Fragments of frescoes of unknown origin

Fragment of a fresco depicting the kiss of the apostles Peter and Paul, circa 1170-1180

The representation of the apostles Peter and Paul embracing each other is one of the three fragments of frescoes, for which we are unaware of their origin and original location in the Monastery (50X65 cm). The theme, which was adopted early in Byzantine art following the models of the early Christian era, expresses universal peace and the unity of the churches. A characteristic of the representation is the division of the total volume of the figures into smaller units and their sculptural rendering. It is dated based on stylistic criteria to around 1170-1180.

Fragment of a fresco with the head of the apostle Mark, circa 1170-1180

The representation of the head of the apostle Mark is one of the three fragments of frescoes, for which we are unaware of their origin and original location in the Monastery (65X65 cm). A characteristic of the work is the division of the total volume of the face into smaller units and its sculptural rendering. It is dated based on stylistic criteria around 1170-1180.

Mural with the Virgin Mary and the archangels Michael and Gabriel, late 13th century or around 1300

The representation of the enthroned Virgin Mary, flanked by the archangels Michael and Gabriel, is one of the three fragments of frescoes, for which we are unaware of their origin and original location in the Monastery (99X60 cm). The figures were originally full-length, while the clothes of the archangels and Christ have been painted over. The oblique positioning of the Virgin Mary and the anti-movement observed in the postures of the archangels reveal the artist's attempt to render the dimension of depth, integrating the figures into space. The breadth, volume and sculptural rendering of the figures, the thin bright lines and olive-green shadows on the ochre of the flesh, as well as the features of the faces, such as the half-open fleshy lips, the parallel red lines on the bridge of the nose and the piercing gaze, are strongly reminiscent of the painting methods and ethos of the works of the legendary artist from Thessaloniki, Manuel Panselinos, and date the representation most likely to the late 13th century or around 1300.