E N T RE tA LE T R A Y E L PΙ NC E L: Eι A R Tι S T A
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LΕ Y Ε , Ι { D Α , 1Ι } E , Ν Τ 1 Γ}Α D Y Ε, S Τ Α T ιjS
MΑNUEL ANToNΙo CesτιtiEΙRAS GoμzΑLE'Ζ (ED.)
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ffi Ιntroducci6n Meπυει ΑπτoNIo Casτrftεlιes Goιτzl'ιεz, Universitat Αutδnoma de BarceΙοna LaΙeyendaye1 retratοdelartista W$Μ'ffi'ffiffi Autores hom6nimos: el doble retfato de..Mateo,, en el P6rtico δe la Gloria Maπυει ΑπτoπIo CasτrfrεInes Gor-ιzλrρz, Universitat Autδnoma de BarceΙona San Luca come Petrarca: visioni dell'artista-letterato nell'Evangeliario di GioYanni da Opava (1368) MIcιrει BaccI, Universitit Freiburg, Suiza La &trna deΙ artista
La "signaturd'au Moyen JecqυειIπr Lεcιειcq-Maιx,
Mise en perspective historique Universitd Libre de Bruxelles
rartiste Ιettr€? Comp€tence graphique et textuelle de l,artiste foman λ trars 5ignatπ res φigraphiqu€s Lιrrur }{rsτo. Universitd de Poitiers opere fir:mate neΠ,arte italiana l Μedioeνo: il caso di Siena, ιτa alfrtetiπιo artbti ed et.τoripresanti Gιιvpnoιo ERMΙNΙ,ScuolaNormale Superiore,Ρisa Signatures of Byzantine Painters in Macedonia: deciphering the Αstrapades co& ΑNASTΑSΙo S PΑPΑDoΡoULoS' Αristotle Universicr of Thessaloniki
12 // Eπτιι
ΙΑ LETRAYEL PΙNCEL: ΕLΑRΤΙSTAMEDΙEVΑι. ιEYΕΝDA, ΙDΕNΤiDAD Υ ΞSΤAΤUS
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14 // ENTRE ΙΑ LETRΑY EL PΙNCEL: EL ΑRTΙSTA MEDΙEVΑι. ιΕYΞNDΑ, ΙDΕΝΤ:}AD Y ESΤΑΤUS
I
StcNeτURES MncεDoNΙA: Coυπ1
ΡI.ιNτERS ΙN BγznκTtNE oF DECιPHERιNG THE ASTRAΡADES
ANASTAS TO S PΑ.PI.P OPOUTO S Αristotle Universiεv of Thessaloniki Ιn most of the cases the Byzantine artist is an anonymous artist (τoυIe , 2001, p. 644). During the late bγantine period berween the years t26L and 1453, Some artists are starting to ,,When.w,e are referring to Macedonia, τw,emean emerge from anonymity and sign their wοrk.2 the historical region of the BaΙkan Ρeninsula that is now divided between the states of Greece, the Former Yugoslav Republic of Macedonia and Bulgaria. Ιn this period we have very few signatures of painters. The most characteristic case is the signature of the painter Kalliergis in the church of the Christ Savior ofVeroia,3 a small to.wn neaΙ to Thessaloniki, famous for its many byzantine churches. Ιn the dedicatory inscription of the church, dated exacdy in the year 1315, we have the -unique for bγantine standards- self-fattering verses: ..The painter is Κalliergis, the best painter of all Thessalμ together wi$ my good and decent broth..r'l So, in this casewe do not have only the signature of the paintei but also his boasting words that, in a waμ he is the best painter of his dmes (ΚALOPΙSSΙ-VERTΙ, t994, p, L46).a But this is a very rare exception. Ιn the gallery of the narthex of the church of St. Sοphia in ohrid, Ιoannes Theorianos signed his name on the'blade of the sword of the archangel in the Scene oΓ David,s repentance, in about the year |350 (DJURΙC, !976, p.97-99; GROZDA-
KALOPΙSSΙ-VΕRΤΙ,L994,p. Ι39;RADUJKO,20t1, p. L55-1-62 NoY 1980,p. 189-195; 183-L84,fig.1,2b).Finallyin thesamechurch,in thechapelof St.JohntheBaptist,thepainter Κonstantinos and his son, the sub deacon Ιoannes, \Μrotetheir names and an invocation on boιh
sidesof a paintedcross(SUBoTΙe, ι 974,p.44-47;KALOPΙSSΙ-VERTΙ,1994'p. l4L).
The most important masters from this dme are the painters MichaelΑsrapas and Eurychios. These artists originate from Thessaloniki, from an artistic family related with manuscript iΙumination (KΙSSΑS, L974, p.35-37), and it is very likely that they.w'ererelatives,and Ι daresaγ brothers. The Αstrapades, as they are mentioned in bibliography, pluraΙ for the name futrapashave painted and signed five churches, while a few more, unsigned, are attributed to them. This 1Ι would like to thank ΡrofessorManuel Castifieiras for his invitation to participate in the Ι Ιnternatiοnal SyrnpοsiurnMagisπ. Catabniae (Barcelona,November 20|4) and the FΙistοrian-ResearcherSrylianos Kapsomenos for his supervision in the ΕnΦL αanslation of this PaPer.The final results published in this article are related to my recent incοrporation into the researchιea.ε oΓthe project, Mουilidad y transferenciaaπistica en el MeditelTτneo medieυal (Ι 1s7-13ss): artistAs, objetοs1 rnοdehs-MΑGΙSTp: MΕDΙTΕRRΑNEΙ (MΙCΙNN HΑR2015-63883-P), which is directed by Manuel Castifieiras at the Universitat Αutδnoma de Barcelona(UAB). 2
Fo,,., excellentpresentationof this issuesee:KΑLOPΙSSΙ-VΕ,RΤΙ, 1994.
3 For the monument in generalsee:ΠEΛEΚANΙΔHΣ,
Ι973.
a For the inscriptiοn:ΠAΙΙΑZΩTDΣ,1994, p. 10O-1O2. SIGNATURΞS oF BYZΑNTΙNE PAΙNTERS tN MACEDoNΙA: DECIPHERΙNG TFΙE ASTRAPΑDES coDE // Lffi
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is a rariψ because to my knowledge, this is the only case in thebγantine history of art that we haγe five monuments signed by the same workshop, apart from the frescoesthat w,eremade by 1958, p.347&e regional painter Ιoannes Pagomenοs in the island of Crete (KΑΛoKYPrΙΣ, 317;SΡATFΙARΑKΙS, 20Ο|, p.34, 40-42,48.49,64-65,7ι,74,77,83,207). The artisticvalue of *re futrapades workshop is oΓ great importance. They are in a waΥ innovators oΓ their time, πith great skills and a narrative desire. Th.y introduce new.scenes in their frescoes,influenced ξ- the intellectual environment of the so-called Palαeοlοgaz Renaissance. Τhe monιrments that bear their signatures are the Church of the Virgin Perivleptos in ohrid,
daιedin the yearΙ294lι295 (MΙLJKOVΙe-PEPEK, Ι967, p. ι8-21; KALOPΙSSΙ-VERTΙ, Ljeviikain Prizrenfrom ι9g4,p, t39;ToDΙe , !999, p.227-228),thechurchof Bogorodica (SUBoTΙe, ToDoRovΙe, ι309-i313,5the churchof St. Prohorof Pcinjain 13L5-L316 in StaroNaSt. George of the Church p.447-449.), 4l; CΥF-TKovΙc,20L3, ι975,p. 138-1 KΑLOPΙSSΙ.VERTΙ,t994, (MΙLJKoVΙe.pε,pεΚ,L967,p. 120-200; φricinoin 1316-1318 p. |39;ToDΙe , !993,p. 26-27;TODΙC , 1999'p. 233-242)andfinallythechurchof St.NikeιasnearBanjaniin thΞyear1320(MΙLJKovΙe-pεpεΚ, ι967, p. 22-23;TODΙC , Ι999,p. Ζ55.260.) (fig. 1). Αlso, Sοme scholars are attributing to them, with persuasive arguments, the frescοesof the very important churches of Gracanica and Studenica, royal endowments oΓ the
SerbianΚ,g Milutin (MΙLJKovΙC-pεpεΚ, L967, P. 2|3-2L6;ToDΙ e , t999,P. 242-255).
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Fig. 1. M,p showing the monuments signed by Michael and Eurychios Αstrapas. @ Αnastasiοs Papadopoulos. But the question that arisesis where did these masters place their signatures?Ιn most of the cases frefutrapades choose to sign in non-conspicuous places of fie church (ΚALOPΙSSΙ-VE,RTΙ, L994, μ 139): upon the blade of the sword of a holy warrioη on the shields of some military saints, in the hbrics of the garments of marryrs and warriors and upon some ceramic vesselsthat are decorating srcnes oΓthe iconographical program. Αlso in sοme casestheir signatures are like cryptograms, very haΙ'd to decipher and which \Μerediscovered by the scholars only during the last fifr7 years. This is mmerhing fiar is happening for the first time in byzantine monumental painting and in fiis paper Ψ,ξare going to propose a ne\λ/suggestion for the deciphering of their mysteriοus signatures. , [,ι r}e church of Bogorodica LjeviSka there are not signatures of Michael futrapas and Ε,urychios or they are not preserved. Α,π iπscription at the ouεer narthex informs us that the name of the master painter that decorated the church was Αstrapas. For fturfrer analysis see: TODΙC , L999, p. 230-234, fig. Ι34. For the πansliteration and a drawing oΓ the Serbian inscription see:
lΛ};Ιc,BABΙC,|975,p.23.
Ι(κ // ΕNTRE tA LETRA Y Et PtΝcEt: EL ARΓιSTΑ MEDιEvAι. Lεγεtιlοι, i DΕΝΤΙ DΑD Y ESΤAΤι,IS
Ιnscriptions on the swords of the warrior saints ..famous,, The most signature of the Αstrapades workshop, is the one that is inscribed on the blade of the sword of St. Merkοurios in the church of the Virgin Perivleptos in Ohrid, which is the first church chronologically where their naΙnes are signed (fig. 2). \Γe are reading: ΧΕΙP MΙΧΑHΛ ToYAΣTPAΠA-By the hand of Michael Astrapas (KΑLOPΙSSΙ.VERTΙ, 1'994, p.
139,fig.1;ToDΙ C, z}ot, p. 646-647,fig. 1;MARΚoVΙc, 201O,P. 22, fig.,7a-7b).So, for
the first time we have this innovation in Bγantine art: a painter chοoses to write his name οn the bΙade of a sword. There has been much discussion among scholars about this choice. Branislav Todic beΙievesthat in many cases, the Αstrapades are choosing the military saints to put their signatures on because their cult was widespread in Macedonia in the beginning of the Ι4e c. (ToDΙc,2001, p. 652-662)' but in other casesthey are also placing some letters in the garments of doctor saints like Cosmas and Damian (MΑRΚoWe, 20!0, fig. 10-11) and their .We monograms upon some ceramic vesselsand architectural parts. believe that the signatures oΓ the Αstrapades are not related with the holy person depicted, but with the object itself.
Fig.2. St. Merkourios, τ294lL295, Ρerivleptos,ohrid. @ \rikimedia Commons. Ιnscribing the sword blades \Masa common practice for the workshops of armorers during the middΙe ages. Ιn many casesthese inscriptions refer to the manufaαurer or the o\Mnerof the sword. while in other the inscription could have the meaning of an invocation to God.6 Fortunatelμ '*-e have hundreds of swords preserved from the Middle ξes, especially in the museums and privaιe collections of central and \7estern Εurope, but also swords from southeastern Εurope and the Balkans. Dozens of them bear inscriptions that inform us about the workshop, the manufacturer or bear invocations to God, Αrchangels and Saints. For example, the inscriptions ΙNGELRΙΙ
(oΑKΕ,SΗoTT L998,P.29,82, fig.7;OΑKESFΙOTT 2000,p.26-27,32)andULFBER}ΙΤ (OΑKESFΙOTI 7998,P.\2; OΑKESΙ{OTT 2000,P. 5-7,25,fig"5i)arebothknownfromseve-
made.Therearealso ralswοrdsand probablyreferto the armoreror the workshopwherethey.w,ere six bladesfrom the beginningof the 12frcenturyinscribedwith the words GΙCELΙN ME FΕcΙΤ on one sideand ΙNNOMΙNEDOMΙNΙ on the other(OΑKESΗOTI 1998,p.34-35'fig.4). Becauseof the scarciryof the archaeologicalmaterial,most conclusionsconcerningthe sword rypes ΙnΒγantium havebeendrawn on the basisof the visual Sources.Ιn the museumofVarna 6
E. o"keshott in his books gives a lot of examples of swords with inscriptions both referring to worlshops or invocatiοns, see:
OΑKESHOTT, 1998;OΑΚESFΙOTT,2000.Αlso see:PARΑNΙ, 2003'p, ι32.
Sιcμ,ητυιrs oF BYZΑΝTΙNE PAΙNTERSΙN MΑcEDoΝtA: DECΙPFΙERINGTHEΑsτιepeοεs
Coοε // |0τ
a bγantine sword is exhibited, very similar to the Fxropean ones, with the Greek inscription cΑPΔH on one side and the Greek leπer Ζt|T^ (Ζ) on the otheι This inscription, according to Marko Α-[eksii, indicates the byzantine torrn of Sar'dis in Αsia Minor as the place where the sword could have been made and the leπer ZHT^ is probably the signature of the craftsman or the wοrkshop (ΑLΕKSΙe, zoο7, p. 10, 121). Ιn my opinion there is a possibiliry that this inscription refers to the ciεy of Sofia, whose byzantine name was Σαρδικη-Sardica. Αnother sword from the 11.h century no\λrin ιhe Sarajevo museum in Bosnia, bears the inscription +ΙNGΕΙΙ+FΕΖΙ+ (fig. 3), declaring in this unsophisticated way the name of the armorer.7 Finallμ there is a sword in a private collection from Velika Morava in Serbia, dated between the 1lfi and the 13s centurywith the Latin inscription DOΙCTANFΙ; maβe the religious invocation DEUS OMNΙPOTENTΙS ΙESUS CΙ-ΙRΙSTUS ΑLΤΙSSΙMΙ ΙN NOMΙNE8.
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Fig. 3. 1. Sword, 11.hc., National Museum BiFΙ, Sara.ievo(inv. nr. 6894).2. Sword, 1lm c., National MuseumBiH, Sarajevo(inv.nr. 1|7).@ Marko Αleksii.
EΞΞc swordsare relatedwith the groups oΓΙ,ΙLFBERHT and ΙΝGELRΙΙ: ΑLEKSΙC ,2007, P. 64, 1'20,p|. 9:2, φnerally from the 1l.hto the 13.hc.:ΑlΕ,ΚSΙe' 2007, p. 77, 12aΛ2|' p|. 5:4.
/l Eμτιr
ΙΑ ιETRA Y EL PtNcEL: EL ΑRΤιSTA MΕDtΕvAL Ln.εx oe. ΙDEΝΤ| DΑD Y εSΤΑΤUS
The signature ofMichaeΙfuuapas on the blade of St. Merkourios in the church of PerivΙeptos in ohrid, is the first of its kind, but we have more exampΙes of inscribed blades from the Αstrapades. Ιn the same church, on the blade of the sword oΓ St. Nestor we can detect some indeci. pherable symbols, similar to engravings that denote the name of the armourer. Ιn the church of ..Manuel the Protaton in Kaηyes,which is traditionalΙy attributed to Panselinos,,,there are some simiΙar symbols upon the blade of the sword of St. Merkourios (fig. 4).Professor Manuel Castifleiras and the writer believe that Michael Αstrapas and Eutychios are definitely invoΙved _if they are not the master painters- in the decoration of the church and that there is a lot of evidence that could support this argumente. The same convention is visible on the sword of St. George from the church of St. Nikitas near Banjani, also a work of Michael and Εurychios. Yet, apart from the Αstrapades, \Mecan detect this practice too in some other churches, like the church of St. Nicholas near Monemvasia in the region of the Peloponnese, Greece, from the second half of the 13r century where we have decorative ornamentation on the blade of the sword of a military Saint (ΔPANΔAKΙ{Σ, |977-1979, pl. 19b) that reminds us of the decorative modfs oΓa sword frοm Koprivnica in northern Croatia with a cross and horizontal parallel lines, dated in the second half of the 12s century (ΑLEKSΙ e , 2007 , fig. 33). Α]so, in the church of the Αrchangel Michael in Pedoulas, in Cyprus, from the year 1474, on the blade of the patron of the church \pe can discern decorative ornamentation, possibly imitating a kufic inscription or the mark of a workshop.'o
Fig.4. St. Merkourios,around 131Ο,Protaton.@ Manuel Castifieiras. 9
P.o[ Manuel Castifieiras (UΑB) and the writer are going to anΙΙounce a ne}v proposal in the context of the Magisπi Catalοniae et Mediteranei Projects. \7e believe that Michael futrapas and Ε,urychios are the painters οΓthe Protaton and that the name Man. uel Panselinos (Full Mοon in Greek) is probably a paraphrase oΓthe name Michael Asuapas (Lightning in Greek). The results of our research are combing historical and iconographical data, especially related with the common motifs that are depicted on the clothes and the aΙmory of the depicted figures. Fuπhermore, some Sources related to the loodng and destruction of the (Αlmogλvers) between 1'307.τ309) should help us to ProPose in the near future a new date
Protaton by the CataΙan Company for these frescoes. 10
Ι would like to thank Professor ManueΙ Castifleiras Γor inΓorming me about the ornamentation on the sword oΓΑrchangelMi|997, p. 33|-343. chael and for prοviding me a photo from his personal archive. Fοr the church in general see: STYLΙΑNOυ,
SΙGNATUREs oF BYZANTΙNE PΑΙNTERs ΙN MAcEDoΝtA:
DEctΡFΙERtNG TFΙE ASTRAPΑDEs CoDE // 109
The seeds of the pioneer Michael Αstrapas have infuenced Ιoannes Theorianos, a significant painter of the Palaiologan Renaissance.Αbout fiΓty years after the decoration of the Virgin Perin-l.p.o,, in the Same tο\Mn,Ιoannes Theorianos painted the upper foor of the exonarthex, which r a t4.h cenπry additiοn to the existing cathedral of the 11.hcenturμ of the church of St. So. phia. Theorianos chose tο write his name on the blade οf the Αrchangel Michael from the scene
oΓΚng David(DJUzue, |976,p.97-99;GROZDΑNOY 1980,p. 189.195; οf thePenitence RADUJKO,20L1,p. 155-t62,Ls3-184,fig.|,2b),reveaΚΑLρPΙSSΙ-VERTΙ,!994,p. 1'39; ling in this way the great influence that the work of the Αstrapades had in his years. Ιn the same context, the futrapades have written in the form oΓ monograms or just letters rheir initials upon the handles of the swords of some military saints. On the pommel of St. Demetrios in Perivleptos \Mediscern the monogram MX (fig. 5), indicating the name of MΙΧAHΛ
Αoτραπαg(MΙLjKovΙe-PEPEK, |967,fig. 1:3;MΑRKOVΙC,201Ο,fig.4:3,8b).Ιn addiιion, on the handle of the sword oΓ St. Theodore Teron, in the same church, there is the letter
\{, initial Ιetterof the nameMΙXAHΛ (MΙLJKoue-pεpΕ,K, 1967 fig.1:7;MΑRKovΙc, evidencethat the craftsmenand 201Ο,frg.4:7).Thereis enoughhistoricaland archaeological armourers.w.eresigning their work not only οn the blades oΓthe swords, but also on the handles. Ιn some cases there is an inscription on the handle of a sword that informs us about its owner (ΑtEΚSΙ e, 2007 P. 22). To depict a Greek cross within a circle is a very widely spread practice ' in the Middle Ag., that is frequently encountered also on the blades of the swords (ΑlΕKSΙc, 2007, p. t|7-Ll8). Nevertheless,nοthing more could be said about the significanceoΓιhese sig.', .,..p. that they constitute the stamPs of the blacksmiths who have manufacπred the sιι-ord
(OΑKESΙ{OTT,1998,p.22-23,53,Ρ1.16,18;ΑLΕKSτ1,2007,p. 1 L9-L26;C\T,TΚo\]c. 2013,p. 240-24t).
Fig. 5. St. Demetrios, L294lL295, Perivleptos,Ohrid. Θ Miodrag Markovii. Ιn conc|usion, we believe that the master painters futrapades had selected this way of signing ιrpon the blades and the handles of the swords of some warrior saints, because they wanted to imitate the traditional, in these times, method oΓ the blacksmiths, craftSmen and armourers, who'w.ereinscribing the name of their workshop on the swords that they.u/eremanufacturing. Ιn rhis way, they declared their presence in the church and promoted their work without upsetting fie donors of the monιlment. This innovation is also made clear by signing also on some other non-conspicuous places inside the churches.
t1'0 ll ENTRE tA IETRAY EL PtNcEL: EL ARΤΙSTA MEDΙEVΑι. LεγεNοι'
l DεΝΤl DΑD γ ΕsΤ,{ΤUS
Ιnscriptions on the shields of the warrior saints Besides the swords, we are able to discern the signatures of Michael and Εurychios Αstrapas on the shields of some military saints. Ιn the church of St. Prohor of Ρcinja the frescoesofΑstra'We have very few scenes from the decoration from pades are preserved in a very bad condition. (about the beginning oΓthe early 14s century 1315), becausethe church was badly damaged by fire and it was repainted at the end of the 15.hcentury. FΙowever,w.eaΙe quite fortunate, because the signature of MichaelΑstrapas was discovered a few years ago, on the shield of St. Demetrius (fig. 6).Thaces of letters reveal the name oΓthe painter. \7e read the Greek letter X for the word (SUBoTΙc, ToXειρ-by the hand, and the name of the artist in Greek MΙXΑFΙΛ-Michael
fig.135;MARΚovΙc, 2010,p. DoRoVΙe, 1975,p. 138.t41;ToDΙc,L999,p.233-234, 20t3, CVΕTKOVΙC, p.447-449). 32,fi,g.6;
Fig. 6. St. Demetrios, c. L315, St. Prohor of Pcinja. @ Branislav Cvetkovii. Ιn the church of St. George in Staro Nagoricino, an endowment of the Serbian Ki,g Milutin. dated from the years ι3L6-1318, on the shield of the warrior St. Αrtemios, we notice again the the hand of Michaetr signature of Michael (fig. 7).w, read ΧEΙP MΙxΑF{Λ ZΩΓPAΦoY-by
|994,p. L39;ToDΙc, 2001,p. the painter(ToDΙe, 1993,p. 26-27;ΚΑLOΡΙSSΙ-VE,RTΙ, his capaciryasa artistis predicating 648;MARKOVΙC, 20L0,p.9, fig.2a-2c).So, no\Μ.the painteη thus leaving no doubt to his contemporaries that he is the creator of the frescoes.
;,xet F}rti Χ il'il!ιwnβdqft,li Fig.7. St. Αrtemios, c. 1316-1378, Sraro Nagoricino. @ NΙiodragΜarkoviC. SΙGNΑTURΙS oF BYZANTΙNE PΑΙNTERS ΙN MΑcEDoNtA:
DECΙPHERΙNG ΤHE Αsτne.peoEs CoDE // 1t|
Finallμ in the last signed work of the Αstrapades,the church of St. Nikitas near Banjani, datedaround L320, on the shield of the warrior St. TheodoreTeronwe read:ΧEΙP MΙXAι{Λ ΕYTYXΙQY-By the hand of Michael and Eurychios (KΑLOPΙSSΙ.VERTΙ 1994, p. L39; ToDΙc L999,p.255-256;MARΚoMe,z010,p. 9,fiB.3a-3c)(fig.8).Ιn my opinionthis last siμature is of greatimportance,becausethis is the last monument oΓthe futrapades.Ιt includes both their naΙnes,ending this way an artisticcycle of a long-lastingcompanionshipthat begun rwenry-fiveyearsago in the church of Perivleptosin Ohrid.
Fig. 8. St. Theodore,c. L3l6-1318, St NiketasnearSkopje.Θ Miodrag Markovii. 'We
believethat the choice of signing on the shieldsof the warrior saintsis not relatedwith τheholy persondepicteditselξ but with the tradition of decoratingshieldsinΒγantium (GRoToΝrSKΙ,2010,p. 23s-254).Shieldsdepictedin Byzantineaft arefrequentlycoveredby aΥa.i.ry of ornamentalmotifs, as it is visible on the shield of St. Nestor in Perivleptos,a work of the futrapades.George Miles speculatesthat when placing Kufic inscriptionson shields,Byzantine inspired by actual \MeaPonryimported from Damascus (MΙLES, 1'964,P.27). craftsmen\Λ/ere Shields,like swords,had also a symbolic meaningfor the Byzantines(GROTO\ζ/SKΙ,2010, p. 250-254,360-366).Αt coronationsfrom the time ofJulian the Αpostatethe new'ruler would be lifted uP on a shield by his soldiers as an expressionof his acceptanceby the army (\ζ/ΑLTER 1975;GRoTo\ζ/SΚΙ, 2010,p. 25|-252).This practiceis clearlydepictedin this miniatureof rhe Madrid Skyliees, daredin the mid- 12n century which depictsthe ascensionto the throne of the ByzantineEmperor Michael the t"(fig. 9). Ιt showstwo haloed figures,the emperorMichaeland the PatriarchNikephoros, raisedon a largeshield decoratedwith pseudo-kuficletters (TSΑMΑKDA, 2002,p. 43.46, fi1.3). Αlso, an inscriptionwith pseudo-kuficlettersis apparent on the shield of St. Merkourios Γromthe illuminated Greek manuscriptParisianusGraecus580, datedin the mid.l1fr century(SPAΤHARAΚS, 1981,fig. 118;GROTO\7.SKΙ, 20L0,p.24|)' and on the shieldsof St. Demetriοs and St. Prokopios from the αiptych of the Forty Martyrs of Sebaste,in FΙermitage,dated in the mid-lOe cenπry (GROTO\ζ/SKΙ, 2010, p. 24t, fig. 19a-19b).
L|2 ll ENTRE tA LETRAY EL PΙNCEι: EL ΑRΤΙSTΑ MEDtEvΑι. LΕYΕΝDΑ, lDΕΝΤΙDAD Υ ΕSΤΑΤUS
Fig. 9. Coronation of Michael Ι, mid L2,hc., miniature 3, foΙ. 10v, Biblioteca Nacional de Espafia. Θ Vasiliki Tsamakda. Finallμ there are also some inscriptions with pseudo-kufic letters on the shields of some fig'res of the mosaics of Nea Moni in the island of Chios (MOYPΙKH, |985, p. L44,202-203, fig. 38, 106) and on the shield of St. Demetrius from the Cappella Palatina in Palermo (NΙCOLLΕ,, L983, p.96-97, fig. 48\, darcd in the mid-11n and the mid-12'h centuries respectively. Shield blazons also played the role of identification signs oΓ individual formations as well as of the shield,s ow.ner himselΓ. Flavius Vegetius, in the |ate 4λ century Α.D., recommends the writing of the owner's name, and that of the cohort or legion to which he'belonged, however as a suitable place for such an inscription he indicates the interior of the shield (GRoTo\7.SΚΙ,
20\0, p. 236-238). .We
believe that the Αstrapades \Λ/rotetheir names on t}reshields of the warrior saints, emu. lating a common practice of the byzantine craftsmen to inscribe the shields with Kufic οr pseudokufic ornaΙnentation. Because of the Ιack of archaeological data we do not know if the crafts. men who were manufacturing shields for the byzantine army used to write the name of their workshop at the surface or in the interiοr of the shield but lΛ/ecannot exclude this possibiliry. of declaring their Presence in the churches Either \Λ/ay,these master painters invented a ne.τw,way that they decorated, following a common Ρractice of their times and thus making the sophisticated members oΓthe congregation understand their talent and their confidence.
Ιnscriιrtions on garments arιd clothes But the innovations of Michael and Εurychios are not exhausted only to the swords, pommels and shields of the warrior saints. \Wealso have signatures oΓtheirs on the clothes and garments of warrior and doctor saints. Once again we do not believe that the signatures are related with the holy person that is depicted, but with the old tradition of the Byzantine masters of silk weaving to place inscriptions on the textiles of their workshops. Αt this point \Λ/emust observe that it is Υery difficult even for the αained eye to detect these signatures on the garments of the sainω, because they intertwine into the decorative pseudo-kufic motifs of the fabrics. Ιn the church of the Virgin Perivleptos in ohrid, on the band of the garment of St. Prokopios me Eyrychios (fig. 10), we discern the signature of Eurychios: KΑ<M>OY ΕYTΙx[Ιo]Y-Αnd
SΙGNAΤURΞS oF BYZANTΙΝE PΑΙNTERS tN MAcEDoNtA:
DEcΙΡFΙERΙNG THE ΑsTRAPADES CODE // 113
ThissignaΚALOPΙSSΙ-VERTΙ,1994,P. ι39, fi}.2;MARΚovΙe, 2Ο1O,P.24,fig.9a-9b).
rure is a kind of a respοnse to the signature by the hand Michael fuπapas that is written on the
(KALOPΙSSΙ-VΕRTΙ, 1994,p. l39, fig.1;TODΙC ,200l, p. 646-647 πιτrd oΓSt.Merkourios ' (fig.2),depictedon thewestsideof thenorth-west ng.1;MΑRΚovΙe, 20L0'P. 22, fig.7a-7b) piΙar oΓ the church, while St. Prokopios is depiαed on the same side of the south-\Mestpillar. The meaning is: By the hand of Michael Αstrapas -on the sword of St. Merkourios- and me Εurychios -on the band of the garment of St. Prokopios.
Fig. 10. St. Prokopios,L294lΙ295, Perivleptos,ohrid. @ Miodrag Markovii. Ιn the samechurch,on the band of the garmentof St. Demetrius (fig. 5), we read:.ZoN AΣTPAΠ(A) MΙΧAHΛ <x>[EΙ]Ρ ZΩΓPAΦ[OY]- By the LΙand of Michael the Painter (KΑLoPΙSSΙ-VERΤΙ, 1994,p. 139;ToDΙe ,2001, p. 646-647, fig.4; MARKOVΙC, 201O,p. 22-24, fig. 8a-8b).So, alreadyfrom the first signed monument of the futrapades,Michael inaSKalliergis formsthe viewerabouthis artisticidentirywith the Greek word ζωγριftφoq-painteη will do about 20 yearslarcr in the church of Christ Savior in Veroia,howeverthe latterwill place his signatureinto the dedicatoryinscription next to the namesof the donors (ΠAΠΑZΩTOΣ, L994,p. 10Ο-L02). are Γortunateenough to discernon the Ιn the church of St. George in Staro Nagοricino, \Μ.e (fig. 11) not only the namesοΓ both painters,but band of the chiton oΓ St. TheodoreTeron aΙsothe exactyear that the church was decoratedby them: <xEΙP MΙ>xAΙΙΛ EYTYXΙOY gτωκε (6s25)- By the FΙand of Michael and Εurychiosin the yearL3L6lL3t7 (MARKovΙc, 20L0,p.9,22, fig.1a-1c).This is the only paradigmof the signaturesoΓMichael and Eurychios wherethey put the dateof their doings.
1'Ι4 ll ENTRΞ tA IETRAY Et PtNcEL: ELΑRΤΙSTΑ MEDΙE.VΑι. LεΥεΝDΑ, ΙDΓΝΤlDΑD Υ ΕSΤ:\ΙLjS
Fig. 1 1. St. Theodore, c. 13L6-L318, Staro Nagoricino. @ Miodrag Markovi6. Except the aforementioned distinct signatures of the artists, there are a lot of indecipherable pseudo.inscriptions on the garments oΓ saints that are imitating kufic letters, a practice that as \Meare going to Propose, \Μ,asvery often used by bγarltine silk \Meavers. FΙoward Bloch, in his book about the BayeuxThpestry notices that out oΓthe hundreds pieces of silk that survive from what must surely have been thousands, many contain information. \(riting on siΙk, or writing \Λ/oveninto silk, is an Eastern phenomenon and distinguishes the world oΓ Βγantine silks from that of Scandinavian textiles, which show no traces of written inscriptions. The inscriptions on Byzantine silks are on the order of a signature, and though one cannot tell who actualΙy made them, one knows under whose command they \Λ/eremade
(BLOCFΙ,2005,p. t52-L54).
For example,five silks with pattern lions are known to have been woven under imperial paffonage.On the imperial lion silk of Cologne w.eread:EπΙ Kωνoταντiνoυ και Bαoιλεioυ των φιλo1ρioτων δεoπoτcitv.Duringthe reign of Basil and Constantinethe Christ loving rulers.The inscription refersto the Emperor Basil the 2nd and his brotherand co-emperorConstantinethe 8'h,so the silk is a product of an imperial workshop of Constantinopleberweenthe years976 to t025 (BECΙ<νζ/ΙTFΙ,1,96τ,p. 10Ο,fig.l27; ΜUTHESΙUS, L997, p. 34-37, fig. 4a-4b). Αnother Υery important byzantinesilk is at the Aachen Munster Theasury(fig. t2) with a de' sign of elephantsin medallionsthatwas taken from the shrine of Charlemagne(LoPΕΖ, ι945, P. 6-7,36, fig.VΙ; BECK$ζ/ΙTFΙ, Ι961, p. 100,fig. L28;MUTΙ-ΙESΙUS, L992,p.247-248, fig. 1.2; MUTHESΙUS, L997, p.38.39, fig. 5a-9a).Αlong the Ιoweredgeof theΑachen Elephant silk are t!Ιroro\λ/sof pearl shapeswhere the follolving inscription is twice repeated:
(κα0 επiτoυ)κoιτ(cbνog) tΕπiMιx(αηλ)πριμι(κηρioυ
ειδικoli
g) g)τoυ Ζanξfiπoυινδ(ικτιcbvo tΠ6τρoυdρ1oντ(o
stGNATURΙs oF BYZΑNTINE PΑΙΝTERS tN MAcEDoΝtA:
DECΙPFΙERING TFΙE ΑsTRAPΑDrs Coor
// 115
+ ε,rι* r.qT rιFr }ηl κJ}
E.ιΔικs
+η*Γrx aFxοχ :Ι:r t xπs *
12. Εlephant Silk, 11s c., Aachen, Munster Theasury.@ Αnna Muthesius. The inscription may be translated:
tΙn the dme of Michael Primikirios Koitonos Eidikou t,,!Γh.enPeterwas the Αrchon(Lord) oΓ Ζelαippοs, Ιn. diction(year). The κoιτcirν or sleepingquartefsof the Εmperor \λ/ereservedby the private imperial guards rhatwerenormallyeunuchs(RΙNGROSE, 2003, p. t28-Ι43, L66-lB3). Primikiriosis the title usedto denotethe rank of a eunuch (RΙNGROSE,2003, p. 167-168).The name Ζε6ξιτtπoq acnrallyrefersto an imperialweavingestablishment(MUTFΙESΙUS, t992, P.247). other survivingelephantsilks aremosdy Ιslamicfabrics,like the St.Jossesilk in the Louvre MuseuΙn(MUTFΙESΙUS, 1997,P,39, L97, fig.9b). But the ΙslamicempireinheritedvarioustextiΙe πaditionsand establisheda State-runindustryof teπiles, especiallysilk. This systemwascalledtiraz a Persian word for embroiderv. Ιn the Ιslamic context the word referred to textiΙeswifi the border inscribed widr reigns ofMuslim rulers and date of manufacture in Αrabic or Persian. The inscriptions vrere executed through embroidery or tapestry weaving with silk thread. The draz qystem fourished and persistedto the thiπeenfi cenfury. The inscriptions start with the religious statementthat appears ar the beginning of most chapters of the Quran (..Ιn the name of God tλe Compassionate, the Mer..May God Prosper dfiΙΙ"), foΙowed by the naΙne and title of the ruling caliph, and a blessing,such as "May him" or God strengthen him." On a garment made in cdiphate tiraz shops, there should also be the name of the wazir, or prime ministeξ who was also in charge of the royal tiraz worlshops. The mt phrase usually indicated fie royal or public tiraz shop and the city in which the garment \λ/as made, followed by the date in the Ιslamic calendar (ΧΙNRU , L995, P. 28, 4Ι.47). Ιn another Αrabic silk, divided today between St. Αmbrogiο in Milan and Victoria and Α1beπ Museum in London, dated between 101Ο-1025, according to the above mentioned tiraz flδτem embroidery \Mecan read in an inscription referring to the ruler of the Marwanid dynasty oiUpper Mesopotamia Nasir.ed.Daulah (MIΙTFΙΕSΙUS, L997, P. 12τ' t95, fig. 34b). Similar is rhe silk head shroud from the grave of Pope Clement the 2"d'stating that he died in the year |a47, with a Kufic inscription with blessings to ΑlΙah (MUTΙ-ΙESΙUS, L997, p. 194, fig. 1 l7b)' of qrhich probably the Pope did not know the exact meaning.
!'L6llΕNTRE tAIETRAYEt
PtNcEL: ELΑRΙISTΑMEDΙΕVΑι. LΕ}TΝDΑ' ΙDΕΝTlDΑDY εSΤAΤUS
V.ry impoπant for our sιrrvey is one silk fτom Palermo dated in the mid.l2fi century no\Mexhibi. ted at the Kestner museιrm in FΙannover.Αlthough it imitates Kufic lefters,the inscription is in Latin, and it statesthe name of a workshop in SiciΙy.The inscription is: OPE,RATUM ΙN REGΙO ERGΑST[erio]-Made in a worΙ<shop of the realm (MUTΙ-ΙΕSΙUS, t997, P. 115-tΙ6,202, fig. 110a). Among the hundreds of examples that are preserved, one can observe a constant "dialogue" between the Ιslamic and byzantine silk decoration. For example the srylistic similarities berween the bird silk from the diocesan museum oΓ Salamanca (MUTHESΙUS, 1997, P. 88, 233, fig. 91b), the lion silk of St. Martin (MUTFΙESΙUS, L997, p. 233, fig. s9a) and the byzantine Shroud of St. Potentian in the Sens Cathedral (MUTHΕSΙUS, Ι997, P. 119, L95,fig.61b) are
more than obvious. Ιn this context we believe that the Αstrapades chose the bands of the gaΙmenff of some saints to place their signatures because th.y \Mereinfuenced by the common Byzantine, Ιslamic or Sicilian silk-weaving workshop practice of their time to embroider inscripdons upon their products. Of course, it was very usual for painters in byzantine times to depict warrior saints in lιrxurious clothes with shining armours and muscular bodies. Αlso, we know from the western examples that by'*tine silks w,ereso lιlxurious objects thatlry'ereused as shrouds for the relics of the saints, a practice that was exercised inΒγarιtium toο. on the so-called coronation mantle of Roger the 2"d from the Schatzkammer of Vienna we easily discern an embroidered inscription around the lower hem, in Kufic scripture (fig. 13). Th. translation of this inscription is: Ιn the royal workshop oΓthe capital
of Sicilyin theyear528FΙ(1L33l1134)(MUTΗESΙUS, t997,p. Ι96,fig.60b;TRoNZo ,200L,
p.24t-244).Th1s inscriptionreminds us of the signaturesof both Michael and Αstrapason the borderof the chiton of St.TheodoreTeron(fig.11):"by the hand of Michael and Eurychios,in the year6825 (L3|6lL317)" (KALOPΙSSΙ-VERΤΙ, 1994,P. L39).
Museum,Vienna. Θ \7ikimedia Fig. 13. Roger,sΙΙ Mantle, 1L33|LL34, Ιζunsthistorisches Commons. a monoPoly of the state and Finally one could say that the production of bγaπtine silΙ<s.w.as that these workshops provided their goods only Γor imperial and patriarchal use.ll But we must 1l Fo, a generalpresentationof this issuesee:LoPΕΖ, ι945.
SΙGNATURES oF BYZΑNTΙNE PAΙΝTERS ΙN MΑcEDoNtA:
DECIPHERΙΝG THE ΑSTRAPADES CoDE // 117
bear in mind that four of the five churches that display the signatures oΓMichael and Eurychiοs asserting the title Emperor of Astrapas \Mereendowments oΓ the Serbian Κing Milutin who \ry.as Serbs, and also that oΓthe Romans from the byzantine empire.12 .w'asan endowment of the FΙeteriarch, something like a very high The other one, Perivleptos, 1967, ranked military official oithe byzant'l,nearmy, Progonos Sgouros (MΙLJKoue-pεpΕ,K, p. L8-21;KΑLOPΙSSΙ-VE,RΤΙ, L994, p. L39;ToDΙe , L999, p.227-228). The other two chur.h., of Srudenica and Gracanica that do not preseΓvethe signatures of the Astrapades, but are with certainry attributed ro them by scholars, are also imperial donations of the Serbian Kirg
So,in a waμ Milutin (MΙLJKoue.pεpEK, 1967,P. 213-2ι6;TODΙC, 1999,p. 242-255). the futrapades painted only royal foundations and enjoyed a high social status as master-painters in the service oΓ the emperor.
Ιnscriptions on ceramic vessels and Pottery Αpart from the above signatures, in some cases,w.e can discern letters inscribed upon some ..."λi. vessels that are decorating scenes of the iconographical program. For example, on a ceramic vessel frοm the scene oΓ the Last Supper in the church of Perivleptos at ohrid (fig. Ι4) ' 1967, p. t8-23, fig. 1:5, fig. 32; \ry.e can discern the signatureof Michael (MΙLJKoue-pεpEK, 20L0, fig. 4:5). Α1so, in the SceneoΓιχ/isdοmhath built herselfa house, from the MARΚoVΙe, Same church, \ru'ecan distinguish the probably initial letters M and Ι\Τ(MΙLJKOVΙC-PΕPΕΚ. 20L0, fig.4:9) (fig. ιq. Αccording to Some schοlars L967, p. |8-23, fig. 1:9; MARKOVΙC, these initials, among a few others that are visible especially in the church of Perir,leptos, aΙe attributed to Αstrapades and possibly to Some oΓ their assistantsthat were secondary members 27.2s)..We would like to add here, that the scene oΓtheir workshop (MΑRKovΙe,2010,p. of wisdom hath built herselfahouse, derives Γrom the psalms of Κing David, and this is the first and only time in bγarltine iconography that it is depicted in this way, showing once more the innovative spirit of Michael and Eurychiοs.
r(e\\ \!ν, δ,. ι ,ιτ
tΙιι
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'-r R ιJι.J
*-{
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M' Lιl
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Fig. 14. Monograms on Ceramics from Mangana, ,, Robert Demangel, Ε,rnest MamConstantinople. boury.
ii) The church of St. Prοhor of Pcinja, SUBOT: ', υ Th. church of BogοrodicaLjeviika in Prizren,ToDΙc, Ι999, p' 230-234. p. 447-449. iii) The Church οf St. George in Staro Nagoricino, l975, p. 138-:14Ι;CvE,TKovΙC,20!3, Ιc, ToDoRovΙc, .\{ΙLJKOVΙC-PEPΕK,:J,61,p.|20-200;KΑιOPΙSSΙ-VERΤΙ,L994,p.139;ToDΙe,|993,p..26-27;ToDΙc, |999,p.233. 242. iy)The church οf St. Niketasn,earBanjani,MΙLJKOVΙC-PEΡEK, 1967' p.22-23:ToDΙc, L999,p.255.260.
Ι|8 llENTRE tALEΤRAΥEt
PΙNCEL:ELΑRΤISTAMEDtEvΑι. LεγεNDA, tDΓΝΤiDΛD Υ Ι:sΤΑJUS
Stamping ceramic vessels,as it is well known, is an ancient technique that was widely used by the Greeks, the Romans and the Βγantines. Stamps on amphorae, craters, lamps and even bricks are very useful for the specialists of ancient and medieval poftery because they are a very helpful tool for the understanding of the potteryworkshops, and especially for the trade berween the regions of the roman and bγantine world. Εven in the 13.hand 14.hcentury the craftsmen of Constantinople and other regions of the Byzantine Empire, like Thessaloniki or Thasos, continued this practice, imprinting in the form of monograms or letters the name of their workshop
(MΠAΚΙPTΖLΙΣ, 2003,p. 82.s4).
For exampΙe, during the excavations that \Μ.ere held in the 1930,5in the disπict of Mangana, in Constantinople, the archaeologists R. Mamboury and E. Demangel published an importanr number of fragments οΓ luxurious byzantine glazed poπery dated from the 13.h and the 14fi centuries (fig. 15). Ι, many of these Γragmentsthe monogram, naΙnely the signature of the w,orkshop (DEMANGEL, MAMBOURY, t939, f. L95-Ι96,200-20|), is apparent, reminding us of the contemPoratΥ tactic of the Αsπapades that w.eSaw in Perivleptos (fig. 14).
\.*
{{ i7
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; *""-. <' 4 ξΞ
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Fig. 15. Drawings of Ceramic Vessels,Perivleptos,L294lt295, ohrid. Θ Petar Miljkovii-Pepek. Αlso, in the island of Thasos,the French ΑrchaeologicalSchool unearthedabγantine settlement and found a lot of late byzantine glazedpofterywith the monogramsof the workshops depictedin the centralmedallions(FRΑNQOΙS, |995' f. 50, pl. 16-17).'3 By putting their initials uPon Some ceramic vessels,Michael and Eurychios decΙaredonce more their presencein the church and gavea clear messageto the pilgrims that the wonderful frescoesthat surroundthem are attributedto their workshop.
Conclusion fu Sophia Kalopissi states,the evidence of church inscriptions revealsthe low status of fresco painters especially in the provinces. The fresco painter, in most of the cases, is a simple craftsman. Ιn the major urban centers oΓ Βyzaπtium there are scarce indications of a certain rise in ι3 vdronique Frangois Proposes also some other explanations about the monograms. Sιcυnτυιrs
oF BΥZAΝTΙNE PΑINTERS tN MΑCEDoΝIA:
DECIPFΙERING THE AsTRAPΑDrs Coor
// 1t9
the social and economic srarus of the painters. For example, we do not know the name of the workshop that adorned with magnificent mosaics and frescoes the Church of the FΙoly Saviour in Chora, Kariye Camii, in Constantinople (KΑLOPΙSSΙ.VERΤΙ, L994, p. 150-151). ΑΙthough written sources are silent about the organization of painters in Cοnstantinople and other major Byzantine cities in the Palaeologan period, parallel information seems to indicate that, like masons and other craftsmen, in all probabiliψ joined associations,whose organization \ΛiasPresumably close to that of those in the Ιtalian towns of the SaΙneperiod. The elevation of the status of a painter from that of a craftsman tο artist was only accomplished in the time of Renaissance(KALOΡΙSSΙ-VERΤΙ, t994, p. 150-151). ..brand,, of their worproud Γor their work, so they wanted tο leave the The futrapades \Λ/,ere to differentiate kshop in the churches that they decorated. They had confidence and theywanted themselves from their contemporaries showing an intention that is going to be a common place for the great artists of the forthcoming Renaissance in the \Λ/est. Finishing this papeη we would like to add, that our aim was to proΡose a ne.νv.Suggestion 'We believe that these great innovators for the decipherment oΓ the signatures oΓ the Αstrapades. of the byzantine art during the distressed period of the 14s century discovered a ne\Λ/brilliant \Λ/ayto State their presence in the churches that they decorated. Their method \Λ/asto use the material objects as their implements to asseveratethe qualiry of their workshop. They preΓerred the swords, the shields, the garments and the ceramic vessels,because these artifacts w,eΙemade by craftsmen who commonly inscribed their names or the naΙne of their workshoPs upon them. So, they created a self-evident association between the depicted object and its makeη but in this case, because the object is painted the signature refers to the painters. Ιn this way the self.confident futrapades emerged Γrom anonymiry and left behind them ιhe. se magnificent frescoes and rheir mysterious signatures upon them, which continue to uouble modern researchersuntil now.
l20 l / Επτκε LA ιETRA Y Et PΙNCEL: EL ΑRΤISTA MEDΙEVΑι. LΕYΕΝ DA, l DΕΝΤt DΑD Y ΣsΤAΤUS
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fr frwfrFαΦ fiε|rπiΧ Limina 6. Εscudo de sanΑrtemio con la firma del pintor (PoR LΑ MΑNo DΕ, MΙGUEL Ε,L PΙΙ\ΤTOR),C. 1316.|3|9' iglesiade StaroNagoricino.Θ Miodrag Markovii.
Signatures of Blzantine Painters in Macedonia: deciphering the Astrarrades Code ΑNASTASΙo S PnplυoPoulo
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Αristotle Universiry of Thessaloniki Ιn Ιate Byzantine monumental painting, works are rarely signed by fie aπists and even when theιare, it is very sαιrce for us to have more fian one siμed work by the same painter. Exceptions to ..rule,, this are πvo masters,MichaelΑstrapas and Eurychios (Αstrapades),who left their signaturesin five difΓerentchurches. ΑΙΙ of these churches are located in the historical region ofMacedonia, which is today divided between the statesof Greece, FYROM and Bulgaria. The Αstrapades painted their siμarures or mοnograms and even other undecipherabΙe leπers not in apparent places, but almoπ hidden among the garments of some saints, *'e \Λ/eaponsand fie armory of holywarriors and upon Some ceramic vesselsthat are decorating Some scenesof the iconographicalprogram. Their siμatures in some cases are like cryptogfams and some of them have only been recently discovered in the |asι fifry yars. This paper suggestsa ne\Λ/way of deciphering their inscripdons, based on the material of the objects bearing the signatures,leπers or monograms. \7e arμe that these outstanding masters οf the Palaeologan Renaissance,as great innovators of their time, intentionally..invented,, a neνv ingenious \Λ/ayto declare their presence in the churches fiat they have decorated.