Αι τοιχογραφίαι του βυζαντινού ναϋδρίου των Ταξιαρχών Δεσφίνης (πίν. 46-60)
Part of : Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας ; Vol.21, 1964, pages 175-202
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175-202
Parallel Title:
The Frescoes of Byzantine Church of the Archangels at Desphina (pl. 46-60)
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In the foothills of Mount Parnassus is preserved a series of partlydamaged frescoes dated by an inscription to 1332, in the small vaultedchapel of the Archangels in the village of Desphina.The iconographie program conforms in its general lines with thearrangement usual in this type of church : Gospel scenes on the vault,on the walls a zone with busts of martyrs above full-length figures ofsaints, while Christ Pantocrator occupies the position on the southwall next to the screen. The Archangels Michael and Gabriel, towhom the church is dedicated, are on the western part of the southwall, in frontal pose and holding between them a medallion with thebust of the Mother of God. This original representation derives fromthe iconography of the Congregation of the Angels, where however itis Christ who is represented in the medallion.The Gospel scenes are nine in all. The iconography in these scenesis rather conservative, following in many points the older types.However, innovations characteristic of the Palaeologan period are notlacking. For example, in the Nativity the portrayal of Joseph talkingto the shepherd to illustrate the return of the shepherds to Bethléem(Luke 2, 15-18); in the Transfiguration the exaggerated postures ofthe disciples ; the large number of disciples in the Entry into Jerusalem and of Holy Women in the Crucifixion ; and the perspectivetreatment of the group of disciples, the Angel and the high landscapein the Ascension.With regard to style, the Gospel scenes bear witness to the impactof the developments of the Palaeologan renaissance ; notably in thelively movement and in the organic drapery treatment, in which broadhigh-lights delineate the limbs and emphasize their movement. Thisis specially marked in the Crucifixion and the Ascension.The modelling of the faces in the scenes is done either by asmooth transition from light to shade or by the juxtaposition ofbrush-strokes of light and dark tones, a technique used in many waysduring the Palaeologan period reaching at times a bold impressionism.In addition, the high rocks of the landscapes have the sharp outlinesof this period, though the characteristic spacial conception of landscape is less in evidence. As in earlier art, the figures dominate the compositions, while the setting is conventionally rendered. Furthermore,errors of proportion, a lack of grace and freedom in the rendering ofmovement as well as defects in the execution, betray a provincialcharacter.On the other hand, the standing saints in the lower zone of thewalls are close to the art of the great centres. They are works of ahigher quality attributable perhaps to the leader of the group ofpainters employed. The faces are rendered in the meticulous classicalmanner descended from the art of the eleventh and twelfth century andrenewed in the Palaeologan period : the emphatic lighting enhancedby the addition of bold white lines, together with accuracy and subtleshading in the features and the flesh of the faces attest a pre-occupationwith plastic values.Furthermore a Greek perception of naturalism and beauty offeature, likethe more human expressions infuse the faces with something of Palaeologan humanism.These various connections, in both iconography and style, withthe contemporary art of the great centres ( Constantinople, Macedonia,Mystra), without special dependence on any one of them, reveal theuniversal character of the developments in art during the Palaeologanperiod.
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