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A critical edition of inscriptions of workshops from Linotopi in the provinces of the Orthodox Church of Albania

Articles

• Γιακουμής, Κωνσταντίνος Γ.
• ΓΙΑΚΟΥΜΗΣ, Κωνσταντίνος Γ.

Linotopi, the famous Wallachian village of Mount Pindos near Kastoria, was home to the oldest known and most representative provincial itinerant workshops specializing in religious art. Being Vlach in origin, the masters and craftsmen of Linotopi could travel freely to work on commissions. Thus they painted Orthodox churches and icons, katholika and possibly mosques. Their work is found in Aetolia and Pelion, Epirus, Macedonia and possibly Mount Athos; extending as far as central-western Albania, the former Yugoslavia and Bulgaria. There is evidence of continuous production from the last three decades of the 16th century, to the beginning of the 18th. In this study we examine the inscriptions in eight churches and one silver icon revetment in Albania, signed by painters or craftsmen from Linotopi. These inscriptions cast new light on the context in which they were produced, providing information about painters and silversmiths, their travels and patrons, and the historical development of their handicrafts, as well as the history of local villages, churches and monasteries. The inscriptions: 1. 1617: Narthex of the Monastery of the Prophet Elijah at Georgutsati (Jorguçat), Dropolis (Dropull). The narthex was painted 'through the hand of the sinner Michael from the large village of Linotopi of Kastoria'. No local bishop is mentioned, while the abbot Symeon is named in other documentary sources from the early 17th century. 2. 1617: Naos of the katholikon of the Annunciation at Vanista (Vanishtë), Dropolis. The naos was painted by the same Michael during the prelacy of bishop Matthew of Ioannina. Matthew is one of the most fascinating ecclesiastical figures of the early 17th century, since he is known to have been a protagonist in the movement of Dionysios Skylosophos in Ioannina. He is mentioned as a bishop of Ioannina and not of Dryinoupolis, because during the difficult period after the movement of Dionysios and the death of the previous metropolitan, Manasses, he was either appointed as episcopal vicar of the Metropolis of Ioannina, until the canonical election of a Metropolitan, or he became joint-bishop for a limited time. 3. 1626: Narthex of the katholikon of the Monastery of the Transfiguration at Tsiatista (Çatishtë), Pogoni. The katholikon was painted by master Michael from Linotopi with the sponsorship of the metropolitans Jacob of Zihnon and Daniel of Nevrokopi. 4. 1630: Church of St Nicholas in Sarakinista (Sarakinishtë), Liuntzi (Ljunxheri). The church was painted by master Michael together with his son Konstantinos and Nikolaos from Linotopi in 1630. The work was sponsored by the local noblemen in the village of Sarakinista, who were powerful since the 17th century. 5. 1632: Church of St Nicholas at Meliani (Melan), Premeti (Permet). The church was painted in 1632 by master Nikolaos from Linotopi, with the sponsorship of one Kyrko, perhaps from Sarakinista. 6. 1634: Naos of the katholikon of the Spelaio Monastery at Sarakinista, Liuntzi. The painting of the naos can be ascribed to master Michael from Linotopi, with the sponsorship of the hiero-monks Konstantinos and Yasophos, and of the noblemen of Sarakinista. This was his last and the best work, characterised by elaborate modelling and use of highlights to create a powerful sense of harmony and expression. 7.1653: Naos of the katholikon of the Monastery of Prophet Elijah at Stegopolis (Stegopul), Liuntzi. The naos was painted by the master Konstantinos, son of Michael from Linotopi, together with his fellow Nikolaos. The names of the Sarakinistiote donors (George of Nani and Ioannis Dragos) who sponsored the wall-paintings can be attributed to Vlachs. 8. 1685-1714: Church of St Athanasios at Lenga (Llëngë), Mokra. The church was painted by Demetrios from Linotopi, son of the master Nikolaos, with the sponsorship of local noblemen, in the prelacy of the Bishop of Gora and Mokra, Arsenios (1685-1714). 9. 1765: Silver revetment of the icon of the Virgin Spelaiotissa. The revetment was made by the silversmith Theodore from Linotopi. This craftsman was evidently related to master Demetrios, son of Theodore from Linotopi, who in 1763 created two copper-plates in the monastery of Chilandar on Mount Athos. Considering these inscriptions in the context of other known works of the same workshop, we can discern three generations of painters active in churches and katholika for more than a century, and two generations of silversmiths. Two new names of masters appear; the painter Demetrios, son of Nikolaos, and the silversmith Theodore. The donors and patrons who invited the craftsmen of Linotopi to work for them were mostly local dignitaries of different racial background. They could afford to pay well-known provincial painters, whereas the most prominent craftsmen of the day were beyond their means, and employed in the great monastic and urban centres.

• Arts
• History and Archaeology

• Arts and religion

• http://ejournals.epublishing.ekt.gr/index.php/deltion/article/view/4306
• http://dx.doi.org/10.12681/dchae.563