Agios Georgios Diasoritis

Written by astrid on 4. August 2024. Posted in News, The best articles, Churches and monasteries, Culture, Monuments.

The church of Ágios Geórgios Diasorítis, located near Chalkí, is one of the most important sights on the island of Naxos, as well as a cultural monument of great importance with relatively well-preserved, very beautiful wall paintings from the 11th century, which are almost unique in their composition and completeness not only on Naxos, but also in the whole of Greece.

The name “Diasoritis” is understood by the local population to come from “oros Dias”, i.e. Mount Zeus, but is probably derived from the epithet of St. George “Dios Hieron” (= hand of God). Images of St. George Diasoritis, one of the most important saints of the Orthodox faith, can also be found in other churches on Naxos.

The building

The church Ágios Geórgios Diasorítis is built as a cross-domed church “inscribed” in a square ground plan. The dome rests on four angular brick columns. In the west a slightly lower transverse nave (“narthex”) is added. The “arms” of the cross are covered with the usual barrel roofs. For the “corners” of the square building in between the arms, an unusual construction with barrel roofs at right angles to each other was used. The apse (“bema” = step) in the eastern arm of the cross is very wide; in the neighboring “corners” on both sides of the “bema” (“parabemata”), large niches are imbedded into the eastern wall. The columns and walls are decorated with protruding decorative moldings at the height at which the arches begin. In the narthex, niche tomb (“arcosolium”) are built into the south and north walls. The entrance to the narthex and thus to the church is in the middle of the west side, opposite the entrance to the main room. The type of the inscribed cross-domed church is rather rare on Naxos; this church also shows a remarkably harmonious, in some details unusual plan and a precise and careful execution of the masonry.

The beautiful church of Ágios Geórgios Diasorítis is located in old olive groves in a distance of about 10 minutes on foot from the village of Chalkí. It is a cross-domed church inscribed in a roughly square building with a transverse porch to the west.

The interior is decorated with unique, well-preserved, high-quality wall paintings from the 11th and 12th centuries. Here a view of the rather broad and high semicircular apse.

The rather small dome is supported by four square brick pillars. Originally, all available surfaces of the interior (the columns, the walls, the arches, the barrel vaults of the arms and the “corners”, and the dome) were decorated with rich, carefully composed and arranged murals.

The church was built in the second half of the 11th century, when it was also decorated with the older layer of wall paintings. The narthex is somewhat younger, but also dates from the time before the island was conquered by the Venetians, i.e. from the 12th century. An inscription in the narthex mentions a Protospatharios Joannis as the donor, i.e. a high dignitary of the Orthodox Church, as is the case also in the even older village church of Chalkí Panagía Protóthronos (which in the 10th century was also converted into an inscribed cross-domed church), where a Protospatharios Nikitas is mentioned as donor in an inscription from the year 1052. In contrast to the often rural, smaller churches of the Venetian era, which were built and decorated by local priests or farmers, Ágios Geórgios Diasorítis is thus an important, remarable church, close to the central village of Chalkí, whose church probably functioned as Episcopal see at the time.

The wall paintings

The descriptions in this post follow the article “Hagios Georgios Diasoritis” by M. Acheimastou-Potamianou in the book “Byzantine Art in Greece – Naxos”, editor Manolis Chatzidakis. I have included many photos in the article, despite the poor quality of some of them due to the low lighting, in order to give as complete a picture as possible of the decorations of this church as an extraordinary example of Byzantine wall paintings of the period. The photographs were taken in 2024, when I finally managed to visit the interior of the church again after more than 30 years. Photography is permitted inside the church, without flash of course, but not in the narthex (western vestibule). The two pictures from the narthex (and some of the other photographs) were taken in 1990, when we visited the church for the first time; it had just been restored then, if I remember correctly. They were of course paper photos, thus the mediocre quality. Many of the more recent photos are also not good as the lighting in the darker parts of the church was too poor, but I included them anyway.

The murals in the church of Ágios Geórgios Diasorítis are unique on Naxos in terms of their quality and completeness. Some of them have an unusual, sophisticated and lively composition and are particularly impressive. They are frescos, i.e. paintings on wet plaster, which were later completed in a dry state by the bold brushstrokes of the details of the faces, robes and ornaments.

Three layers of paintings can be distinguished in the church, two of which date from the second half of the 11th century; these were probably executed at around the same time, but by different painters. Parts of the these layer were later painted over with a third layer; the narthex is also decorated with this somewhat younger paintings (12th century).

The dome

In the rather small dome of the church, as in almost all churches on Naxos, Christ is depicted as Pantocrator (“ruler of the world”), surrounded here by four angels.

The apse

The decoration of the apse is rather unusual. In the upper part of the very high semi-cylindrical section of the apse four hierarchs are depicted, a common motif on Naxos. The decoration of the lower section, on the other hand, is unique with an image of St. George, to whom the church is dedicated, and his parents next to him; in the “quarter sphere” of the apse, Maria is depicted, a quite unusual choice.

In the lower part of the apse, Saint George Diasoritis is depicted, in a frame reminiscent of a portable icon.

To his left, in a round medallion, is his father Gerontius, who was an officer in the Roman army in Cappadocia.

On the right, also in a medallion, his mother Polychronia, who comes from Judea.

On the left are the hierarchs Gregory the Theologian (left) and Basil (right).

On the right side stand Joannis Chrysostomos (left) and Saint Nikolaos (right). The execution of the paintings is remarkable, showing the hierarchs in the usual manner and posture, but each one executed with clear individual characteristics.

In the quarter sphere of the apse, above the hierarchs, usually the Deesis is depicted (Christ with Maria on the left and John the Baptist on the right). Here we have an image of Panagía, the Mother of God instead, unfortunately poorly preserved.

The eastern arm of the cross

The columns in front of the apse depict other full-figure saints, here John the Merciful (Ágios Joánnis Eleímon), who was patriarch in Alexandria around 600 AD.

Here you can see the careful execution of face, as characteristic for this church, with expressive eyes, red cheeks, the furrowed brow giving a serious expression, and an aura of holy calm and wisdom.

Above the full-figure saints are the heads of saints in medallions, surrounded by carefully executed ornaments. Like most of the saints depicted in this church, they lived in Asia Minor at the time of the Roman Emperor Diocletian (284 – 304 AD), as did St. George.

Saint Floros

next to him his brother, Saint Lauros

Saint Anikitos

Stories from the life of Christ are depicted in the barrel vaults of the arms of the cross. In the eastern arm you can see his ascension.

Below and above the figure of Christ, which is depicted in a kind of shield with rays of light or a halo, four angels appear to be carrying the shield. These angels are unusually animated and lively.

Above Christ, with his expressive face and large eyes, we see the two upper angels; the one on the left is based more on antique models, while the one on the right is executed in the same style as the angels in the north-east corner of the church.

Below the ascending Christ, the disciples, six on each side, are depicted, led by an angel. The painting draws the viewer into the scene with the emotional facial expressions of the disciples, their gestures and even the movements of their robes.

The northwest corner (northern Parabema)

In the (poorly lit) north-east corner, the Assembly of Angels is depicted with Archangel Michael in the large niche in the east wall.

On the north wall we find a depiction of Joshua, to whom the archangel Michael appears with his sword.

The southeast corner (southern Parabema)

The southeast corner depicts the Virgin Mary from the scene of the Annunciation (not well preserved) and John the Baptist in the niche, as well as several prophets and saints, here probably King Solomon.

The beheading of John the Baptist is depicted under the barrel vault of the corner, inserted in a particularly animated manner into the triangular barrel ceiling of the corner. The soldier performing the beheading stands behind the half-lying Baptist with an intense expression on his face, caught in the movement.

The facial expression of John the Baptist is also impressive, executed with both careful shading and bold strokes, as is typical of this church.

The southern arm of the cross

Here the view into the southern arm of the cross. A hierarch is depicted on the pillar on the left and a military saint on the right. On the south wall (center), a praying saint is depicted in the lower section, and the Anargyri (traveling saints) in the upper section. These images, as well as the Archangel Michael (no photo) depicted opposite in the north arm, belong to the more recent paintings (probably from the 13th century).

On the wall of the left column facing the arm, i.e. visible to the viewer looking at the apse, a touching depiction of the Virgin Mary with the Child.

Above the columns on both sides saints in medallions are depicted; under the vault we see on the left part of the disciples in the Ascension scene, on the right part of the scene of the Outpouring of the Holy Spirit 40 days after the Ascension (Pentecost).

Here you can see, painted with fine details, the two Anargyri, the brothers Damian and Kosmas, traveling doctors in Asia Minor in 300 AD (again as St. George). They did not accept payment for their services (hence the name “an-argyri” = without silver).

Under the roof more scenes of the life of Christ: on the east side (poorly lit) the nativity…

… on the west side the presentation of Christ in the temple forty days after his birth.

below again a saint in a medallion, Saint Provos

The southwest corner

The west wall depicts St. Theodore, who also lived in Asia Minor at the time of the persecution of Christians under the Roman Emperor Diocletian and, according to legend, killed a gigantic snake – just like St. George.

Next to the depiction of St. Theodore, St. George Diasoritis is depicted on the south wall (very poorly preserved, therefore without a photo), killing Emperor Diocletian, who had ordered the persecution of Christians. This does not correspond to the facts: while St. George died as a martyr, Diocletian’s life ended in a natural death (very rare among Roman emperors) after he abdicated (as the first or only Roman emperor).

In the southwest corner, many wall paintings are covered in thick salt crusts; here, the face of a saint has been uncovered.

and yet another saint

The western arm of the cross

Under the vault of the western arm, the Outpouring of the Holy Spirit forty days after the Ascension (Pentecost) is depicted, corresponding to the depiction of the ascension in the eastern arm.

Above the door to the narthex we see the Deesis, which is depicted in almost all Naxiotic churches in the apse. The figure of Christ in the middle of the Deesis has not been preserved; the Virgin Mary is somewhat recognizable on the far left of the wall, while on the far right, in the position normally occupied by the Baptist John, stands the eponymous Saint George Diasoritis, who is particularly venerated in this church (photo).

The northwest corner

The murals in the north-west corner were apparently painted by other artists; they are executed in reddish tones (this may also be because the blue tones have faded due to inferior colors).

on the column a depiction of Saint Eustratios

In the arch above, we see St. George on a horse, saving the princess by killing the dragon. This story was presumably based on the fact that George, as a Roman officer, killed a local bandit who called himself “Serpent”. This deed brought George fame and recognition among the local population.

Next to it the miracle of Chonae, in which Archangel Michael (right) prevented the destruction of a holy and miraculous spring.

Below, in the northwest corner of the church, Saint Constantine is depicted, the first Christian emperor of the Roman Empire (the second successor after Diocletian), with his mother Helena (center), who was also canonized; on the left probably Saint Julitte with her young son Quiricus (Cyricus), martyrs under Diocletian.

The narthex

The entrance to the main room of the churches was facing to the west (i.e. opposite the apse). It was – as often in churches – protected by a transverse porch: in the Christian imagination, evil came from the west. In the church of Saint George Diasoritis, the narthex dating from the 12th century was used for burials: A low niche with a flat round arch is built into both the north and south walls, in which important personalities of the church could be buried. Here in the narthex the inscription that mentions Joannis Protospatharios is preserved. The title Protospatharios as the highest dignitary of the church was awarded to important generals and high officials of the local governments in the 8th to 12th centuries. This Joannis, presumably the donor of the church and its decoration, might possibly have been buried here in the narthex.

The narthex is decorated with murals dating from the 12th century, when it was added to the church. Many saints are depicted, and the Crucifixion and the Last Judgement in the barrel vault above the viewer. Here you can see scenes from the parable of the beggar Lazarus: above the rich man in purgatory, below the souls of the damned and the “fiery angel”.

detail of the decoration of the narthex

The significance of the church and its wall paintings

The Byzantine church of Ágios Geórgios Diasorítis near Chalkí dates from the “Golden Age” of Byzantine wall paintings, the 11th and 12th centuries, i.e. from the period after the Iconoclastic Controversy but before the capture and destruction of Constantinople by the Crusaders. It is one of the very rare examples of this period that is still largely preserved in its composition and execution. The building of the church and its decoration are of the highest quality, which illustrates the importance of Chalkí as an ecclesiastical and administrative center of the time, as well as the political importance and ecclesiastical activity of the island of Naxos. For many aspects of the depictions, only very few comparable examples can be found in churches in other parts of Greece, in Cyprus, Cappadocia, Mount Sinai and Agia Sofia in Constantinople. Apart from this importance as an important cultural monument, the church also provides us with an invaluable insight into the art and way of thinking, the ecclesiastical concerns and the ethos of the time.

continue: Agios Georgios and Agios Pachomios near Apiranthos