Iconography

Another unknown to most church but with so long history!

It was Built in 1892 with the meager funds of the miners in the area.

Intersting to mention, at this very point there were the gold mines of Attica since the era of Pericles!

Even today, with the sacrifices of the people the church is maintained and continually improved.

This old church of 1892 has really upgraded after hagiography. Its hagiographic program, characterized by consistency, proper emphasis on structure and brightness of color, offsets the lack of architectural style, which made him neutral, and also the extensive damage and imperfections on walls (eg skewed and uneven surfaces) that were fixed or fully covered.

The zone of standing saints, defines the sense of height in the vertical walls. The Saints start at a height of approximately 1.5 meters, which makes them impressive. Moreover, the right tone of colors, expressiveness and the thoughtful spacing between the Saints, creates the feeling of spiritual joy and elevation to the observer.

Saint Christopher, patron of drivers, shown to carry on the shoulder the baby Christ. His hand is holding a stick that has sprouted, symbolizing the miracle happened when in command of Christ planted the stick.

Saint Theodore, armored with shield, spear, sword and bow, pictured with brilliant colors and every detail in the armor of the time they lived. The saint is depicted in Byzantine iconography in three different ways. Either standing in military uniform (alone or next to St. Theodore the Commander) or addressing a serpent-dragon or together with Saint Theodore the Commander on horseback.

The band with vertical busts of saints, was chosen to provide for continuity in the area of standing saints while interrupting the monotony of either side. A flat surface needs much attention to the painting, because the painter can easily make two main mistakes. Either to crowd the surface, because there is space available for extensive painting, so upsetting the balance of the space and create a feeling of pressure and shrinkage, or to use alternative plans in order to give a sense of freedom and openness of the space, so to resorte to non-Byzantine models, such as starry skies etc.

Saint Themistocles, in the second row of saints depicted in busts over the standing saints. This zone, although it is by standing over the Saints, has also the green background, symbolizing the earth, and blue, symbolizing the celestial world, since the saints are always between heaven and earth, beyond space and time.

The figures in the row of standing saints characterized by an expressive mobility, adopting elements from Greek sculpture of classical antiquity and the Golden Age of Pericles. The forms, always gentle and thoughtful, raise their hands bleshing or holding inscriptions related to their life, creating a set where each Saint complements each other, without losing the focus to the observer.

Saint Anthony, holding scroll, from the row of standing saints.

View from the North wall. The monotonous rectangular surface has after the painting taken a different role decorated with saints and busts on the same scale with the ceiling medallions.

The Great Martyr Demetrius, in a splendid position, gaze the believer with thoughtful look

This exquisite painting reveals the very young age of the saint, while giving him a uniquely thoughtful look.

Saint Catherine is another example where the persistence on detail accompanied with excellent color choices creates an imposing and optimistic set.

Saint Minas, another soldier of the Roman army accepted the Divine grace and became a soldier of Christ. Here depicted, like all soldier saints with his weapons and his uniform.

This depictation of Saint Fanourios like all the contemporary Byzantine painting based on the icon of the saint who accidentally found in the 14th century AD in the ruins of an ancient temple in Rhodes. In that picture, the saint is depicted as a young soldier, holding in his right hand cross, on which was candle lit, and around the main theme, the small icons of the 12 tortures of the Saint.

The ceiling is divided into groups of four medallions, that is saints painted on the circular area within a blue background. Here St George Cyprus, wear the typical dress of the place and time that he lived.

In this picture we can admire the perseverance to detail and passion that dominates this painting. The decoration of the hat, and the details of face are formed by delicate touches accurately positioned.

Saint Paraskevi depicted here with one hand open and the other firmly holding the cross, symbolizing the acceptance of the sacrifice for the Christ, painted with brilliant colors and decisive spiritual expression. Agia Paraskevi born in Rome during the reign of Emperor Antoninus (138 to 160 AD). Having developed a rich missionary activity in Rome, and miraculously gave back the light in the persecutor of Christians Anthony, came to Greece where he was martyred.

Saint Nestor was very young in age, handsome in appearance and acquaintance of St. Demetrios the glorious. Pictured here with his military clad, bearing a sword in hand, that symbolizes the victory over the pagan Lyaiou.

Detail from the Saint Olga, depicting the monks symbol in her dress

Detail from the head of Saint Olga.

John the Evangelist, always located on the east side of Dome. Deppicted here to write the first words from the divinely inspired text of the Revelation.

Detail of John the Evangelist, where we can distinguish the spiritual and meditative expression in the face, while he is writing the first words. Here the expression attributed with restrained, optimistic colors and transparencies in colors worthy of the old murals painted with the fresco technique.

Around the small dome pictured Prophets and Evangelists. Here depicted the prophet Zechariah, who prophesied the entrance of Jesus into Jerusalem on Palm Sunday, and the amount paid by the bishops as a trespass to Judas for betraying his Master.

The Evangelist Matthew, along with John, are always painted on the eastern side of the dome. Here tilting his head as he gently lifts the paper that inscribes the first words of his Gospel.

Detail by Evangelist Matthew. Here, inspired by a painting of the 15th century, we borrowed elements in order to create with our own unique style the expressive face Evangelist.

The Prophet Elias is the largest of the Old Testament prophets.

Detail of the Evangelist Mark, where we can admire the perfection in the details of the hands and face.

Saint Mark, pictured once scrape his stylous with a knife, to write his Gospel. It is customary in Byzantine painting, to represend the Evangelists at times related to the writing life, ie to scrape stylous, to write, or bookbinding.

The prophet Malachi depicted handsome and majestic, with bright balanced colors because, according to the tradition, the whole physical appearance had perfect harmony and splendor. His hand holds a scroll inscribe the prophecy of the coming of Saint John the Baptist.

Due to the harmonious appearance, the virtuous life and the fact that what prophesied, immediately confirmed to the people an angel, he was named Malachi which means Angel.

Detail of Evangelist Luke, where we can observe the expression of meditation that was so beautifully painted in the face, at the moment he raises his hand, to start writing his Gospel.

The Evangelist Luke, in a moment of meditation, completes the quartet of Evangelists. The Evangelist Luke was a doctor by profession, and also the first hagiographer. He was attributed the first icons of Virgin Mary with baby Jesus in her arms, and those of the Apostles Peter and Paul.

The Prophet Isaiah, dressed in robes suggestive of his noble lineage, raises his head illuminated by Holy Spirit to announce the  birth of Christ from the Virgin.

Saint John from Monemvasia is a saint who died in 1773 and therefore wears the traditional attire. His face, bright and smooth, indicative of his young age and the bright spirit that possessed him.

View on the west wall

Saint Panteleimon the Unmercenary. The Unmercenary Saints were doctors of the era that were treating their patients without any payment, and for this reason are called Unmercenaries (in Greek Anargyroi means without silver coins). All Unmercenaries depicted holding a box with drugs or forceps as in this illustration holds the Pantaleimon.

Saint Helen the myrrhbearer

Detail from Saint Helen the myrrhbearer. The actual size of the head is 20cm, but the strokes must have the right size and the right color contrast in order to look alive and reliefs from the distance of 4 meters, which is the head of the viewer.

Saints Hierarchs in North Wall, wearing the characteristic priestly garments.

Detail of the head of St. Gregory of Nyssa

The Lord (Greek : Archon) Michael, guard the southern entrance of the church.

The painting of the Archangel Michael contains wonderful details in the armor, and the ball the Archangel keeps.

Detail from the head of the Archangel Michael.