Syrian, Palaiologan, and Gothic Murals in the “Nestorian” Church of Famagusta

Bacci, Michèle

doi:10.12681/dchae.483

Cited by 6 publications

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“…The one on the right side is St Nicholas with his bishop's miter wearing his white omophorion (bishop's vestments) with a light green under robe [18]. Bacci [19] called it "Latin paraphernalia" (a kind of western attire). In the two top corners of the panel of St Nicholas, there are two small pictures of legendary scenes which show the miracles of St. Nicholas (see N2 and N3).…”

Section: Interior Fresco Paintingmentioning

confidence: 99%

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2015

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Famagusta as a harbor city in Cyprus was used by the merchants for their commercial transactions. This position of the city in medieval time transforms it into a thriving city by the merchants from different regions, each one creates his specific churches in different quarters of the walled city. Some of these historic monuments due to several reason have been destroyed. At different periods, these buildings were preserved and conserved by the authorities. However, some of the conservation policies often fail to appreciate the complexities of the buildings, which results in conflict and failure. In this study, the author with a historical investigation of one of the 14 th century ruined churches in the walled city of Famagusta named St. Mary of Carmel represents a virtual three-dimensional modelling of the structure and its medieval frescoes. These processes were done through investigation, observation to the building's components, measure-drawing, reviewing available historical documents and photos related to the church as well as comparison with other similar churches in Famagusta considering the period of construction and building characteristics.

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Section: Interior Fresco Paintingmentioning

confidence: 99%

“…The paintings are Italian in styles which are probably dating to the mid-fourteenth century. Bacci [19] believes that these ten seen are belong to her life and miracles (Figure 39). S2.…”

Section: E2mentioning

confidence: 99%

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The Painted Program of the Armenian Church in Light of Recent Discoveries

Bacci

2017

The Armenian Church of Famagusta and the Complexity of Cypriot Heritage

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The Architecture of the Armenian Church and Convent

Kaffenberger

2017

The Armenian Church of Famagusta and the Complexity of Cypriot Heritage

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Until recently, the architecture of the Armenian Church has played a subordinate role in the study of the building, rather marginalized by the importance of the painted interior decoration as well as the intriguing historical context. 1 The church is indeed modest in size, of a simple typology-a single, short nave with an apse-and only sparsely decorated with sculpted elements.However, the elegance of the edifice as well as the high technical quality of the executed masonry tells a different tale. It testifies for the intended sophistication of the building, which was certainly more than a mere blank canvas for the (later) application of a painted cycle. 2 In consequence, a more in-detail appraisal of the architecture seems promising in several kinds of aspects. In its first part, this brief study intends to highlight the architectural characteristics of the church and their accordance or discordance with other churches of medieval Famagusta and the crusader territories. This evidence will then be used to evaluate previously proposed dates of erection. The second part will focus on the surrounding structures, today all but disappeared, and attempt the reconstruction of their

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Syrian, Palaiologan, and Gothic Murals in the “Nestorian” Church of Famagusta

Cited by 6 publications

References 0 publications

Untitled

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The Painted Program of the Armenian Church in Light of Recent Discoveries

The Architecture of the Armenian Church and Convent

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