ART

The iconography of the Cathedral of Saint Andrew, Patras

In 1978 the Metropolis of Patras established an artistic committee to oversee the iconography of the Cathedral of Saint Andrew, patron saint of Patras.

The members of the committee were:

The Metropolitan Nikodimos of Patras, president

Manolis Chatzidakis, Director of the Byzantine Museum,,

Charalambos Bouras, Architect, Professor at the National Technical University of Athens,,

Nikolaos Zias, Byzantinologist, Professor at the University of Athens,,

Efthimios Panourgias, Sculptor, Professor at the Athens School of Fine Arts,,

Spyros Vasileiou, Painter

Marios Vatzias, Painter

Ioannis Karousos, Painter

Committee members worked on the following issues:

A) the preparation of the iconography schedule, by Manolis Chatzidakis, Nikos Zias and Giannis Karousos;,

B) the marble lining of walls, by Charalambos Bouras and Efthimios Panourgias;

C) the mosaic of the Church

D) the announcement of two nationwide artistic competitions for the iconography of the church. The competitions were fruitless due to lack of artist participation.

It took six to seven years to implement the above decisions. In 1985, the former Metropolitan of Patras, Nikodimos, assigned the iconography of the Church to Ioannis Karousos.

In 1985 the iconography of Our Lady of the Sign (Platytera) began. This was preceded by a plastic 3D model at a scale of 1:25 which was exhibited at the Hall for Literature and Arts (Megaro Logou kai Technis) in December 1988 by the Metropolis of Patras in collaboration with the Municipality of Patra.

The central apse

If Our Lady of the Sign was to be painted in the orans position the quadrant of the central apse would have too many empty spots and the end result would not be harmonious in the space. A painting base was therefore required and the selected solution to the problem was the landscape of the city of Patras. In this way, the Virgin Mary oversees and protects the city of Patras, hence the inscription “ἀναγράφω σοι ἡ πόλις Σου Θεοτόκε” (I, Thy city, ascribe Thee, O Theotokos). The icon “Take, eat” was painted under Our Lady of the Sign, while the lower zone features the concelebrating Holy Hierarchs. The total area of the apse is 220 m². The Virgin Mary is 5.75 m high, the head of the Virgin is 1.85 m high and the length of the apse is 20.26 m².

The eastern arm

Once the main apse was completed, the iconography of the eastern arm was next in 1987. On this arm, which is above the altar, Saint Andrew is depicted in Aureola and on the x-shaped Cross, accompanied by two disembodied angels, while the two Archangels, Michael and Gabriel, stand at the base of the arm. On the large arm running from the soleas, the Ascension was depicted in three instalments: Jesus Christ in aureola held by four angels in the centre and the Virgin Mary with two angels and six apostles in the northern section of the arm and the other six apostles with an angel in the middle in the southern arm. The total surface of both arms is 239 m².

The dome and pendatives

The iconography of the dome began in 1989 and was finished in 1992. Its total surface area including the pendatives is 997 m².

It features 16 windows, each over five metres high, which poses a challenge in developing the themes to be depicted within this space.

The iconography of Christ Pantocrator is set against a golden background, 8.40m in diameter, including the Aureola. His head is 2.45m high, his nose 0.70m high and his hand holding the Gospel 1.5m high.

The figures of the Virgin Mary and the Angels stand at a height of 4.10 metres. The background transitions from the golden hues of the Pantocrator icon to a cool green.

The drum of the dome reflects the grand scale of the Church. The perimeter of the drum is 45.53 m² and its height 3.10 metres. This vast yet beautifully crafted surface features the iconography of the Creation, illustrating the seven days of Creation. This is a theme painted on a central dome for the first time.

The pendatives

The four pendatives measure 83 m² each. They present four out of the Twelve Feasts of the Lord—Nativity, Transfiguration, Crucifixion, and Resurrection—and are unified with large decorative rosettes, creating a cohesive design that seamlessly integrates the entire surface of the pendatives. The principle of complementary colours was used to ensure complete colour harmony. In this way, the scene on the first pendentive is predominantly green, the second predominantly ochre, the third predominantly violet, and the fourth predominantly crimson red.

The northern arm

he northern arm features the iconography of two scenes, the Deposition and the Lamentation, joined in a large circle, as well as Christ in a “different form” with Aureola.

Further north, next to the drum, the Virgin Mary with the “prophets above” was depicted in busts with garlands, while the intrados towards the dome features six busts of the seventy apostles. The area of the arm is 315 m².

The southern arm

This arm features the Presentation of Christ in the Temple and the Baptism, in accordance with the iconography plan. In the centre, in between the scenes, stands the Aureola of the “Ancient of Days” in a large circle, thus uniting the two scenes. Further south, next to the windows, there is the icon of the “Tree of Jesse”, while six busts of the seventy apostles decorate the intrados towards the dome. The total surface of the arm is 3.15 m².

The western arm

This arm features the icons of the rising of Lazarus and the Triumphal entry into Jerusalem connected in a large circle with the Αureola featuring the “Messenger of Great Counsel”. Further west and next to the drum the verse “I am the vine; you are the branches” is illustrated, i.e. Jesus Christ with the twelve apostles in busts with vine garlands.

The intrados next to the dome is decorated by six busts of the seventy apostles..

(by Ioannis Karousos, iconographer, volume on the foundation centennial of the Cathedral of Saint Andrew, Patras, published by the Holy Metropolis of Patras, 2008)

The mosaic decoration of the Cathedral of Saint Andrew of Patras

The mosaic icons in the Cathedral of Saint Andrew of Patras are based on the hymn psalm of David: “Bless the Lord, O my soul...”. This psalm of David is represented with an imagery of seas, mountains, flowers, birds, animals and a flute that soothes everything. The three fronts of the arcades in the central part of the church were the areas decorated by this illustration. The iconography started in 1995 and the area intended for the mosaic was 140 m² It was decided to follow the indirect method for the laying of the mosaic.

According to the indirect method, the mosaic is worked on canvas fabric, where the drawing of the design is inverted. The composition for the fixing material placed on the wall, the so-called “kourasani” (Roman-style mortar), is similar to that used in antiquity and byzantine times for mural mosaics. This mortar, consisting of lime, pumice, pumice stone, clay powder and straw, has proven to be extremely durable over the centuries and is completely reversible, while it also allows the removal, transfer and repositioning of the mosaic. It is an acceptable material, both in terms of mosaic conservation and creation, allowing for the removal and replacement of mosaics without causing the slightest alteration or damage. It is worth noting that the Pella mosaics, dated to the 4th and 5th century A.D., used the same mortar as binding material.

The first layer on the mortar was reinforced with chopped and washed straw and titanium nails were placed on it. These nails are light and at the same time prevent any possibility of oxidation that would result in further wear of the mosaics. The project was completed in November 2000.

Before the works unfolded for transferring the psalm's imagery on mosaic, on the left and right of the central nave on the intradoses of the Sanctuary decorative and geometric arrangements as well as garlands with birds had been painted, covering a total area of 50 m².

Once the psalm imagery was complete, scenes from the life and martyrdom of Saint Andrew were also transferred in mosaic, on the right nave of the church, leading to the holy head of the Saint. These last scenes were created between 2003 and 2006. Each of the seven scenes corresponds to 13.5 m².

Once the project was completed, the final outcome surpassed expectations and justified the efforts of all involved.

(Katia Kolefa, volume on the foundation centennial of the Cathedral of Saint Andrew, Patras, published by the Holy Metropolis of Patras, 2008)