The Mosaic Decoration of S. Demetrios, Thessaloniki: a re-examination in the light of the drawings of W. S. George

Abstract

The important mosaics in the north inner aisle of the Church of S. Demetrios were largely destroyed in the fire of 1917. They had been unrecorded until ten years previously when their covering of Turkish plaster was removed.On 1 August 1907, the Turkish authorities set under way major repairs of the Casimir Çamii (Κασιμιὲ Τʒαμισί) in Thessaloniki, at that time a somewhat dilapidated building which had been last renovated in 1841. Operations were completed by June 1908. The name of the mosque did not conceal its original dedication as the Byzantine church of S. Demetrios, which had been one of the most famous centres of pilgrimage for Orthodox Christians until its Muslim conversion in 1492–3. In the course of these repairs occurred the unexpected discovery of surviving Christian mosaics and wall-paintings under a coating of plaster. The first mosaics were revealed in December 1907, and comprised three bust figures within medallions, situated in the central part of the north inner aisle (Plates 1a, 15a). The discovery was greeted with excitement by P. N. Papageorgiou, who took photographs which he communicated to the Turkish Nomarch and the Oecumenical Patriarch. The news was published in ecclesiastical news-sheets in Thessaloniki (December 1907) and Istanbul (26 January 1908). Meanwhile further soundings and discoveries continued in the mosque.

Petrographic Investigations on Stone Materials of Modern Mosaic Tiles

“…In the city of Ravenna, the craft activity has been kept alive and in the last century the industrial one has developed stimulated by an experimental phase of artistic evolution, with the introduction of tesserae obtained with new stone materials [2,3]. Through procedures of fragmentation and juxtaposition of small tiles, the peculiar system of expression of mosaics is created, a technique that falls within the vast category of multi-material decorations [4,5]. The chromatic range offered by natural stones is surprisingly vast such as blue, bright yellow, sea green, bright red.…”

Islands in a Sea of Change? Continuity and Abandonment in Dark Age Corinth and Thessaloniki

“…1). The mosaics on the north and east sides of the southern apse pier show Saint Demetrius standing between two clerics and a secular official with his scepter and mappa, probably the chief benefactors of the rebuilt church; the saint is specifically honored for his love of the polis (Anderson 1999;Papazotos 1983;Cormack 1969Cormack , 1985. After this rebuilding, the cult of Saint Demetrius continued to draw pilgrims from near and far throughout the eighth century and beyond (Bakirtzis 2002;Obolensky 1974).…”

The Founders’ Panels from the Church of Saint Demetrius in Thessaloniki. The State of Portraiture in Early Byzantine Painting

“…Во многом программа алтарных столбов, которая представляется нам цельным единовременным замыслом, повторяет мотивы, характерные для мозаик предшествующего этапа -двух композиций с образами св. Димитрия на западной стене и несохранившегося цикла на арках северного нефа [13]. Отдельные панели занимают изображение Богоматери, фронтальные образы св.…”

“…162r). Она появляется в повествовании о пожаре храма и относится к фразе «Кто сможет в такие времена произвести постройку храма?» [26, p. 197] 13 . В пользу такой интерпретации, согласно исследователю, говорят как особенности представленных одежд и регалий, так и квадратный нимб, обозначающий изображение здравствующего человека.…”