THE CONSERVATION WORK
The first phase of conservation work has been made during the years 1969-1971, under the direction of the former director of the Ephorate of antiquities Nikos Nikonanos and financed by the Ball State University of USA and professor John Koumoulides. At that period, the roof of the catholicon had been restored, as well as the tower and the refectory. As the time passed by, the roof had deteriorated again and the continuous entrance of humidity harmed the paintings.
Wallpaintings' conservation treatment
Conservation and restoration processes followed, based upon the evaluation of the historic value of the monument and the principles dominating conservation for gentle and reversible interventions.
Initially, the consolidation treatment of the friable and detached paint layer's substrate was performed, followed by the consolidation of the pulverized or flaking paint layer with acrylic polymers. The substrate's gabs were filled with lime based mortar. Cleaning of the wallpaintings from salts, shot, dust and microorganisms, deposited on the paint layer and altering the wallpaintings'aesthetic, was performed. Newer interventions, such as cement, lime coatings and overpaintings which disfigured the art, were removed. The 16th century designs on the dome were brought up, obscured till then due to the overpainting.
Lastly, the aesthetic restoration of the painting was performed on selective areas, in order to provide a more conclusive image as a whole. The interventions aimed solely to project theexistent painting and not to completely restore it.
Conservation and restoration processes followed, based upon the evaluation of the historic value of the monument and the principles dominating conservation for gentle and reversible interventions.
Initially, the consolidation treatment of the friable and detached paint layer's substrate was performed, followed by the consolidation of the pulverized or flaking paint layer with acrylic polymers. The substrate's gabs were filled with lime based mortar. Cleaning of the wallpaintings from salts, shot, dust and microorganisms, deposited on the paint layer and altering the wallpaintings'aesthetic, was performed. Newer interventions, such as cement, lime coatings and overpaintings which disfigured the art, were removed. The 16th century designs on the dome were brought up, obscured till then due to the overpainting.
Lastly, the aesthetic restoration of the painting was performed on selective areas, in order to provide a more conclusive image as a whole. The interventions aimed solely to project theexistent painting and not to completely restore it.
Conservation and Restoration of the iconostasis
The iconostasis of the catholicon is dated with an epigraphy to the 1579. It concerns a wooden body with two lines of icons, having as a main decoration technique the painting on a preparation substrate.
The iconostasis presents mechanical strength problems due to the wood's infection from wood eating insects. This, in combination with the swelling of the wood due to humidity, resulted in extensive cracking and loss of the painting layer. Varnish coatings were also detected, which had oxidized and altered the aesthetic result of the paint, as well as overpaintings, while some of the despotic icons' braces had been replaced. Fumigation and consolidation of the wooden body was performed, followed by the cleaning of the paint from shot, varnish and newer interventions. Lastly, aesthetic restoration on selective parts of the paint layer was performed.
The iconostasis presents mechanical strength problems due to the wood's infection from wood eating insects. This, in combination with the swelling of the wood due to humidity, resulted in extensive cracking and loss of the painting layer. Varnish coatings were also detected, which had oxidized and altered the aesthetic result of the paint, as well as overpaintings, while some of the despotic icons' braces had been replaced. Fumigation and consolidation of the wooden body was performed, followed by the cleaning of the paint from shot, varnish and newer interventions. Lastly, aesthetic restoration on selective parts of the paint layer was performed.
Maintenance of the tower
Στον πύργο του Ηγουμένου πραγματοποιήθηκε αντικατάσταση της κεραμοσκεπούς στέγης και κατασκευή νέων αρμολογημάτων στους τοίχους. Επίσης αντικαταστάθηκε η ξύλινη κλίμακα ανόδου στον όροφο, τα πατώματα, τα κουφώματα, καθώς και οι μικροί εξώστες.
Στο δάπεδο του ισογείου επιστρώθηκαν κεραμικά πλακίδια και αφέθηκε ορατό μέρος της κρύπτης που βρέθηκε κατά τις εργασίες με την τοποθέτηση μεταλλικής εσχάρας και γυάλινων πλακιδίων.
Αποκαταστάθηκε η παλαιά είσοδος στην ανατολική πλευρά, ενώ παράλληλα φράχθηκε με λιθοδομή η δυτική είσοδος, που είχε διανοιγεί στη δεκαετία του 1980.
Στο μικρό παρεκκλήσι του ορόφου συντηρήθηκαν οι τοιχογραφίες, που παρουσίαζαν αποκολλήσεις, ρωγμές και νεώτερα επιχρίσματα τσιμεντοκονίας και κατασκευάσθηκε νέο ξύλινο λιτό τέμπλο, στη θέση του παλαιού που είχε καταστραφεί.
Στον πύργο του Ηγουμένου πραγματοποιήθηκε αντικατάσταση της κεραμοσκεπούς στέγης και κατασκευή νέων αρμολογημάτων στους τοίχους. Επίσης αντικαταστάθηκε η ξύλινη κλίμακα ανόδου στον όροφο, τα πατώματα, τα κουφώματα, καθώς και οι μικροί εξώστες.
Στο δάπεδο του ισογείου επιστρώθηκαν κεραμικά πλακίδια και αφέθηκε ορατό μέρος της κρύπτης που βρέθηκε κατά τις εργασίες με την τοποθέτηση μεταλλικής εσχάρας και γυάλινων πλακιδίων.
Αποκαταστάθηκε η παλαιά είσοδος στην ανατολική πλευρά, ενώ παράλληλα φράχθηκε με λιθοδομή η δυτική είσοδος, που είχε διανοιγεί στη δεκαετία του 1980.
Στο μικρό παρεκκλήσι του ορόφου συντηρήθηκαν οι τοιχογραφίες, που παρουσίαζαν αποκολλήσεις, ρωγμές και νεώτερα επιχρίσματα τσιμεντοκονίας και κατασκευάσθηκε νέο ξύλινο λιτό τέμπλο, στη θέση του παλαιού που είχε καταστραφεί.
Reconstruction of the old cells
In 2023, the reconstruction of the southeast wing began, a project that is still ongoing and needs your support.
In 2023, the reconstruction of the southeast wing began, a project that is still ongoing and needs your support.
MINISTRY OF CULTURE AND SPORTS
7th DIRECTORATE OF BYZANTINE ANTIQUITIES
7th DIRECTORATE OF BYZANTINE ANTIQUITIES