but also for prestige and representation. Increased numbers of cows helped to improve the diet of families and servants (increasing the proportion of meat and dairy products in it) as well as raising the sales of dairy products in the market. A larger number of cows enabled more abundant fertilisation of the fields, thereby increasing their productivity. The increase in the number of able-bodied people on the farms indicates an increase in the demographic indicators. The farm could provide a normal life for more people. The bigger the labour force, the higher the economic potential of the farm. More land could be farmed, more livestock could be kept, more food could be provided, and it was easier to fulfil one’s obligations to the landowner. All this shows that the thesis about the worsening of the situation of the livonian peasants in the 17th–18th centuries is not supported by the sources. On the contrary, growing prosperity meant that the farmstead owner could afford to do less physical work and pay more attention to farm organization. This developed his mental capacities.
{"title":"Is the Livonian peasant rich or poor?","authors":"Gvido Straube","doi":"10.21638/spbu19.2020.203","DOIUrl":"https://doi.org/10.21638/spbu19.2020.203","url":null,"abstract":"For a long time, the dominant opinion in the historiography was that the situation of the peasants in Livonia and later in Vidzeme in the 17th-18th centuries was steadily worsening year by year. But analysis of the information on the peasant households in the so called Hackenrevision of the 17th and 18th century. It shows that the situation was more complicated. If we compare the data of 1624, 1730, 1750–1751 we can see the following tendencies. There is a quantitative growth of all indicators of prosperity of the peasantry. The number of cattle, horses and workers per household increased several times (from one or four in 1624 to 12 at the maximum in the 18th century). A horse was important for field work, and the more horses in a farm, the more effectively the work was organized, the easier it was to allocate resources to carrying the barch, the horses could rest after hard work. In addition, a large number of horses on a farm already indicated a certain well-being, when they were kept not only for work, but also for prestige and representation. Increased numbers of cows helped to improve the diet of families and servants (increasing the proportion of meat and dairy products in it) as well as raising the sales of dairy products in the market. A larger number of cows enabled more abundant fertilisation of the fields, thereby increasing their productivity. The increase in the number of able-bodied people on the farms indicates an increase in the demographic indicators. The farm could provide a normal life for more people. The bigger the labour force, the higher the economic potential of the farm. More land could be farmed, more livestock could be kept, more food could be provided, and it was easier to fulfil one’s obligations to the landowner. All this shows that the thesis about the worsening of the situation of the livonian peasants in the 17th–18th centuries is not supported by the sources. On the contrary, growing prosperity meant that the farmstead owner could afford to do less physical work and pay more attention to farm organization. This developed his mental capacities.","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67787352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.21638/spbu19.2020.208
I. Chouliarás
The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.From the early building phase the modern church has incorporated part of the S wall, which dates to the early 15th century. On the W side was added a late 19th-century loggia, which is roofed with a sloping roof lower than that of the church and possibly replaced an older one. The column of the loggia comes from an earlier building phase of the church. On the W side is raised a rectangular narthex, possibly of the same date as the loggia, which is roofed with a quadruple roof. The present entrance door to the main church is located at the W end of the S wall, while the original door was opened in the middle of the same wall and has been walled today. There is a small conch above the walled door.The church is built of stone with irregularly placed stones. More elaborate construction on the arch with carved stones in the pseudo-isodomic system. On the S wall between the stones are inserted bricks. Brick arched frame is formed above the walled gate. The fresco decoration of the catholicon is confined to the outer front of the S wall and the lower parts of the main church. It is of particular importance, as we distinguish five post-Byzantine phases, the first of which at the end of the 15th century. The first is located in the E part of the outer front of the S wall. The rest continue to the W on the outer front of the same wall and on the lower parts inside the main church.In the initial phase of the frescoes belong the Deisis with the Christ and the Virgin, as well as the frontal St. Nicholas, behind the Virgin. The upper parts of the scene have been repainted. The next phase, which can be dated to the 16th century, invo
{"title":"The Catholicon of the Monastery of Agios Panteleimon on the Island of Ioannina, Greece","authors":"I. Chouliarás","doi":"10.21638/spbu19.2020.208","DOIUrl":"https://doi.org/10.21638/spbu19.2020.208","url":null,"abstract":"The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.The monastery is located at the SE end of the settlement of the Island and became widely known in modern history, as Ali Pasha was assassinated in its cells in 1822. The catholicon today is a three-aisled basilica with a quadruple roof and in its present size was probably built at late 17th or early 18th century. The aisles are separated by wooden colonnades. The W and N walls, probably most of the E, were rebuilt after their destruction in the early 19th century by falling rocks. In the E there is a semicircular arch. The original church was supposed to be a small one-aisled with a semicircular arch, traces of which were discovered on the SE side of the modern church.From the early building phase the modern church has incorporated part of the S wall, which dates to the early 15th century. On the W side was added a late 19th-century loggia, which is roofed with a sloping roof lower than that of the church and possibly replaced an older one. The column of the loggia comes from an earlier building phase of the church. On the W side is raised a rectangular narthex, possibly of the same date as the loggia, which is roofed with a quadruple roof. The present entrance door to the main church is located at the W end of the S wall, while the original door was opened in the middle of the same wall and has been walled today. There is a small conch above the walled door.The church is built of stone with irregularly placed stones. More elaborate construction on the arch with carved stones in the pseudo-isodomic system. On the S wall between the stones are inserted bricks. Brick arched frame is formed above the walled gate. The fresco decoration of the catholicon is confined to the outer front of the S wall and the lower parts of the main church. It is of particular importance, as we distinguish five post-Byzantine phases, the first of which at the end of the 15th century. The first is located in the E part of the outer front of the S wall. The rest continue to the W on the outer front of the same wall and on the lower parts inside the main church.In the initial phase of the frescoes belong the Deisis with the Christ and the Virgin, as well as the frontal St. Nicholas, behind the Virgin. The upper parts of the scene have been repainted. The next phase, which can be dated to the 16th century, invo","PeriodicalId":41089,"journal":{"name":"Studia Slavica et Balcanica Petropolitana","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"67787480","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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