Title: Restoration of the wall-paintings of the Holy Church of the Virgin Zoodochos Pege Samarina

Operated programme: “Western Greece, Peloponnese and Ionian Islands 2007-2013”

Budget: 170.000,00€

The late twelfth-century church of the Virgin Zoodochos Pege Samarina is located in a picturesque valley of olive trees and vineyards that lies between the villages of Kalogerorahi and Ellinoekklisia (Samari), not far from Androussa. A number of other structurs, such as the remains of buildings interpreted as monastic cells at the northwest side, a vaulted cistern and a damaged two-storey funerary chapel stand in the surroundings of the monument. These indicate that the church of the Virgin Zoodochos Pege used to be the main church (catholicon) of a monastic complex, whose history is completely unknown. The church itself, one of the most beautiful Byzantine monuments of Peloponnese, is in perfect harmony with the untouched natural environment.

It is a two-column, domed cross-in-square building with three three-sided apses at its eastern part. The dome rests on the walls that divide the spaces of the sanctuary and on two elegant monolithic columns. The arms of the cross are covered by barrel vaults, while the western rectangular side bays are groin vaulted. To the west of the nave the narthex is attached. Outside the narthex, at the western side of the monument, stands an impressive colonnaded portico. Two-column porticos used to frame the side entrances of the nave; however, only the portico of the northern entrance is preserved. The dispersed columns outside the monument may belong to the downfallen southern portico. A small vaulted adjoining space at the northern side of the church presumably functioned as an ossuary. Pitched and gabled roofs cover the church and a four-sided roof covers the bell-tower, which was erected much later than the church.

The masonry is carefully and accurately built and there is no doubt that the workers who undertook the construction of the church were experienced and talented. Ancient building material (spolia) is re-used in the construction of the lower parts of the walls. The cloisonné masonry is applied at the upper parts of the walls and at the eastern wall. All sides of the monument are adorned with marble and porous cornices, dentile courses and a variety of decorative brickwork, composing a highly artistic complex.

The wall-paintings of the monument are unfortunately quite damaged and not so well-preserved. They reflect the so-called ‘academic’ trend of the late twelfth century Byzantine monumental painting. According to this trend, the compositions are characterised by austerity and symmetry, the figures are rigorous and flat; their faces are designed skilfully with plasticity, expressing classical grace; their expressions are gentle and sober. The conch of the apse is occupied by the enthroned Virgin and Child. Below them, on the vertical part of the apse wall, frontal Hierarchs are figured. The central feature of the apse is an unusual representation of the dead body of Christ on a shroud. This unique and innovative representation symbolizes the Eucharistic sacrifice and may result from the doctrinal controversies that agitated the Byzantines during the reign of the

Comnenian dynasty. The bust of the Pantocrator in a medallion is depicted in the dome. Eight Prophets occupy the drum, being depicted in pairs between the windows. The scenes of the Festival Cycle (Dodekaorton) are developed on the barrel vaults that cover the arms of the cross. The Annunciation and the Presentation decorate the northern vault, the Entry to Jerusalem is figured on the western vault, the Crucifixion is depicted on the drum of the western wall and the Resurrection (Anastasis) occupies the southern vault. The vault above the altar carries the representation of the Ascension. Further scenes and elements of the iconographic programme are: the Communion of Mary of Egypt, the Three Hebrews in the Fiery Furnace, Hierarchs and Old Testament figures. The indiscernible wall-paintings of the narthex, whose dating is still undetermined, narrate an elaborate Cycle of the Passion of Christ. They are divided into sixteen scenes developing at both sides of the Pentecost, which occupies a prominent place above the central entrance of the monument. The iconographic programme is rich in profound theological connotations and one would logically allege that it was due to the inspiration of a well-educated donor.

The outstanding marble sculptures of the templon screen are dated to the second half of the twelfth century. The sculptured architraves are decorated with animal figures and geometric motifs. They are connected to the famous “Samarina sculpture workshop” that must have acted also in the areas of Laconia and Arcadia. Two elaborate marble shrines surmount the fresco representations of the enthroned Christ and the Virgin with Child. The floor of the church is made of large marble slabs occasionally framed by inlay marbles. At the southern side of the narthex an arcosolium, namely an arched recess, is formed.

The rehabilitation project was carried out under auspices of the 26th Ephorate of Byzantine Antiquities. It included the recovering of the tiled roofs, the restoration of the decorative brickwork and the installation of new wooden doors. The wall-paintings were entirely restored and consolidated, while the marble templon screen was cleaned to retrieve its white colour and to preserve the traces of inlaid wax and mastic gum.

The church of the Virgin Zoodochos Pege Samarina is an exceptional monument that reflects the heyday and multiplicity of the Byzantine art (architecture, iconography, sculpture). Thanks to the restoration and rehabilitation work undertaken, one of the most significant monuments of the Messenian cultural heritage is protected and presented.

The project “Restoration of the wall-paintings of the Holy Church of the Virgin Zoodochos Pege Samarina”  was introduced into the priority axe “012 – Sustainable Development and Quality of Life – Peloponnese” of the Regional Operational Programme of “Western Greece, Peloponnese and Ionian Islands 2007-2013”. It was carried out since 11-11-2012 until 31-12-2013, financed by the NSRF (National Strategic

Reference Framework) and the budget was 170,000€. During the implementation of the project employees were hired to work under contract (an archaeologist, two conservators-restorers, three workers-craftsmen) next to the permanent staff of the Ephorate.