Asinou Church

Asinou Church Cyprus Usefull Information

The church at first sight seems insignificant. It is very small, and a steep protective roof covers the rectangle of the original twelfth-century building as well as the domed narthex, which is a later addition. But it is the church's interior, with its glorious, deceptively fresh paintings, which makes this tiny church notable, not only in Cyprus but in all the Mediterranean countries where Byzantine art has flourished. Visitors from the mid-1960s onwards are particularly fortunate, because during this period the paintings have undergone expert cleaning under the auspices of the Center of Byzantine Studies of Dumbarton Oaks, U.S.A.

To take the frescoes as far as possible in chronological order, those at the west end of the nave and in the two blind recesses on either side of it belong to the original period of building. The S.W. recess (correctly termed arcade) contains a fresco depicting Nikiphorus Magister, the donor of the church at the time of Alexis Comnenus, with an inscription giving the dates 1105 and 1106. This has been invaluable evidence in dating this portion of the church, because it can reasonably be assumed that the erection of the church would have been followed closely by its interior decoration, and that it is unlikely to have been left unfinished for more than a very short time. A later painting of the donor in the act of presenting a model of the church to the Virgin Mary appears over the south door, but this is believed to have been painted over an earlier and possibly nearly identical composition, as has been the case with many other early frescoes. In the matching N.W. arcade the subject is a harrowing representation of the Forty Martyrs of Saint Sebasto bleeding from arrow wounds and about to be thrown into a frozen lake. Almost comic relief is provided by the coward escaping to the right, and the soldier on the left volunteering to take his place, and to whom the fortieth crown of martyrdom is awarded from on high.

The Death and Assumption of the Virgin Mary (c. A.D. 1106) above the west door of the church (which leads into the narthex) is perhaps the most important painting of all. It shows Christ holding his Mother's soul in the symbolic form of a swaddled infant. The narthex is an addition of the fourteenth century, and its paintings are mostly dated as c. A.D. 1333. The central subject is the Last Judgment, with Christ the Ruler of the World as the traditional centrepiece. He is surrounded by medallions of the Virgin, angels and saints, and the subjects descend, in fact and in rank, to just men; then, lowest of all, sinners tortured by snakes and by fire, in the narrow arches below. St George occupies the south apse of the narthex. His armour is in gold, and the jewelled harness of his horse is particularly beautiful. Notice where damp has dissolved the pigment in the upper part of the picture, revealing the preliminary outlines made by the artist a well known technique of fresco painters.

The Virgin Mary attended by Archangels in the semi-dome apse of the main church is iconographically related to the earlier mosaic at Kiti. It is later in date than the paintings of the narthex, while the work in the main vault of the nave are of the fifteenth century. No description of these paintings or their colours (particularly after restoration from which the blues and the blacks seem to have benefited most) can do them justice. They should be treated as a giant illuminated book assembled over a span of centuries, with each precious page meriting separate attention. And this of course is right, because the primary purpose of medieval church paintings was educational, aimed at the instruction of illiterate persons. Apart from the obligation to return the Nikitari priest to his home, it is advisable to continue in the reverse direction as far as Kato Koutraphas, and to turn left there on to the main Troodos road. (Though motorists naturally dislike heading away from their destination, on this occasion little will be missed by not continuing into the mountains immediately above Asinou Church. The road from that point is monotonously tortuous, and very tiring for passengers as well as driver, and the pine trees shut out all chance of a good view. However, should this route be preferred, Kourdhali and Spilia are the objectives. The church of Panayia Khrysokourdaliotissa at Spilia is worth visiting. A right turn at Spilia leading to a further four-mile section of twisting road emerges on the main Nicosia Troodos highway. Turn right for Kakopetria, a further three miles.) Continuing straight along the main road from Kato Koutraphas, you come to Evrykhou.

Galata
As there are churches of greater importance than Galata's St Soemenos in the neighbourhood, it might be advisable to continue towards Kakopetria, which practically adjoins Galata, but turning right before reaching the centre of the second village. Two miles along this side-turning, on the left, is the Church of St Nicbolaostis Steyis 'tis steyis' meaning 'of the roof of planks', describing the original construction, which was of timber set on end in a stone platform. A shed roof now covers the whole of the cruciform layout, including the dome. The interior is completely covered with frescoes of various periods from the eleventh to the thirteenth centuries, while portraits of the donors in the narthex suggest by their costumes that these were painted c. 1430. The fourteenth-century icon of the patron saint surrounded by scenes from his life is rare for the reason that it is painted on vellum. It is one of the most interesting in Cyprus. Not far from the church, an aerial ropeway, the property of the Cyprus Chrome Company, leads from their crushing plant to their mine near the summit of Mount Olympus. From the church return to the main road.

Kakopetria
with its straggling houses following the course of the Solea, which runs through a steepening valley, finds favour with visitors who prefer the lower altitudes and yet seek a temperate summer climate. The stream, the poplars and the fruit trees, and the shady central square make it a pleasant and leisurely stopping place. There are steeper gradients after Kakopetria. It may come as a surprise here and elsewhere in the Troodos range to see vineyards clinging to the mountain-tops. Some vines grow as high as 4,500 ft.

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