ΧΑΪΔΑΡΙ ΧΑΪΔΑΡΙ - ΣΥΝΑΝΤΗΣΗ ΜΕ ΤΗΝ ΙΣΤΟΡΙΑ | Page 152

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the volume of their figure and their thoughtful expression
betrays Classicist prototypes, although some of their
expressions look close to Pantocrator too.
The mosaicists placed the most important evangelical
scenes before the Passion in the squinches, i.e.
Annunciation, Nativity, Baptism and Transfiguration. The
first has a golden background, but figures are subtle and
elegant. Nativity is placed in an idyllic landscape, while
the figures of the Virgin and Joseph are equally gentle
and serene. The Baptism is symmetrically structured.
Christ’s body is reminiscent of a Classical statue. In
Transfiguration, Christ stands like an ancient rhetorician.
Despite the transcendental character of the scene,
figures and dresses are rendered in a graceful manner.
Saints and prophets occupy the niches under the
squinches.
The Virgin is enthroned and holds Christ. The scene
preserves only its lower part and is flanked by
Archangels Michael and Gabriel in luxurius clothes and
serious expression. The Bema dome accommodated
a scene from the Second Coming, today destroyed.
The Diakonikon and the Prothesis feature saints, and
have SS Nikolaos and John the Baptist in their conchs
respectively. The two saints are the most important
intermediaries to God after the Virgin. Their stern faces
remind the Pantocrator and comprise exceptions to the
overall Classicist manner of the mosaics.
The rest of the church has been decorated with scenes
from the life of Christ and the Virgin, while lower parts
accommodate saints and martyrs. The relation between
the scenes of Christ and these of the Virgin is very
balanced and thoughtful. The Virgin is the protagonist in
the scenes of the east part and around the apse: The
Nativity of the Virgin, the Adoration of the Magi, plus
the Annunciation in a squinch. However, there is also
the Crucifixion and the Anastasis (Resurrection), namely
crucial scenes of Christ. Jesus dominates the west part
The slender figure of Saint Anna; detail from the Prayer of Saint Anna
scene in the narthex of the Daphni catholicon.