Art of the Holy Apostles

The art of the Church of the Holy Apostles belongs to a cultural efflorescence that took place in the empire’s second city, during the late 13th and early 14th century. The mosaics at Chora and Pammakaristos in Constantinople and the Holy Apostles in Thessaloniki are frequently compared. As the mosaics of the Holy Apostles strongly resemble the mosaics of Chora, it has been suggested that they were made by the same workshop. However, it has also been argued that they are connected in style, rather than being made by the same team of mosaicists. Characteristically marble revetment would decorate the lower walls of the naos (as can been seen in Chora); however this is not the case for the Holy Apostles, which is decorated with frescoes on the lower walls of the naos, apparently with no relationship with the mosaics above. It has been suggested that work at the Holy Apostles was unfinished when Niphon was deposed and forced into retirement in 1314. The gold background of the mosaics is mostly missing and there are no marble revetments, perhaps because they never imported from Constantinople since Niphon was removed from office. It has been suggested that the frescoes could have been added later by the abbot Paul. It is commonly argued that the mosaics were damaged when the Ottomans covered the interior with whitewash or even that the gold tesserae were carefully removed before being whitewashed. The art of the Holy Apostles was uncovered in several stages beginning in 1926.

There are only mosaics in the upper portions of the naos, including its dome and barrel vaults. The figure of Christ Pantocrator (“Christ Almight”) making a gesture of blessing is in the apex of the dome. Christ, whose head and upper shoulders have been lost, is in the medallion with a circular band with an inscription from the Book of Psalms. He is encircled by Old Testament prophets (Jeremiah, Ezekiel, Malachi, Elijah, Elisha, Habakkuk, Jonah, Isaiah, Nahum, and Zephaniah). The Four Evangelists are on the pendentives of the dome, though the heads are partially or completely damaged, except for the figure of St. Matthew. The Holy Mandylion is also on the eastern base of the dome.

Twelve representations of the Great Feasts of the Orthodox Church decorated the barrel vaults and the upper walls, though they only partially survive. Nothing has survived on the eastern side above the sanctuary. The barrel vault on the southern side of the naos has fragmentary depictions of the Nativity of Christ and the Baptism of Christ. A significant portion of the Nativity has survived, though the figure of the Virgin is mainly discerned by the outline of her figure. Among the details that survive are the Christ Child with the heads of an ox and donkey viewed by two shepherd boys, the angels bringing glad tidings, midwives washing the Christ Child, and the Magi on galloping horses. Less of the Baptism of Christ has survived, though two angels facing Christ (now missing his head) are in quite good condition. The Annunciation and the Presentation of Christ at the Temple were below them, though they are mostly lost.

The Transfiguration of Christ and Christ’s Entry into Jerusalem are depicted in the western vault. The Apostles Peter, James, and John, who are depicted on the rocky lower level of Mount Tabor, are in good condition. The figures of Christ, Moses, and Elijah are also in decent condition, though the gold background surrounding the figures is almost completely gone. The Entry into Jerusalem is also in relatively good condition, with surviving scenes including Christ on a donkey (now headless) and the multitude in front of Jerusalem, which is depicted as a walled city with a circular domed temple.

The northern vault has depictions of the Crucifixion and the Anastasis (Resurrection of Christ). Most of the Crucifixion is missing; the midsection of the hanging Christ, including part of his legs and loincloth, has survived. Christ is flanked by fragmentary figures: the Virgin Mary and Myrrh-bearing women on one side and St. John on the other. The Anastasis, depicting the Resurrection and Descent into Hell, is better preserved. The scene is centered on Christ in a mandorla, with billowing garments, signifying intense movement. He holds the cross with his left hand and pulls Adam out of a sarcophagus with his right hand. Christ stands above the cavern of Hell; though fragmentary, some of the broken locks and keys can still be seen. Behind Adam stand Eve and other figures, with hands raised in a gesture of supplication. John the Baptist and King David are depicted behind Christ. The Dormition of the Theotokos is on the western wall, above the entrance to the naos. It is mostly lost, except for a group of Apostles at the feet of the Virgin Mary on the right.

Several mosaic depictions of saints also survive, including two groups of martyrs (Eustratius, Auxentius, Eugene, Mardarius, and Orestes, whose feast is celebrated on December 13, and Acindynos, Pegasios, Aphthonios, Elpidophoros, and Anempodistos, whose feast is celebrated on November 2). Under the Transfiguration is a depiction of St. Kosmas the Hymnographer holding a scroll with an inscription from one of his hymns. Fragments of the ornamental mosaics, with vegetal or geometric designs comparable with compare with those found at Chora, also survive. 

While much has been lost, the rest of the church was decorated with frescoes. The lower walls of the naos, narthex, and ambulatory all have surviving frescoes. Above its entrance to the naos is a fresco with an enthroned Virgin Mary and Christ Child flanked by angels, along with its second founder, its abbot Paul. The inner narthex has several surviving scenes from the Birth and Life of the Virgin Mary. While no art has survived in the eastern domes of the ambulatory, there are frescoes in the northwest and southwest domes depicting the Virgin and Child, and Christ, respectively. Notable frescos include a depiction of John the Baptist in the northern chapel, which has been used to suggest it was dedicated to this saint. There is a Tree of Jesse, showing the genealogy of Christ, in the southern chapel. The superb sense of elevation and exaltation in the central spaces of the Holy Apostles was once intensified by the natural light that entered through its numerous windows.