Ο Ναός της Αγίας Θεοδώρας της Άρτας / The Church of Saint Theodora of Arta

THE CHURCH OF SAINT THEODORA OF ARTA

The church of St. Theodora. The church before the demolition of the additions and the bell tower.

του. Ο ναός αφιερώθηκε, άγνωστο πότε, στη μνήμη της Θεοδώρας Πετραλείφα, η οποία υπήρξε σύζυγος του

THE HISTORY OF MONUMENT

The byzantine church of St. Theodora, located in the town centre of Arta, served in byzantine times as the katholikon of the St. Georgios monastery. Apart from the katholikon, the central arched gate is also preserved today. The current architectural form of the church, according to the prevailing view, is the result of repair works and additions during the byzantine period, when the city of Arta was the capital of the Medieval State of Epirus, also known as the “Despotate of Epirus”. This view is supported by some architectural features, such as the pointed gables of the roof, the peristoon (ambulatory) and the ceramic decoration of the katholikon.

The church was dedicated, unknown when, to the church of St. Theodora in honor of Theodora Petralifa, the wife of the Despot of Epirus Michael II Komnenos Doukas and mother of Nikephoros I Komnenos Doukas. After her husband’s death, Theodora became a nun in the Monastery of St. Georgios until the end of her life. Today, the Byzantine monument serves as a parish church and a place of worship for the relics of St. Theodora, who is honored as the patron saint of the city of Arta. The memory of the saint is celebrated on 11 March. Information about the monastery is very scarce in byzantine sources. However, the preference shown by a prominent personality of the byzantine aristocracy like Theodora, as a place to spend the last years of her life, indicates its importance. The few testimonies include the fact that Theodora was interned inside the church in an elevated marble tomb.

In the first half of the 20th century, extensive restoration works were carried out under the supervision of Dr. A. Orlandos. In the 1980, during the excavation conducted outside the northwest corner of the church architectural remains of an important public building were discovered. These architectural remains were identified as the Rectorate of the Ambracia.

The church of St. Theodora (photo from Byzantine Museum of Athens, archive Lampaki, 1909)

The latest works carried out on the monument between the years 2000-2011 gave it its present form. During this period, in addition to the conservation works in the katholikon, configuration works of the surrounding area and enhancement of the monument were also carried out. At the same time, the extremely blackened frescoes were cleaned and conserved and the marble templon was reconstructed.

In 2019-2020, excavation conducted in the courtyard of the katholikon brought to light remains of ancient public buildings, part of an ancient street and architectural remains of the northern stoa of the church.

Η Θεοδώρα Πετραλείφα ήταν κόρη του σεβαστοκράτορα -κυβερνήτη Μακεδονίας και Θεσσαλίας- Ιωάννη Πετραλείφα και σύζυγος του δεσπότη (ηγεμόνα) του μεσαιωνικού κράτους της Ηπείρου, Μιχαήλ Β΄ Κομνηνού Δούκα. Πτυχές της ζωής της είναι γνωστές από το Βίο της που συνέγραψε ο Ιωβ Μελίας, μοναχός και λόγιος του 13ου αιώνα. Όπως παραδίδεται από το βιογράφο της, η Θεοδώρα μετά το θάνατο του συζύγου της έγινε μοναχή και πέρασε τα τελευταία χρόνια της ζωής της στη μονή του Αγίου

Γεωργίου. Κατά τη διάρκεια παραμονής

ARCHITECTURE

The construction of the church dates back to the 12th century. It is built in the architectural type of the three-aisled wooden-roofed basilica. The Katholikon’s dimensions are 16.70x10m. It has been erected on the site of the Rectorate of ancient Ambracia, whose architectural remains came to light in an excavation northwest of the church.

The church is internally divided by two colonnades into three aisles. The central aisle protrudes well above the side aisles and is covered with a pitched roof. Today, the church’s main entrance is located on the south side, while a secondary opens to the north side. These same sides had another entrance each that are now walled. The nave is built with irregular stones, among which plinths are inserted sporadically. Two high gables rise on the east and west side of the roof. This architectural form is very common in the Despotate’s architecture

Drawing of the south side of the katholikon without stoa

υψώνεται χαμηλός τρούλος. Ο νάρθηκας έχει κτιστεί σύμφωνα με το πλινθοπερίκλειστο σύστημα δόμησης (σύστημα τοιχοποιίας, όπου λαξευτοί λίθοι περιβάλλονται από πλίνθους). and can be observed in other monuments of the same period as well (such as the church of St. Vasilios in the market and the Monastery of Kato Panagia). The rectangular narthex of the west side was added to the building later. The narthex is built according to the brick-enclosed building system (carved stones are surrounded by bricks).

View of the ceramic decoration of the façade of narthex

narthex and the gables are decorated with plinths in various formations (ceramic decoration). These differences in the masonry indicate that the narthex and the gables were later additions. According to the prevailing view, the narthex and the gables were dated back to the second half of the 13th century. In this time, according to tradition Theodora carried out renovation works on the katholikon of the monastery.

At the end of the 13th or probably at the beginning of the 14th century a peristoon was added which surrounded the three sides of the katholikon. Today only the southern part survives, along with remains of the north stoa, at foundation level. The preserved part of the peristoon it follows the brick-enclosed system and has a series of arched openings with a gable end. The openings of the peristoon on the south side are supported by pillars, while on the west side were rested by columns, of which today only one is preserved in the southwest corner of the monument. Τhe peristoon is covered with a Gothic-style cruciform domed roof that has cylindrical vergia in the interior (i.e. diagonal ribs), while its corners were covered with fournika (i.e. shallow domes).

The erection of the peristoon added monumentality to the katholikon and is connected to the need for additional space for pilgrims. This need probably arose after the consecration and the establishment of the cult of St. Theodora.

THE CERAMIC DECORATION

The walls of the narthex and the gables of the katholikon are decorated with a plethora of ceramic ornaments (i.e. bricks in various decorative patterns). The faces of the two gables are decorated with double brick (plinth) frames, a serrated zone, notched bricks (i.e. engraved and carved bricks) and circles.

On the west side the narthex has a rich ceramic decoration as well, mostly covered by serrated zones, notched brick zones, rhombus zones and zigzag zones in a vertical arrangement. The decoration is completed by various ceramic ornaments, such as crosses, meanders, a sun, a tree, a fish herringbone etc.

The decoration of the exterior walls of the ecclesiastical monuments with bricks in various patterns is a common practice in many monuments of the Despotate period (such as the second phase of the Paregoretissa, the church of St. Vasilios in the market, Red Church).

Details of the ceramic decoration of the church

με ανάγλυφα γεωμετρικά και φυτικά μοτίβα, περίτεχνα αποδοσμένα. Τα θωράκια έχουν αποδοθεί με την επιπεδόγλυφη τεχνική και φέρουν ίχνη έγχρωμης κηρομαστίχης (μείγμα κεριού, μαρμαρόσκονης και χρωστικής ουσίας). Η γραπτή επιφάνειά τους κοσμείται με παραστάσεις ζώων και μυθικών όντων. Το αρχικό βυζαντινό τέμπλο είχε υποστεί επισκευές, μετασκευές ή προσθήκες με την πάροδο του χρόνου, καθώς η ανάγλυφη διακόσμηση και η τεχνική επεξεργασία

THE SCULPTURAL DECORATION

Τμήμα επιστυλίου από το μαρμάρινο τέμπλο του ναού

Part of architrave from the marble templon (iconostasis)

The sculptural decoration of the monument consists of the elaborate column capitals, the marble templon (iconostasis) and the tomb of St. Theodora, which we will be discussed in detail later.

The columns support elaborate marble capitals of composite Corinthian type, which are, like the columns, architectural fragments in second use. They date back to the beginnings of the 6th century and probably came from older buildings of Ambracia or Nikopolis.

From the original byzantine templon, most of the marble stylobate is preserved in situ. The newly reconstructed marble templon incorporates many marble architectural fragments (parts of architraves, colonnettes and closure slabs) derived from the Byzantine templon. These architectural remains have rich decoration. The architraves and the colonnettes are decorated with embossed geometric and floral motifs, intricately rendered. The closure slabs have been rendered in the flat engraving technique and preserve traces of colored wax and gum (a mixture of wax, marble dust and pigment). The decorated space of the closure slabs is adorned with representations of animals and mythical beings.

The original Byzantine templon seems to have undergone various repairs, alterations or additions over time, as indicated by differences in the relief decoration and the technical processing of its architectural fragments. A first construction phase dating back to the 11th century probably includes the architraves, while a second the closure slabs and colonnettes, which probably date back to the 13th century.

Part of closure slab with wild animal and bull fight scene from the templon

THE OMPHALION OF THE FLOOR

θετήματος. Τhe original temple floor was paved with large marble slabs. The central aisle floor preserves the original marble omphalion (navel) of the church, which impresses with its technical perfection and its colorfulness. The omphalion is masterfully rendered with geometric patterns and combines the techniques of mosaic and opus sectile.

του δαπέδου The omphalion (navel) of the floor

Ο ΤΑΦΟΣ ΤΗΣ ΑΓΙΑΣ ΘΕΟΔΩΡΑΣ Ο τάφος της Αγίας Θεοδώρας βρίσκεται αριστερά της εισόδου του ναού. Αποτελεί ένα κενοτάφιο, καθώς τα οστά της Αγίας έχουν μεταφερθεί σε αργυρή λάρνακα στο χώρο του Διακονικού. Ο τάφος ανασυνθέθηκε το 1873, μετά την ανακομιδή των λειψάνων, και συμπληρώθηκε αυτοσχέδια με γλυπτά διαφορετικής προέλευσης που βρέθηκαν σε αυτόν. Αποτελείται από μια ογκώδη βάση, πάνω στην οποία εδράζονται έξι κιονίσκοι, που φέρουν δύο οριζόντια ορθογώνια επιστύλια. Στο μέσον

THE TOMB OF ST. THEODORA

The tomb of St. Theodora is located οn the left side of the church entrance. It is a cenotaph, as the relic of the saint has been transferred to a silver shrine in the diaconicon. The tomb was reconstructed in 1873 after the recovery of the relics of the saint and was completed impromptu with sculptures of different origins, found within the tomb. It consists of a bulky base on which stand six columns and two horizontally rectangular architraves.

In the middle of the eastern side of the tomb there is a marble relief arch in form of a double opening with a gabled top. It is skillfully decorated with floral motifs and two dragons facing each other at the top. The technique and decoration of the relief seem to be influenced by Western Medieval art.

On the west side of the tomb decorate another large marble relief slab. In the center of the slab, a female figure and another smaller male are depicted. Both figures are projected under a decorated bow and wear royal robes, as well as heavy crowns. The two figures are surrounded on the right and left by angels that are considered patrons of the House of Komnenos Doukas despots, while the whole representation is surrounded by floral decoration.

There are two main theories about the identity of the depicted persons. According to the first version, Theodora is depicted with her son Nikephoros I Komnenos Doukas, while the second indicates that the depicted persons are Theodora’s bride Anna Paleologina Kantakouzene with her son Thomas I Komnenos Doukas. The relief plate dates to the end of the 13 th century.

West side of the tomb of St. Theodora

τοίχο χρονολογούνται στα τέλη του 17 ου αιώνα. Από τις βυζαντινές τοιχογραφίες, χαρακτηριστικότερος είναι ο διάκοσμος του τρούλου, με τη μορφή του Χριστού στον τύπο του «Παλαιού των Ημερών», που περιβάλλεται από στηθαίους αγγέλους και προφήτες. Στις καμάρες εικονίζονται σκηνές από το Βίο του πατριάρχη Ιακώβ («η Ευλογία του Ιακώβ από τον Ισαάκ», «η πάλη του Ιακώβ με τον άγγελο» κ.ά.). Πάνω από τη δυτική είσοδο εικονίζεται ο Μωυσής στο όρος Χωρήβ («Φλεγόμενη

THE FRESCOES

Byzantine frescoes

The nave was painted in the Byzantine era. Today, these frescoes are preserved in fragments, mainly in the lower part of the outer walls of the nave, in parts of the Chancel and mainly in the Vestry. One of the most important representations is a rare depiction at the bottom of the north wall of the nave, which depicts a centaur being chased by a horseman in military clothes. In Vestry it is also possible to distinguish with difficulty the representations of “The touch of Thomas”, “The Stone” and “Sunday of the Myrrhbears”. Most of the Byzantine frescoes are preserved on the north, south and west walls of the narthex. On the contrary, the frescoes on the east wall date back to the end of the 17th century. The most characteristic byzantine fresco is found in the dome, with Christ in the type of the “The Ancient of Days”, surrounded by parapet angels and prophets. The arches depict scenes from the Life of Patriarch Jacob (“Jacob’s Blessing by Isaac”, “Jacob’s fight with an angel” etc.). Above the western entrance “Moses on Mount Horeb” (or “The story of Moses and the burning bush”) is depicted. The frescoes of the narthex dates back to the end of the 13th century and are related with the donations of St. Theodora who, according to her biographer, cared for of the enhancement and preservation of the monastery.

Post-Byzantine frescoes

The church was re-painted in the 18th century. The frescoes are distinguished for their rich iconographic program and color variety. On the walls of the Sanctuary stand out the scenes of “Platytera” and the “Angelic Liturgy”. The nave depicts scenes from the Christological and Mother of God cycle, Miracles, Paraboles, various Houses of the Akathist Hymn and scenes from the Eucharistic Gospels, as well as figures of evangelists, prophets and saints. Stylistic examination of the frescoes it can be concluded that the second iconographic program was completed in two main painting phases by different workshops of hagiographers.

Post-Byzantine frescoes from nave (east wall)

εικονίζονται παραστάσεις από το Χριστολογικό και το Θεομητορικό κύκλο, θαύματα, παραβολές, διάφοροι οίκοι του Ακάθιστου Ύμνου και σκηνές από τα εωθινά Ευαγγέλια, καθώς και μορφές ευαγγελιστών,

Θεοδώρας, χρονολογείται το 1889 και καλύπτεται με αργυρή επένδυση, έργο του αρτινού αργυροχόου Κ.Θ. Ζάγκλη.

HEIRLOOMS AND PORTABLE ICONS

The heirlooms that are kept in the church stand out the Gospel with silver cladding, work of the famous silversmith Athanasios Tsimouris from Kallarites. This work probably dates to the early 19th century.

Furthermore, another masterpiece is the later silver reliquary at St. Theodora that keeps her holy relics, after the dedication in the 19th century. This is a work of 1962 by the silversmiths K. Papadopoulos brothers from Ioannina. All faces of the reliquary are decorated with reliefs. On the two long sides of the reliquary are depicted on the one side the “Assumption” of the saint and in the other the same theme which is depicted on western relief plate of the saint’s tomb.

On the templon of the nave there is the despotic icon of the enthroned Christ, framed by the figures of the twelve apostles. The icon is dated, according to an inscription in 1683 and is a tribute of Rizos Gounaris from Epirus.

Another important portable icon with silver cladding is the St. Theodora. According to the inscription, the icon dates back in 1889 and the silver lining of the icon is the work of the silversmith K.Th. Zaglis from Arta.

Icon with silver cladding of St. Theodora

νούς πυλώνες που σώζονται μέχρι σήμερα και χρονολογείται στα μέσα του 13ου αιώνα.

THE PYLON

The Byzantine pylon, located in a short distance to the south of the church, among the newer buildings, is the only other part that is preserved from the monastery. It has a height of 4.10m and a width of 3.15m. It is large arch which ends up in gable, built according to the brick-enclosed masonry system with a rich ceramic decoration of meanders, serrated zones and zones with notched bricks. The pylon of St. Theodora is very important because it is one of the few Byzantine pylons preserved until today and dates in the middle of the 13th century.

Ο βυζαντινός πυλώνας

The Byzantine pylon

Για το Δεσποτάτο της Ηπείρου

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