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,
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, ' -
, ,
, ,
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,
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,
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4) 3 8 . 3 9
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(. 5) 4 0 ,
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( 15 .) ,
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,
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174

, . ,
. -
-
, .
, '
Ch. Konstantinidi
THE DOCTRINAL BACKGROUND TO THE APSE DECORATION
OF THE CHURCH OF AGIOS PANTELEIMON, VELANIDIA
THE ANNUNCIATION - THE DEAD CHRIST SACRIFICED - SAINT PANTELEIMON
V elanidia, a village in the province of Epidaurus Limera,
is located on Cape Maleas. The wall paintings in the church
of Agios Panteleimon, surviving only in the sanctuary area,
are dated to the last third of the 13th century. In the top
quarter-dome of the apse one can discern the figure of the
Virgin, in the mode of the Vlachernitissa; below is a repre
sentation of the Annunciation. The depiction of the frac
tion and distribution of the consecrated bread at Com
munion (Melismos) bears an inscription, of the Sacrificed One, or the Broken Lamb. The icono
(The Sacrificed One), and occupies two zones of the lower
part of the apse. The upper zone, between the interrupted
depiction of the Annunciation, contains a representation of
the Eucharistie Christ, flanked by angel-deacons, while in
the lower zone are the officiating bishops. On the roll held
by John Chrysostom the viewer can read the prayer which
precedes the Melismos. At the northern edge of the same
zone stands the saint, Panteleimon, to whom the church is
dedicated (Figs 1-3).
The iconographical subject of the Annunciation is connect
ed with the Eucharistie cycle of the sanctuary, and is com
bined with the representation of the Melismos, which
frames the central section. The two compositions are con
nected by the presence of the Holy Spirit: at the moment of
the Annunciation, as recounted in the Gospel, and at the
moment of the consecration of the bread and wine when the
Holy Spirit is said to be 'invisibly present'. Representations
of the saint to whom the church is dedicated can be found in
a considerable number of apses of churches dating to the
Palaeologan period in the Mani. Their style follows that of a
conservative tradition going back to middle Byzantine
times that survived in the iconography of church martyrs in
a variety of provincial churches.
The Christ of the Eucharist is depicted in an unusual version
graphical feature of this version is the wounded right side of
the dead, mature Christ, from which blood and water flows
(the latter sometimes shown as being collected in the chalice).
This form is a product of the Palaeologan period and can be
seen in churches in the region of Laconia, such as the
church of Agioi Theodoroi, Kafiona (1263/1270),'the church
of Agios Chrysostomos, Geraki (1300), the church of Agios
Andreas, Kato Kastania (1375-1400), the church of Chei-
matissa, Floka (1400), and the church of Agios Georgios,
Maleas (early 15th century) (Figs 4-8). In all probability this
version of the Melismos is in complete conformity with the
iconographie variant of the region.
The doctrinal background to the figure of the dead Eucha
ristie Christ Sacrificed-Broken is determined by the text
and the rite of the divine liturgy, as well as by church tradi
tion. The figure brings to the icon moments in the liturgy,
175

such as the Preparation of the divine gifts of the bread and
wine of the sacrament, the Zeon (warming of the water in
the chalice for communion), and the Communion itself.
There are differences in the way these two moments in the
liturgy, related to the mystery of the Holy Eucharist, are
performed in the Orthodox and Catholic Churches.
The iconographical programme in the apse of the church of
Agios Panteleimon depicts for us the beginning of the
Divine Dispensation with the representation of the Annun
ciation, the doctrine of the incarnation with the figure of the
Virgin Vlachernitissa and the sacrifice with the composi
tion of the breaking of the bread (Melismos). The sote-
176
riological message is emphasised by the figure of Christ
sacrificed, from whose side flows the Divine Communion in
which the faithful participate, and is completed by the pre
sence of the church fathers who are officiating over the Ho
ly Eucharist, together with the saint of the church, Saint
Panteleimon, who was martyred for his faith. The inspira
tion of this new, dynamic figure of the Eucharistie Christ,
coupled with the attempt to bring text, liturgical act and
icon together in perfect harmony, needs to be understood in
the light of the regenerative and intensely realistic spirit of
the early Palaeologan era.