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MONASTERY OF AGIOS IOANNIS (ST JOHN) LAMPADISTIS, KALOPANAGIOTIS
The monastery of Saint John Lambadistis remains one of the best examples of the long history of Byzantine monasticism in Cyprus. The monastic complex is located on the eastern slope of a deep ravine formed by the river Setrachos in the Marathassa valley of the Troodos mountains. The village of Kalopanayiotis is located on the western side of the ravine. As it is preserved today, the monastic complex is the result of centuries of use mirroring the traditions of Orthodox monasticism during the periods of Byzantine, Frankish, Venetian and Ottoman rule in Cyprus. In 1985 it was inscribed on the UNESCO World Heritage List which includes nine other painted Byzantine churches of the Troodos range.
The building history of the monastery evolves around the organic expansion of the church of Saint Herakleidios, dating from the eleventh century. The dedication of the church to Saint Herakleidios, first bishop of Tamassos and a key figure in the early establishment of Christianity in Cyprus, is associated with the reputed location of its baptism by Apostles Paul and Barnabas in the waters of Setrachos river at the bottom of the ravine west of the monastery proper. According to hagiographical sources, the cult of Saint John Lambadistis at the site can be traced back in the twelfth century and is linked to the addition of a chapel to dedicated to him along the north side of the church of Saint Herakleidios. John was a pious young man who was born and lived in the Troodos region of Marathasa in the end of the eleventh century. His vita narrates his struggles, spiritual feats and miracles as well as describes his burial in Saint Herakleidios’s church followed by the construction of a separate building, attached to the main church, to contain his remains and support his growing cult- active to this day. In the following centuries, the church complex grew further with the northern addition of the so-called ‘Latin chapel’ and the construction of successive enveloping narthexes along its western side. These additions are testament to the growth of the local cult focused on the saint’s miracle-making and healing powers, with a particular reputation in curing the demonized, already mentioned in the account of Leontios Makhairas in the beginning of the fifteenth century. Sometime between the fifteenth and the beginning of the eighteenth century, a wooden roof bearing flat hooked tiles was constructed to cover the entire building complex.
The wall-paintings of the church follow its building history. Painting fragments from the eleventh and twelfth century and fresco cycles from the thirteenth through the sixteenth century provide an overview of Byzantine and Medieval religious art in Cyprus showcasing the influence of artistic trends and styles between East and West. The wooden templon screen, dated to the 13th -14th century, is also worth mentioning as it preserves painted decoration imitating coats-of-arms and it is in fact the oldest surviving wooden templon of Cyprus.
The present-day buildings of the monastery are organized around a courtyard opening to the south of the church complex and date from the period of Ottoman rule, although we can plausibly project that they replaced and updated earlier structures. The west wing housed the cells of the monks, reception spaces as well as the refectory and the kitchen. The east wing accommodated various productive, storage and workshop uses, such as the wine and the olive press. The oven was located on the narrow south side of the monastic courtyard along with the main gate. Two smaller gates were located in each of the west and east sides of the complex. Although there is no historical mention of the monastery until
the seventeenth century, the presence of a monastic community from at least the eleventh or the twelfth century is a strong possibility.
Apac Labs researchers study various aspects of the heritage of the important, a living monument that continues to be used as a place of religious practice, thus preserving its original function. The architectural history, the frescoes and icons, the graffiti of pilgrims from around the Eastern Mediterranean and Asia minor, the wooden heritage of the complex are studied through a holistic approach that includes 3D and 2D documentation and visualization, physico-chemical analyses of the materiality of the paintings, dendrochronology and structural archaeology. Furthermore, the study of Byzantine and post-Byzantine monasticism and the complex role of pilgrimage, cult and ritual in the formation of cultural identity through time are central themes that provide the necessary context for the effective utilization of science and technology.
In addition, it’s important to document and monitor the threats facing the monastic complex by various natural and anthropogenic hazards, including Climate Change. Assessing the vulnerability index of the site components is challenging. For instance, Climate Change has different impacts on the diverse material components of the site. Moreover, Climate Change may not always be a threat, but it could be addressed as an opportunity for the site's conservation
MONASTERY OF AGIOS IOANNIS (ST JOHN) LAMPADISTIS, KALOPANAGIOTIS
The monastery of Saint John Lambadistis remains one of the best examples of the long history of Byzantine monasticism in Cyprus. The monastic complex is located on the eastern slope of a deep ravine formed by the river Setrachos in the Marathassa valley of the Troodos mountains. The village of Kalopanayiotis is located on the western side of the ravine. As it is preserved today, the monastic complex is the result of centuries of use mirroring the traditions of Orthodox monasticism during the periods of Byzantine, Frankish, Venetian and Ottoman rule in Cyprus. In 1985 it was inscribed on the UNESCO World Heritage List which includes nine other painted Byzantine churches of the Troodos range.
The building history of the monastery evolves around the organic expansion of the church of Saint Herakleidios, dating from the eleventh century. The dedication of the church to Saint Herakleidios, first bishop of Tamassos and a key figure in the early establishment of Christianity in Cyprus, is associated with the reputed location of its baptism by Apostles Paul and Barnabas in the waters of Setrachos river at the bottom of the ravine west of the monastery proper. According to hagiographical sources, the cult of Saint John Lambadistis at the site can be traced back in the twelfth century and is linked to the addition of a chapel to dedicated to him along the north side of the church of Saint Herakleidios. John was a pious young man who was born and lived in the Troodos region of Marathasa in the end of the eleventh century. His vita narrates his struggles, spiritual feats and miracles as well as describes his burial in Saint Herakleidios’s church followed by the construction of a separate building, attached to the main church, to contain his remains and support his growing cult- active to this day. In the following centuries, the church complex grew further with the northern addition of the so-called ‘Latin chapel’ and the construction of successive enveloping narthexes along its western side. These additions are testament to the growth of the local cult focused on the saint’s miracle-making and healing powers, with a particular reputation in curing the demonized, already mentioned in the account of Leontios Makhairas in the beginning of the fifteenth century. Sometime between the fifteenth and the beginning of the eighteenth century, a wooden roof bearing flat hooked tiles was constructed to cover the entire building complex.
The wall-paintings of the church follow its building history. Painting fragments from the eleventh and twelfth century and fresco cycles from the thirteenth through the sixteenth century provide an overview of Byzantine and Medieval religious art in Cyprus showcasing the influence of artistic trends and styles between East and West. The wooden templon screen, dated to the 13th -14th century, is also worth mentioning as it preserves painted decoration imitating coats-of-arms and it is in fact the oldest surviving wooden templon of Cyprus.
The present-day buildings of the monastery are organized around a courtyard opening to the south of the church complex and date from the period of Ottoman rule, although we can plausibly project that they replaced and updated earlier structures. The west wing housed the cells of the monks, reception spaces as well as the refectory and the kitchen. The east wing accommodated various productive, storage and workshop uses, such as the wine and the olive press. The oven was located on the narrow south side of the monastic courtyard along with the main gate. Two smaller gates were located in each of the west and east sides of the complex. Although there is no historical mention of the monastery until
the seventeenth century, the presence of a monastic community from at least the eleventh or the twelfth century is a strong possibility.
Apac Labs researchers study various aspects of the heritage of the important, a living monument that continues to be used as a place of religious practice, thus preserving its original function. The architectural history, the frescoes and icons, the graffiti of pilgrims from around the Eastern Mediterranean and Asia minor, the wooden heritage of the complex are studied through a holistic approach that includes 3D and 2D documentation and visualization, physico-chemical analyses of the materiality of the paintings, dendrochronology and structural archaeology. Furthermore, the study of Byzantine and post-Byzantine monasticism and the complex role of pilgrimage, cult and ritual in the formation of cultural identity through time are central themes that provide the necessary context for the effective utilization of science and technology.
Scanning X-ray Fluorescence or Macro X-Ray Fluorescence (MA-XRF) is the generalization of X-Ray Fluorescence Spectroscopy at macro-scale (ca.mm), consisting on acquiring a series of consecutives XRF points while raster scanning the whole acquisition device in front of the studied object. By displaying the intensity of specific electronic transitions of specific atoms, the occurrence of this signal can be visualized over the entire scanned area and linked to the distribution of pigment over the studied artwork.
The application and development of Reflectance Transformation Imaging Technology (RTI) at the Cyprus Institute’s APAC labs has offered great possibilities for research as well as the documentation and preservation of cultural heritage objects and works of art.
RTI is a computational photography method and it relies on extracting reflectance information from several photographs captured from a fixed point camera under a “known” hemispherical coordinate multi-light environment. An algorithm re-synthesizes that information into a new photorealistic representation which has dynamic light properties based on empirical mathematical illumination models engender from the fields of computer graphics, computer vision and optics.
The RTI result that is analyzed on the screen is not a three-dimensional model but rather a two-dimensional image that looks-alike a 3D representation with major advantages over it in terms of texture rendering.
Its application and its contribution to science are proven to be highly important not only in antiquity, but propagate as well through medicine, forensics and palaeontology. An important application of RTI technology was the application of RTI imaging technology in the documentation of a range of wallpaintings at Agios Ioannis Lambadistis monastery and the use of the results in the thoroughly historical study of the complicated medieval monument. Moreover, results have been used by the conservators of the The Courtauld Institute of Art for the conservation of those wallpaintings.
The St. John Lambadistis Monastery contains a wealth of movable wooden objects, including choir chairs, that provide valuable insights into its wooden heritage.
Our imaging methodology is ensuring us that we can study these objects without compromising their integrity. For this specific choir chair, we identified two different tree species in the backboards of the seat: Pinus nigra (Black Pine) and Pinus brutia (Calabrian Pine), both of which are found in the forests surrounding the monastery.
This information raises questions about the chair's historical restoration and its possible use during different periods.
Examining the wooden remains of the Lambadistis Monastery can yield new insights into its history and the surrounding forest.
In our dendrochronology survey, we took core samples from suitable beams using dedicated tools for research. Analysis of a specific beam revealed it to be made of Pinus brutia, commonly known as Calabrian Pine, a species found in the forests surrounding St. John Lambadistis Monastery.
By studying the core sample, we can also date the beam and understand when it was cut and added to the building, providing information on the monument's construction history.
Examining the wooden remains of the Lambadistis Monastery can yield new insights into its history and the surrounding forest.
In our dendrochronology survey, we took core samples from suitable beams using dedicated tools for research. Analysis of a specific beam revealed it to be made of Pinus brutia, commonly known as Calabrian Pine, a species found in the forests surrounding St. John Lambadistis Monastery.
By studying the core sample, we can also date the beam and understand when it was cut and added to the building, providing information on the monument's construction history.
The St. John Lambadistis Monastery contains a wealth of movable wooden objects, including choir chairs, that provide valuable insights into its wooden heritage.
Our imaging methodology is ensuring us that we can study these objects without compromising their integrity. For this specific choir chair, we identified two different tree species in the backboards of the seat: Pinus nigra (Black Pine) and Pinus brutia (Calabrian Pine), both of which are found in the forests surrounding the monastery.
This information raises questions about the chair's historical restoration and its possible use during different periods.
Tree-ring studies can provide various technical and historical information that can enrich our knowledge of wooden artworks, including icons.
For the Lambadistis monastery iconostasis doors, with the help of tree-ring studies, we revealed that the specific type of wood used to carve and paint these doors was Cupressus or with the common name Cypress tree.
Furthermore, with the help of dendrochronology, by looking at and counting the growth rings and cross-matching them with our existing data, we can tell the felling date of this tree or trees that were used for the iconostasis door and date this important religious work of art within a secure timeframe.
This graffito was made by Grigorovic Vasilis Barsky, an Ukranian monk travelling across the eastern Mediterranean in the first half of the 18th century.
He visited Cyprus four times, and during his last trip on the island (1734-1736), he extensively walked around, touching the main monasteries and shrines in a local pilgrimage. He left a precious and detailed account of his trip, enriched with drawings, recording his passage also with graffiti in 5 sites.
Here at Saint John Lampadistes, he recorded his passage next to the saint's relics as a devotional act of worshipping and a request for protection. After him, many other pilgrims and visitors left their names following his examples. Some of the graffiti around the relic's niche were made by the Karamanlides, Turkish-speaking Greek Orthodox living in Anatolia, on their way to Kykkos monastery. These graffiti testify to the lively cult of the saint on a local and international level between the 18th and 19th centuries.
Barsky’s graffito says:
1735 /
Ακολούθως ήλθον /
καντάυθα χάριν προς/κυνήσεως εγώ ο εν μο/ναχόις ελάχιστος Βα/σίλειος Μοσκοβόρρωσος Κιεβοπολίτης.
1735
Afterwards I came here to worship. I, the humblest among the monks, Basil, the Moscovite Russian monk from Kiev.
Multispectral imaging is an innovative and fast-developing technology, which not only extends the traditional RGB trichromatic imaging to a higher dimension but also aims at providing a clear description of the reflective properties of the surface which are non-visible to the naked eye.
At APAC labs researchers employ a combination of multispectral examination and imaging techniques to debunk wall graffiti which are faded through time, thus bringing back to life a forgotten story, in this case in Agios Ioannis Lambadistis monastery's walls. Although relatively new to the field of conservation, this non-invasive method of investigation has already provided promising results in the analysis of paintings and graffiti, the characterization of materials as well as the digital documentation of these works.
Tree-ring studies can provide various technical and historical information that can enrich our knowledge of wooden artworks, including icons.
For the Lambadistis monastery iconostasis doors, with the help of tree-ring studies, we revealed that the specific type of wood used to carve and paint these doors was Cupressus or with the common name Cypress tree.
Furthermore, with the help of dendrochronology, by looking at and counting the growth rings and cross-matching them with our existing data, we can tell the felling date of this tree or trees that were used for the iconostasis door and date this important religious work of art within a secure timeframe.
Multispectral imaging is an innovative and fast-developing technology, which not only extends the traditional RGB trichromatic imaging to a higher dimension but also aims at providing a clear description of the reflective properties of the surface which are non-visible to the naked eye.
At APAC labs researchers employ a combination of multispectral examination and imaging techniques to debunk wall graffiti which are faded through time, thus bringing back to life a forgotten story, in this case in Agios Ioannis Lambadistis monastery's walls. Although relatively new to the field of conservation, this non-invasive method of investigation has already provided promising results in the analysis of paintings and graffiti, the characterization of materials as well as the digital documentation of these works.
This graffito was made by Grigorovic Vasilis Barsky, an Ukranian monk travelling across the eastern Mediterranean in the first half of the 18th century.
He visited Cyprus four times, and during his last trip on the island (1734-1736), he extensively walked around, touching the main monasteries and shrines in a local pilgrimage. He left a precious and detailed account of his trip, enriched with drawings, recording his passage also with graffiti in 5 sites.
Here at Saint John Lampadistes, he recorded his passage next to the saint's relics as a devotional act of worshipping and a request for protection. After him, many other pilgrims and visitors left their names following his examples.
Some of the graffiti around the relic's niche were made by the Karamanlides, Turkish-speaking Greek Orthodox living in Anatolia, on their way to Kykkos monastery. These graffiti testify to the lively cult of the saint on a local and international level between the 18th and 19th centuries.
Barsky’s graffito says:
1735 /
Ακολούθως ήλθον /
καντάυθα χάριν προς/κυνήσεως εγώ ο εν μο/ναχόις ελάχιστος Βα/σίλειος Μοσκοβόρρωσος Κιεβοπολίτης.
1735
Afterwards I came here to worship. I, the humblest among the monks, Basil, the Moscovite Russian monk from Kiev.
Scanning X-ray Fluorescence or Macro X-Ray Fluorescence (MA-XRF) is the generalization of X-Ray Fluorescence Spectroscopy at macro-scale (ca.mm), consisting on acquiring a series of consecutives XRF points while raster scanning the whole acquisition device in front of the studied object.
By displaying the intensity of specific electronic transitions of specific atoms, the occurrence of this signal can be visualized over the entire scanned area and linked to the distribution of pigment over the studied artwork.
Two medieval icons of St. John Lampadistis have a unique composition that includes both a portrait of the saint and a series of narrative scenes depicting episodes from his life and the activities of his early worshippers.
These icons, called vita icons for the hagiographic scenes they feature, offer valuable insight into the early phase of the cult of St. John Lampadistis. Our researchers have used noninvasive methods of analysis like infrared reflectography (IRR) to peer beneath the painted surface and discover more about these vita icons. With IRR, we can look at surface conditions and determine where later restorations occurred.
Further, we can examine some of the artistic techniques each painter used to create their vita icon: looking at the IRR images reveals significant use of black outline, used to define important details in the narrative scenes. The application of this black outline differs between the two icons, affirming that these icons were painted by two different hands.
IRR has also helped in our iconographic analysis of these objects, and we have discovered a figure of an icon painter present in multiple narrative scenes related to the early activities of the cult of St. John Lampadistis on (vita 2) (not sure how you want to identify the two icons).
This data offers insights into the artistic motivations of icon painters, allowing us to further investigate the tangible and intangible cultural heritage in Cyprus.