Ο Μυστράς υπήρξε περίφημο πολιτικό και πνευματικό κέντρο της ύστερης Βυζαντινής περιόδου, το οποίο αναπτύχθηκε μετά την Δ΄ Σταυροφορία (1204) και τη μετάθεση του κέντρου των ενδιαφερομένων της αυτοκρατορίας από τις ανατολικές στις δυτικές επαρχίες της. Οπως είναι γνωστό, το 1204 οι Φράγκοι ιππότες εγκαταστάθηκαν στην Πελοπόννησο. Ο Γουλιέλμος Βιλλεαρδουίνος επέλεξε το Μυστρά για να τον οχυρώσει και να τον καταστήσει βάση της κυριαρχίας του σε ολόκληρη τη νότια Πελοπόννησο, από τη Μονεμβάσια μέχρι και τη Μάνη.
Το 1249 ο Βιλλεαρδουίνος περιέβαλε με ισχυρό τείχος την κορυφή του βουνού, χτίζοντας έτσι το κάστρο της πόλης που ονομάστηκε Μυστράς ή Μυζηθράς. Η ονομασία του σχετίζεται ετυμολογικά με τη μυζήθρα από το σχήμα του βουνού.
Το 1259, στη μάχη της Πελαγονίας, ο αυτοκράτορας του Βυζαντίου Μιχαήλ Η΄ ο Παλαιολόγος συνέλαβε τον Βιλλεαρδουίνο, ο οποίος του παραχώρησε τα κάστρα της Πελοποννήσου. Ετσι το 1262 άρχισε μια νέα σελίδα για το Μυστρά, που έγινε έδρα στρατηγού. Οι κάτοικοι της πεδιάδας της Λακεδαίμονος, αναζητώντας μεγαλύτερη ασφάλεια έρχονταν και έκτιζαν τα σπίτια τους γύρω από το κάστρο. Ο πληθυσμός αυξήθηκε ταχύτατα, η νέα πόλη που δημιουργήθηκε ονομάστηκε Χώρα και για καλύτερη προστασία περιτειχίστηκε. Αλλά και γύρω από το δεύτερο τείχος συγκεντρώνονταν και άλλοι κάτοικοι ώσπου σιγά - σιγά διαμορφώθηκε η Κάτω Χώρα η οποία με τη σειρά της περιτειχίστηκε. Ετσι οργανώθηκε η οχυρή πόλη του Μυστρά σε τρία επίπεδα. Στο κάστρο της κορυφής, όπου είχε την έδρα του ο στρατηγός, στη Χώρα όπου βρίσκονταν τα παλάτια και οι δημόσιες υπηρεσίες και στο τρίτο επίπεδο όπου χτίστηκαν τα περισσότερα αρχοντικά και οι σημαντικότεροι βυζαντινοί ναοί. Καθώς αναπτυσσόταν και μεγάλωνε η πόλη, μεταφέρθηκε σε αυτή και η έδρα της μητρόπολης της Λακεδαίμονος.
Οι κυριότεροι σταθμοί εξέλιξης του Μυστρά καθώς και τα σημαντικότερα γεγονότα είναι:
Το 1308 καταργείται ο τίτλος του στρατηγού και την εξουσία αναλαμβάνουν μόνιμοι πλέον διοικητές, όπως ο Καντακουζηνός (1308 - 1316) και ο Ανδρόνικος Παλαιολόγος Ασάν (1316 - 1321).
Στα μέσα 14ου αιώνα ο διοικητής γίνεται ισόβιος, λαμβάνει τον τίτλο του δεσπότη και δημιουργείται το "Δεσποτάτο του Μορέως".
Πρώτος ο Μανουήλ Καντακουζηνός (1348 - 1380), έβαλε τα θεμέλια του νέου ελληνικού κράτους, οργάνωσε την περιοχή, δέχθηκε νέους κατοίκους, στερέωσε την ειρήνη και την ευημερία και έχτισε αρχοντικά και ναούς. Στη συνέχεια έγιναν δεσπότες ο Ματθαίος Καντακουζηνός (1380 - 1383) και ο Δημήτριος (1383 - 1384).
Με τον Θεόδωρο Α΄ Παλαιολόγο (1384 - 1407) η εξουσία πέρασε στους Παλαιολόγους, οι οποίοι επέκτειναν τα όρια του δεσποτάτου καταλαμβάνοντας όλη την Πελοπόννησο. Με το διάδοχό του Θεόδωρο Β΄ (1407 - 1443), που ήταν δευτερότοκος γιοςς του αυτοκράτορα Μανουήλ Β΄, εγκαινιάστηκε μια νέα περίοδος ακμής και στενών σχέσεων Μυστρά και πρωτεύουσας.
Η περίοδος αυτή, εποχή ευημερίας και δόξας, συνεχίστηκε και με το νεώτερο αδελφό του Κωνσταντίνο Παλαιολόγο (1443 - 1449). Πρόκειται για τον τελευταίο αυτοκράτορα του Βυζαντίου, ο οποίος στέφθηκε στις 6 Ιανουαρίου 1449 στον Αγιο Δημήτριο, στη μητρόπολη δηλαδή του Μυστρά, ταξίδεψε στην Κωνσταντινούπολη, την οποία υπερασπίστηκε γενναία ως τις 29 Μαϊου 1453, οπότε έπεσε ηρωικά πολεμώντας τους Τούρκους.
Ξεχωριστός ήταν ο ρόλος του Μυστρά στα χρόνια των Παλαιολόγων, προπαντός σε πολιτιστικά ζητήματα. Η μικρή πολιτεία γίνεται πόλος έλξης καλλιτεχνών, επιστημόνων, λογίων και φιλοσόφων. Είναι γνωστή η δράση του μεγάλου νεοπλατωνικού φιλοσόφου Γεωργίου Γεμιστού Πλήθωνος, ο οποίος ίδρυσε φιλοσοφική σχολή και επηρέασε με τη διδασκαλία του τη νεοελληνική σκέψη ακόμη και στα χρόνια της τουρκοκρατίας.
Για τη βυζαντινή τέχνη, αρχιτεκτονική και ζωγραφική, ο Μυστράς αποτελεί το "κύκνειο άσμα" της βυζαντινής αυτοκρατορίας. Το κάστρο, το τριπλό τείχος, οι πύλες, τα παλάτια, τα αρχοντικά, οι δρόμοι και οι ναοί αποτελούν τα εξαίσια δείγματα της ύστατης πολιτιστικής αναλαμπής του Βυζαντίου έως τα μέσαα του 15ου αιώνα.
Το 1460 ο Δημήτριος Παλαιολόγος παραδίδει το Μυστρά στους Τούρκους. Πολλές οικογένειες του Μυστρά θα καταφύγουν στις υπώρειες του Ταϋγέτου και θα δημιουργήσουν νέους οικισμούς. Το 1465 ο στρατηγός Σιγισμούνδος Μαλατέστα προσπαθεί να καταλάβει το Μυστρά χωρίς επιτυχία, κατορθώνει ωστόσο να πάρει τα λείψανα του Πλήθωνος, τα πηγαίνει στο Ρίμινι και τα ενταφιάζει με επισημότητα στην εκκλησία του Αγίου Φραγκίσκου, όπου υπάρχει ο τάφος του βυζαντινού φιλοσόφου. Κατά την τουρκοκρατία ο Μυστράς αποτελούσε έδρα του Τούρκου διοικητή. Πηγές αναφέρουν ότι στα τέλη του 16ου αιώνα ο Μυστράς έχει 1.000 χριστιανικές οικογένειες και 200 εβραϊκές. Το 1687 καταλαμβάνουν το Μυστρά οι Βενετοί του Μοροζίνι και τον κρατούν 28 χρόνια, ως το 1715, που τον ξαναπαίρνουν οι Τούρκοι.
Στα "ορλωφικά", το 1770, ο Μυστράς ελευθερώνεται για λίγους μήνες, για να δεχτεί άγρια την επίθεση των Αλβανών, που έσφαξαν και έκαψαν τα πάντα και καταδυνάστεψαν τον τόπο δέκα χρόνια. Με την ελληνική επανάσταση ελευθερώνεται και πάλι, αλλά στα 1825 καίγεται από τους Αιγύπτιους του Ιμπραήμ. Η ίδρυση της νέας Σπάρτης στον κάμπο από τον Οθωνα (1831), σημείωσε το οριστικό τέλος της χώρας του Μυστρά. Οι γνωστές οικογένειες πήγαν στη καινούργια πρωτεύουσα και όσοι απέμειναν κατέβηκαν στο Νέο Μυστρά που κτίστηκε στην πεδιάδα.
In 1204 the Western participants of the Fourth Crusade, ignoring their
principal objective, captured Constantinople, extended their dominion over the
Greek lands and founded the Latin Empire of Romania. The Byzantine court was compelled
to seek refuge in neighboring Nicaea. From there the Greeks waged an arduous and
unrelenting struggle for about sixty years, until the capital was reconquered
and the Emperor once more ascended his throne.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Of all the states founded by the Franks, the most important was the
French Principality of the Morea. Its Prince, Geoffroy de Villehardouin, in his
endeavor to impose his authority on the entire Peloponnese, was at great pains
to conquer Lacedaemon; but it was only in 1248 that his successor, William II
de Villehardouin, succeeded in effecting the conquest of Laconia, with the reduction
of the fortes of Monembassia. A year later (1249), perceiving the strategic importance
of the hill of Mystra, he raised a castle, the ruins of which survive to this
day, on its summit.
According to a typical descriptive passage in the Chronicle of the
Morea: "After searching through these parts, He found a strange hill, as
though cut off from the mountain, About a mile away, above Lacedaemonia. Wishing
to fortify this hill, he ordered a castle to be built on its summit And he named
it Myzethra, for that was how they called it, And he made it a splendid castle,
with fine fortifications..."
By 1249 French knights clad in coats-of-mail had thus encamped on
the hill of Mystra in order to "guard the place
The name Mystra probably derived from the shape of the hill, which
resembled that of a Myzethra (popular cheese), or from some local governor whom
the Franks found there and whose name was either Myzethra or profession that of
a maker of myzethra cheeses.
Ten years later, in 1259 Villehardouin was taken prisoner at the battle
of Pelagonia and held captive for three years by the Emperor Michael VIII Palaeologus.
In the meantime, the Byzantines had recaptured Constantinople from the Franks,
and the Emperor put pressure to bear on William to pay ransom for his release
y the cession of the castles of the Peloponnese. William finally agreed to purchase
his liberty and that of his barons in exchange for the cession of such castles
in Laconia as he would designate. According to the Chronicle of Morea, he decided:
"To give to the Emperor in exchange for their liberty, The castles of Monembassia
and le Grand-Maigne And, last of all, the most beautiful, that of Myzetha itself".
Thus in 1262 the Greeks became masters of the castle and Byzantine
Mystra entered into its golden age.
But Villehardouin, now at liberty returned to the Peloponnese, in
an attempt to appease his allies who regarded the agreement as the first step
in a Byzantine attempt to break up the French Principality of the Morea. At the
head of a military contingent, he soon made his appearance in the Lacadaemonian
plain. What his intentions really were are not known.
The Byzantine garrison of Mistra immediately informed Constantinople
that Villehardouin had violated the agreement and was preparing to attack the
castle. The infuriated Emperor sent a strong force under General Macrinos, who
landed at Monemvasia, with orders to deal a mortal blow at Villehardouin. Two
years, however, passed without any decisive change being effected in the disposition
of the opposing forces.
Finally, in 1264, the Byzantine army, provoked by Villehardouin, was
compelled to fight at Macryplaghi - in the defile which leads from Megalopolis
and Leondari to the Messenian plain - where it was annihilated. General Macrinos
was taken prisoner by the Franklin prince.
After this victory, William did in effect consider launching an attack
on Mystra.; but a revolt of the natives of Arcadia, which he could not ignore,
caused him to postpone the enterprise.
The constant friction and frequent campaigns between Byzantines and
Franks during the course of these two years created a feeling of insecurity among
the inhabitants of lacedaemonia, as Sparta was called in the Middle Ages. They
consequently begun to abandon their homes in the plain and to settle at the foot
of the hill, where they felt more secure under the shallow of the castle of Mystra.
Thus, long before 1300 - more precisely, in the years following the
battle of Macryplaghi - Mystra had begun to be inhabited. Churches and houses
too soon began to dot the hillside. William II de Villedardouin, the Frankish
Prince, had died in 1278, and after his death the Morea became a dependency of
the Angevin House of Naples.
With the continuous decline of Frankish power - not only in Laconia
but throughout Greece - Mystra's role in the revived Byzanitne Empire soon acquired
a new and highly significant aspect. In the course of two centuries it became
"the Florence of the East" and the intellectual movements it engendered
and fostered came to the regarded with respect beyond the boundaries of the Byzantine
Empire and throughout the countries of the West. Furthermore, Mystra was to set
the seal on its brief but brilliant history.
From 1264 to 1300 Mystra was the headquarters of a Strategus with
the title of Cephali. His term of office lasted only one year but his range of
authority was considerable. In 1308 the administrative system underwent a change.
The strategoi no longer gave up office at the end of a year but became permanent
governors of an unlimited term. It was in this capacity that Cantacuzenus (1308-1316)
and Andronicus Palaeologus Asan (1316-1323) ruled at Mistra. The new form of administration
contributed much to the development of the fortified city, where, even before
the mid 14th century, building activity was on a by no means negligible scale.
Numerous churches were raised and the Metropolitan Bishop of Lacedaemonia
transferred the seat of his diocese to Mystra. The momentum of architectural activity
increased and the town, which was becoming both a political center and a military
headquarters, developed rapidly. By the mid-14th century Mystra attainted the
status of a capital of a Greek principality, called a Despotate. It was no longer
governed by a Strategus, but a nobleman closely related to the imperial family
with the title of Despot and a life-long tenure of office. In 1348 Manuel, second
son of the Emperor John VI Cantacuzenus, assumed office as first Despot of Mystra
amid scenes of considerable pomp. During his reign the state flourished and Mystra
was embellished with new churches and buildings. In 1380 Manuel was succeeded
by Matthew Catacuzenus. In 1383 Catacuzenoi were replaced by Palaeologoi, of whom
the first Despot was Theodore I Palaeologus (1383 - 1407) and the second Theodore
II Palaeologus (1407 - 1443).
In 1443, in the last twilight years of the Empire, Constantine XI
Palaeologus, subsequently martyr and last emperor, was crowned Despot. This intelligent
prince assumed a heavy responsible towards the Byzantine world, which was already
in full decline. Consistently endeavoring to hold on to the last remnants of the
once all-powerful Empire, he aimed at protecting the Peloponnese at least for
the menace of Ottoman invasion. He therefore strengthened the fortifications and
concluded military agreements. He also rebuild the Hexamilion wall on the isthmus
of Corinth and made contact with the Pope with a view to forming an alliance with
Hungary. But Sultan Murad II, anxious to secure his rear from such an active and
dangerous opponent, arrived in the Peloponnese in 1446 with strong forces and
obliged Constantine to pay tribute to him.
Two years later (in 1448) the Emperor John VIII Palaelogus died and
was succeeded by his brother Constantine. On 6 January 1449 the noblemen Alexius
Philanthropinos and Manuel Cantacuzenus arrived at Mystra from Constantinople
"in order to crown the Despot, Noble Constantine, Emperor..." Three
months later, on 12th March, Constantine reached the great Christian capital and
ascended the throne which, in a few years time, he was to bathe with his own sacrificial
blood, after combating the enemy with prodigious valour.
At Mystra Constantine was succeeded by his younger brothers, Thomas
and Demetrius, whose melancholy fate was to end the glorious Byzantine period
of the Despotate by surrendering the fortified city to the Turks in 1460. In 1464
Mistra was besieged by Sigismund Malatesta, who captured the town, but not the
castle. After submitting the place to frightful pillage, he departed, carrying
away the mortal remains of George Gemistus (Plethon), the new-Platonic philosopher,
which he laid beside the tombs of other learned men, former members of his court,
in the magnificent church of the Tempio Maletestiano at Rimini.
Notwithstanding the Turkish occupation, the years that followed were
peaceful at Mystra. The town prospered commercially, the population reached the
figure 10.000. In 1687 Francesco Morosini, the Venetian General, succeeded in
capturing Mystra, which he made the headquarters of the Venetian governor of the
province of Braccio di Maina. But in 1715 the town once more fell to the Turks
who held it until 1770, when Count Orloff's fleet anchored off the coast of the
Mani. Russians and Greeks together besieged Mystra and compelled the Turkish garrison
to surrender. A savage massacre of Turks was only halted by the Metropolitan Bishop
himself, at the head of the clergy. A few months later Mystra, together with all
that part of the Peloponnese which had risen in arms at Orloff's instigation,
suffered the most appalling reprisals at the hands of the Turks. For ten years
Albanian bands subjected the land to pillage, arson and depopulation. During this
period the population of Mystra was considerably reduced, and after the departure
of the Albanian bands the inhabitants numbered no more than 5,000.
When the War of Independence broke out in 1821 Mystra was one of the
first towns to shake off the Turkish yoke. Throughout the war - indeed, right
up to its very end - Mystra's contribution to the national cause, both in men
and material, was considerable, despite the fact that in 1825 the original Byzantine
city had, for the last time, been burned and pillaged by Ibrahim Pasha in the
course of the Egyptian invasion of the Peloponnese.
The foundation of the modern town of Sparta by King Otho in 1834 spelt
the doom of Mystra. The first families that settled in the new urban agglomeration
in the plain came from the former Byzantine city. Others, descending the sides
of the sleep slope, built the modern village of Mistra at the foot of the hill.
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Στην κορυφή ενός λόφου-μικρογραφία του Ταΰγετου υψώνεται η βυζαντινή καστροπολιτεία του Μυστρά πάνω από την καταπράσινη κοιλάδα του Ευρώτα. Στο ιστορικό προσκήνιο εμφανίζεται ο Μυστράς μετά την Δ΄ Σταυροφορία του 1204, όταν οι σταυροφόροι κατακτητές του Βυζαντίου ιδρύουν τη Λατινική αυτοκρατορία της Κωνσταντινούπολης (1204-1261) και άλλα κρατίδια επί ελληνικού εδάφους. Έτσι η Πελοπόννησος καταλαμβάνεται από Φράγκους ιππότες και γίνεται το Πριγκιπάτο της Αχαΐας. Ο νέος ηγεμόνας της, ο Γουλιέλμος Β΄ Βιλλεαρδουίνος, θα οχυρώσει το Μυστρά και θα χτίσει το κάστρο του στην κορυφή του λόφου, προκειμένου να εξασφαλίσει τον έλεγχο της εύφορης Λακεδαίμονας. Στα 1259, όμως, ο Βιλλεαρδουίνος πέφτει αιχμάλωτος στα χέρια του Βυζαντινού αυτοκράτορα Μιχαήλ Η΄ Παλαιολόγου και τα κάστρα της Πελοποννήσου θα γίνουν τα λάφυρα για να εξαγοράσει την ελευθερία του. Από εδώ και πέρα αρχίζει η ιστορία του Μυστρά ως τελευταίο προπύργιο της Βυζαντινής αυτοκρατορίας.
Μετά την πρωτεύουσα Κωνσταντινούπολη, ο Μυστράς ήταν το σημαντικότερο διοικητικό και πολιτιστικό κέντρο της αυτοκρατορίας. Η άνθηση των τεχνών και ιδιαίτερα τα επιτεύγματα της ζωγραφικής, σε συνδυασμό με την αναβίωση των κλασικών γραμμάτων και της αρχαίας φιλοσοφίας, δημιούργησαν το πολιτιστικό φαινόμενο του Μυστρά, που οι νεότεροι μελετητές ονόμασαν Παλαιολόγεια Αναγέννηση.
The first edifice to be raised at Mystra was the Villehardouin castle
on the summit of the cone-shaped hill. The outer wall begins to descend from the
north, follows the side of the hill until it reaches the foot, then turns right,
passing behind the Marmara restaurant, in the direction of the Peribleptos. At
frequent intervals the wall is fortified with high square towers.
The second line of defense, which begins at the Nauplia Gate, may
be discerned on the lofty ground where the Palace is situated. Following the contours
of the hill in an eastward direction, it then continues south as far as the Monastery
of the Pantanassa, after which it continues to descend as far as the level of
the Peribleptos. At this point, it turns west and, still following the contours
of the hill, climbs up to the level of the castle.
The hill on which Mystra is built was thus defended by two strongly
fortified walls, dominated by an impregnable castle. Within the lower and larger
enceinte, i.e. the lower city, dwelt the urban classes. Higher up, in the Upper
City, was situated the aristocratic quarter, with its palaces, mansions and government
offices.
Only two gateways led to the Upper City; the Monembassia Gate, with
towers, gun embrasures and an iron doorway; and the Nauplia Gate similarly fortified.
The whole fortification system is crowned by the Castle, which served
as an observation post in peace, as a last refuge in times of siege.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Ο Μυστράς, η νεκρή σήμερα πολιτεία, υψώνει τα ερείπια του στη δυτική
πλευρά του Ταΰγετου επάνω
από την κοιλάδα και την πόλη της Σπάρτης.
Ο Μυστράς είναι κτισμένος στα χείλη χαράδρας του Παρορίου,
σε μια εκθαμβωτικής ομορφιάς τοποθεσία. Αριστο δείγμα βυζαντινής πόλης του 14ου
και 15ου αιώνα, ιδρύθηκε το 1249 από τους Φράγκους, σύντομα όμως περιήλθε στην
βυζαντινή κυριαρχία και άρχισε να αναπτύσσεται σταδιακά με αποτέλεσμα να μετατραπεί
σε μια ακμάζουσα πόλη 20.000 κατοίκων. Το 1348 έγινε έδρα του Δεσποτάτου του Μορέως.
Ήταν ένα από τα τελευταία σημαντικά πνευματικά κέντρα του Βυζαντίου, καθώς αποτελούσε
πόλο έλξης λόγιων και καλλιτεχνών από την Κωνσταντινούπολη
και την Ευρώπη. Τα ερείπια του Μυστρά χωρίζονται σε τρία τμήματα: 1) στο Κάστρο,
το κυρίως οχύρωμα στην κορυφή του λόφου, 2) στην Ανω Πόλη, με τα σπίτια και τα
στενοσόκακα γύρω από το ανάκτορο του δεσπότη, που περικλείονταν από επάλξεις και
3) στην Κάτω Πόλη, με τα σπίτια και τα μοναστήρια, που την προστάτευε τρίτο τείχος.
Τα σημαντικότερα αρχιτεκτονικά σύνολα του Μυστρά είναι:
•Η Μητρόπολη, η οποία αποτελεί και την παλαιότερη εκκλησία του Μυστρά,
είναι αφιερωμένη στον Αγ. Δημήτριο και βρίσκεται κοντά στην πύλη της Κάτω Πόλης.
Οι τοιχογραφίες του ναού ανήκουν σε τρεις διαφορετικές σχολές αγιογράφων και απεκαλύφθησαν
μόλις το 1896 από τον Γ. Μιλλέ, γιατί οι μεταγενέστεροι είχαν ασβεστώσει τους
τοίχους. Επίσης, υπάρχει σκαλιστός θρόνος με σκαλίσματα μπαρόκ, που μάλλον κατασκευάστηκε
κατά την ενετοκρατία. Στο δάπεδο του μεσαίου κλίτους υπάρχει ανάγλυφη πλάκα στην
οποία απεικονίζεται ένας δικέφαλος αετός. Λέγεται ότι εκεί το 1449 στάθηκε ο Κωνσταντίνος
Παλαιολόγος, για να στεφθεί αυτοκράτορας.
•Η Μονή Βροντοχίου υπήρξε το πνευματικό κέντρο της πολιτείας του Μυστρά
στο οποίο τον 15ο αιώνα φέρεται να δίδαξε ο φιλόσοφος Γεώργιος Γεμιστός ή Πλήθων
(1355 - 1452). Το συγκρότημα έχει τις εκκλησίες της Παναγίας της Οδηγήτριας ("Αφεντικό")
και των Αγ. Θεοδώρων.
•Ο ναός της Μονής της Περιβλέπτου βρίσκεται στη νοτιοανατολική άκρη
του εξωτερικού τείχους. Είναι δίστυλος, σταυρικός με μικρό τρούλο όπου εικονίζεται
ο Παντοκράτωρ, περιβαλλόμενος από την Παρθένο και προφήτες και στηρίζεται σε σπηλαιώδη
βράχο. Υπάρχει η απεικόνιση ενός άγνωστου αρχοντικού ζευγαριού, που φέρεται να
έκτισε τον ναό στις αρχές του 14ου αιώνα. Στη σπηλιά βρίσκεται το παρεκκλήσι της
Αγ. Αικατερίνης. Λέγεται ότι ήταν το σπήλαιο των Ελευσίνιων που μνημονεύεται από
τον Παυσανία. Η ζωγραφική των τοιχογραφιών του θεωρείται πρόδρομος της "Κρητικής"
τεχνοτροπίας και είναι αριστουργηματική για τη ζωηρότητα των μορφών και τη χάρη
των κινήσεων. Υπάρχει ακόμη και μια περίεργη ανάγλυφη πλάκα, στην οποία παριστάνεται
ο Μέγας Αλέξανδρος να ανεβαίνει στους ουρανούς με τη βοήθεια δυο αρπακτικών πουλιών.
Οι επισκέπτες θα παρατηρήσουν ακόμη τον ισχυρό πύργο με τις επάλξεις που θυμίζει
ιταλική αρχιτεκτονική και ορθώνεται πάνω από την τράπεζα.
•Η Μονή της Παντάνασσας κτίστηκε το 1428 από τον πρωτομάστορα του
Θεοδώρου Παλαιολόγου Β', βρίσκεται στα χείλη του γκρεμού στο ανατολικό σημείο
του λόφου και είναι το καλύτερα διατηρημένο μνημείο του Μυστρά. Αποτελεί λαμπρό
δείγμα της αρχιτεκτονικής της εποχής. Αξιόλογες είναι οι τοιχογραφίες του ενώ
η θέα από το Μοναστήρι της κοιλάδας του Ευρώτα
είναι φαντασμαγορική. Οι επισκέπτες μένουν εκεί εκστατικοί καθώς ξεκουράζονται
από την πορεία στις ανηφοριές του Μυστρά.
•Τα παλάτια των δεσποτών του Μυστρά είναι ογκώδη οικοδομήματα σε σχήμα
Γ με διαφορετικής χρήσεως κτήρια και αποτελούνται από δυο πτέρυγες, οι οποίες
επισκευάσθηκαν σήμερα. Εδώ βρίσκεται η μεγάλη αίθουσα με το θρόνο του Ηγεμόνος.
Η πλατεία μπροστά στα παλάτια ήταν χώρος δημοσίων συγκεντρώσεων την περίοδο της
Βυζαντινής Αυτοκρατορίας και αγορά κατά την περίοδο της Τουρκοκρατίας, Οι αμαθείς
περιηγητές της Τουρκοκρατίας τα περιγράφουν σαν "Παλάτια του Μενελάου" και η λαϊκή
παράδοση τα αποκαλεί "Παλάτια της βασιλοπούλας". Αξιόλογη είναι η αίθουσα του
θρόνου διαστάσεων με τα γοτθικά παράθυρα και τους φεγγίτες της. Υπάρχουν και τα
ερείπια 2.000 αρχοντικών σπιτιών, αλλά και εκκλησίες και πύργοι που μαζί με τα
ανάκτορα δίνουν μια εικόνα της τότε ζωής.
Το Κάστρο είναι κτισμένο το 1249 διατηρεί το αρχικό του σχέδιο
αν και αργότερα υπέστη πολλές μετατροπές. Βρίσκεται στην κορυφή της Ανω Πόλης
και προστατεύεται από τα δυτικά και τα νότια με απότομες χαράδρες. Είναι προσιτό
μόνο από ένα μονοπάτι το οποίο ξεκινάει από την είσοδο, πάνω από την εκκλησία
της Αγίας Σοφίας. Ένα δεύτερο, εσωτερικό τείχος περιβάλλει το ψηλότερο μέρος του
κάστρου. Η πόρτα ανοίγει κάτω από την προστασία ενός ψηλού πύργου κτισμένου, όπως
και η πύλη, από τους βυζαντινούς. Ο εξωτερικός περίβολος καταλήγει σε μια πλατφόρμα
πάνω από μια δεξαμενή και ένα κυκλικό προμαχώνα. Πάνω από το καταφύγιο δεσπόζει
ένας πύργος, αρκετά κατεστραμμένος που ανέγειραν οι Φράγκοι πάνω από μια δεξαμενή.
Το κείμενο παρατίθεται τον Μάιο 2003 από την ακόλουθη ιστοσελίδα του Υπουργείου Εξωτερικών
Βυζαντινή καστροπολιτεία, 5 χλμ ΒΔ από τη Σπάρτη.
Πλάι της δημιουργήθηκε ο νέος Μυστράς, κοινότητα με τέσσερις οικισμούς Σκλαβική,
Πικουλιάνικα, Ταϋγέτη,
Βλαχοχώρι - και 790 κατοίκους.
Σε πλαγιά του Ταΰγετου είναι η ερειπωμένη, νεκρή πια, βυζαντινή πολιτεία,
που υπήρξε πρωτεύουσα του βυζαντινού και μεσαιωνικού Μυστρά. Αντιπροσωπευτικό
δείγμα βυζαντινής πόλης 14ου και 15ου αι., είναι γεμάτη από ερείπια εκκλησιών
και σπιτιών, ενώ ο όγκος των ανακτόρων, που είναι σκαρφαλωμένα στην απότομη πλαγιά,
εντυπωσιάζουν. Ο χώρος είναι μοναδικός σε ομορφιά και αξίζει μια οργανωμένη περιδιάβαση.
Ο ψηλός αυτός λόφος, με τα μοναστήρια και τις εκκλησίες του, τα ερειπωμένα σπίτια,
τα ελικοειδή δρομάκια και τις φυσικές ομορφιές, μας αφήνει αξέχαστες εντυπώσεις.
Σαν παλιότερο όνομα παραδίδεται ο Μυζηθράς από κάποιον ιδιοκτήτη του τόπου.
Η πολιτεία αυτή έπαιξε σημαντικό ιστορικό ρόλο για δυο αιώνες και
η επίσκεψη και μελέτη των ερειπίων της αποτελεί αξιόλογη πηγή για να γνωρίσει
κανείς την ιστορία και τον πολιτισμό του Βυζαντίου.
Η ιστορία του Μυστρά αρχίζει στα μέσα του ΙΓ' αιώνα, όταν οι Φράγκοι
είχαν κυριαρχήσει σε ολόκληρη την Πελοπόννησο. Το 1249 ο Βιλαρδουίνος ο Β' (Φράγκος
αυθέντης του Μορέως) στην κορφή ενός απότομου βουνού που λεγόταν Μυστράς ή Μυζηθράς
είχε χτίσει ένα φρούριο (κάστρο). Δέκα χρόνια αργότερα (1259) ο Βιλαρδουίνος αιχμαλωτίστηκε
από τον αυτοκράτορα τού Βυζαντίου Μιχαήλ Παλαιολόγο και εξαγόρασε την ελευθερία
του προσφέροντας για αντάλλαγμα τα κάστρα της Μονεμβασιάς,
του Μυστρά και της Μαϊνης (Μάνης).
Από το 1262 το κάστρο του Μιστρά έγινε έδρα Βυζαντινού στρατηγού με
ετήσια θητεία. Οι κάτοικοι της γειτονικής Λακεδαίμονας (Σπάρτης) άρχισαν να χτίζουν
τα σπίτια τους στην πλαγιά του Μιστρά για ασφάλεια. Η περιοχή προφυλαγόταν με
τείχη, αλλά καθώς τα σπίτια πλήθυναν, χτίσθηκαν και νέα τείχη για να περιλάβουν
τις νεώτερες συνοικίες. Η πρώτη λεγόταν «Χώρα» και η δεύτερη «Κάτω Χώρα». Τότε
μεταφέρθηκε εκεί από τη Λακεδαίμονα και η μητρόπολη. Από το 1308 οι στρατηγοί
σχεδόν πάντοτε ήταν μόνιμοι διοικητές. H περιοχή εξελίχτηκε σε αξιόλογη πόλη και
o Μιστράς έγινε πρωτεύουσα της Πελοποννήσου με ισόβιο άρχοντα, το «δεσπότη», και
έτσι δημιουργήθηκε το «δεσποτάτο του Μορέως».
Η ιστορία του δεσποτάτου εκείνου βασικά είναι αδιάκοπη πάλη εναντίον
ξένων επιδρομέων: Σλάβων, Φράγκων, Αλβανών, Τούρκων κ.ά. αλλά και χαρακτηριστικό
παράδειγμα της ακμής του βυζαντινού πολιτισμού στις παραμονές της ολοκληρωτικής
υποταγής του Βυζαντίου στους Τούρκους.
Πρώτος δεσπότης του Μιστρά υπήρξε ο Μανουήλ (1348-1380), δευτερότοκος
γιος του Βυζαντινού αυτοκράτορα Ιωάννη ΣΤ' Καντακουζηνού. Αυτός ήταν ο θεμελιωτής
της ευημερίας του δεσποτάτου και ο πρωτεργάτης της ακμής του στον τομέα της τέχνης.
Μετά το θάνατό του δεσπότης έγινε ο Ματθαίος (1380-1383) και έπειτα ο Δημήτριος
(1383-1384). Σε λίγο η εξουσία πέρασε στην οικογένεια των Παλαιολόγων με πρώτο
δεσπότη το Θεόδωρο Α' (1383-1407), γιο του αυτοκράτορα του Βυζαντίου Ιωάννη Παλαιολόγου.
Στις μέρες τους ο Μυστράς εξουσίαζε ολόκληρη σχεδόν την Πελοπόννησο. Αργότερα,
το 1400, ίδρυσε εκεί φιλοσοφική σχολή ο Γεώργιος Γεμιστός ή Πλήθων. Η σχολή εκείνη
έδινε τον τόνο στην πνευματική ζωή της πόλης. Το Θεόδωρο Α', που στο τέλος της
ζωής του έγινε μοναχός, τον διαδέχτηκε ο ανιψιός του Θεόδωρος Β' (1407-1443),
δευτερότοκος γιος του αυτοκράτορα Μανουήλ Β'. Διάδοχός του ήταν ο νεώτερος αδερφός
του Κωνσταντίνος Παλαιολόγος (1443-1449).
Όταν το 1448 πέθανε ο αυτοκράτορας Ιωάννης Η΄, όλοι στράφηκαν προς
τον Κωνσταντίνο. Ο Κωνσταντίνος ανακηρύχτηκε το 1449 αυτοκράτορας στο μητροπολιτικό
ναό του Μυστρά και έφυγε για την Κωνσταντινούπολη. Τον διαδέχτηκε, ως δεσπότης
του Μιστρά, ο Δημήτριος, ανίκανος άρχοντας που παρέδωσε το κάστρο στους Τούρκους
χωρίς μάχη ( 1460).
Στα χρόνια της τουρκοκρατίας o Μιστράς άρχισε να παρακμάζει, αν και
εξακολούθησε να έχει πάνω από 40 χιλιάδες κατοίκους και να διατηρεί ακμαίο εμπόριο.
Το 1821, αποδεκατισμένος από διάφορες σφαγές των Τουρκαλβανών, ο Μυστράς πήρε
μέρος στον αγώνα, γεγονός που κατάληξε στην καταστροφή μεγάλου τμήματος της πόλης
από τον Ιμπραήμ. Οι κάτοικοι έφυγαν. Αλλοι έχτισαν σπίτια στην περιοχή της σημερινής
Σπάρτης και άλλοι το σημερινό νέο Μυστρά. Έτσι, ο Μυστράς έγινε ερείπια. Το 1952
οι ιδιοκτησίες απαλλοτριώθηκαν και η βυζαντινή πολιτεία έγινε ένας από τους πιο
ενδιαφέροντες αρχαιολογικούς χώρους της Ελλάδας.
Αξιοθέατα αποτελούν:
Η Βυζαντινή Πολιτεία. Όλη η πόλη προστατεύεται από το ισχυρό
φρούριο που έχτισε στην κορυφή του λόφου το 1249 ο Γουλιέλμος Β' ο Βιλαρδουίνος,
το ωραιότερο κάστρο της Πελοποννήσου κατά τον ποιητή του «Χρονικού του Μορέως».
Στο κάστρο, βλέπουμε τμήματα των τειχών και του περιβόλου, ερείπια δεξαμενής,
κυκλικού προμαχώνα και φράγκικου πύργου. Σιγά σιγά, γύρω από το κάστρο, χτίστηκαν
τα παλάτια και τα σπίτια των αρχόντων στο βόρειο μέρος, τα σπίτια των αστών στο
νότιο, καθώς και οι εκκλησίες. Ένας δρόμος χώριζε την πόλη σε δύο μέρη. Γρήγορα
όμως, στο τέλος του 13ου αι., άρχισαν να χτίζονται σπίτια και έξω από το τείχος
της πόλης. H συνοικία που δημιουργήθηκε ονομάστηκε Κάτω Χώρα ή Μεσοχώρα και η
άλλη, η εσωτερική των τειχών, Πάνω Χώρα. Σύντομα χτίστηκε ένα δεύτερο τείχος για
να προστατέψει την Κάτω Χώρα, αλλά τα σπίτια συνεχίζονταν να χτίζονται έξω και
από τα δεύτερα τείχη, με αποτέλεσμα να δημιουργηθεί και τρίτη συνοικία, η Έξω
Χώρα. Η διάταξη αυτή του Μυστρά είναι ορατή και σήμερα.
Στην Πάνω Χώρα, κάτω από το κάστρο, βλέπουμε το ανάκτορο του δεσπότη,
τεράστιο ερείπιο στην άκρη ενός πλατώματος, το σημαντικό ναό της Αγίας Σοφίας,
που χτίστηκε το 1350 σαν εκκλησία του παλατιού, με θαυμάσιες τοιχογραφίες, και
τη μονή Περιβλέπτου, που χτίστηκε στα μέσα του 14ου αι. και από την οποία σώζεται
κυρίως o ναός. Διατηρεί τις ωραιότερες τοιχογραφίες του Μυστρά, που φιλοτεχνήθηκαν
κατά τη διάρκεια της βασιλείας του Μανουήλ Καντακουζηνού.
Τέλος, η μονή Παντάνασσας, με την όμορφη εξωτερική κεραμοπλαστική
διακοσμητική και τις αξιόλογες τοιχογραφίες, που αφιέρωνε το 1428 στη βασίλισσα
του κόσμου ο Ιωάννης Φραγκόπουλος, υπουργός του Κωνσταντίνου Δραγάτση, την εκκλησία
της Ευαγγελιστρίας, 14ου αι., με τοιχογραφίες της εποχής, και το ναό του Aγίου
Ιωάννη, με τη θαυμάσια τοιχογραφία της Σταύρωσης, 15ου αι.
Μετά την Πύλη της Μονεμβασιάς, βρισκόμαστε Κάτω Χώρα. Εκεί δεσπόζει
την εκκλησία των Αγίων Θεοδώρων, χτισμένη το 1296 πάνω στο σχέδιο της εκκλησίας
του Δαφνιού, με αρκετές τοιχογραφίες, και την Οδηγήτρια (Αφεντικό) του 1311, με
θαυμάσιες τοιχογραφίες αλλά και την ανάγλυφη διακόσμηση.
Η μητρόπολη, αφιερωμένη στον Αγιο Δημήτριο, χτίστηκε μάλλον το 1311,
σε σχέδιο βασιλικής και διαθέτει ενδιαφέρουσες τοιχογραφίες στο νάρθηκα και τον
κυρίως ναό, με σκηνές από το μαρτύριο και τον ενταφιασμό του Αγίου Δημητρίου,
κ.ά. Στη μητρόπολη στεγάζεται και το Βυζαντινό Μουσείο του Μυστρά, στο οποίο αξίζουν
εκτός από τα γλυπτά που βρέθηκαν στο χώρο, το τμήμα υπέρθυρου με το μονόγραμμα
και το οικόσημο της Ισαβέλας Λουζινιάν, τις επιγραφές, τις βυζαντινές εικόνες,
τα τμήματα των τοιχογραφιών και τα αντικείμενα μικροτεχνίας.
Το κείμενο παρατίθεται τον Ιούλιο 2003 από την ακόλουθη ιστοσελίδα, με φωτογραφίες, του Τεχνολογικού Εκπαιδευτικού Ιδρύματος Πειραιά
The most important group of buildings associated with the city's defense
system are to be found within the Castle area. The wall with battlements and towers
was built in 1249 by the Franklin prince, William II de Villehardouin. Later,
it was repaired by Byzantines and Turks who also made additions to it. The main
entrance is protected by a large square tower.
Ruins of buildings erected during the Turkish occupation are scattered
about the entire declivity extending between the outer enceinte and the southern
section. A strong still fairly well preserved round tower rises on the north-east
side, near a large underground cistern which supplied the fortress with water
in times of siege. The tower formed part of the fortification system of the castle
and also served as a look-out post whence the movements of the population dwelling
on the slopes of Taygetos could be observed.
Both from this side of the hill and from the one overlooking Taygetos
the rocky eminence of Mystra rises sheer from the revine below and is thus rendered
impregnable at this point. Returning towards the tower, one encounters - just
before reaching the tower - the entrance which pierces the second line of defense,
and beyond which extends the highest and most inaccessible part of the castle.
The building with the underground cistern served ad the residence of successive
garrison commanders. A little higher up are the ruins of a twin chapel, one side
of which is embedded in the southern battlements of the fortification wall. This
little edifice, the oldest at Mystra, existed before the Frankish conquest and
the building of the castle. Still higher up, the west end of the ledge is crowned
by the ruins of another round tower with an observation post overlooking the opposite
slope of Taygetos, from which wild tribes of Melings, issuing out of their mountain
fastnesses, would make sudden hostile irruptions. The view from this part of the
castle is superbly impressive. In front extends the Lacedaemonian plain, across
which flows the Eurotas, with Sparta in the middle; to the west tower the savage
and grandiose contours of Taygetos; to the east the ruined city descends the hill,
dotted with the outlines of a variety of charming churches and the shells of ancient
mansions whose shattered masonry, pointing skywards, conjures up an image of human
hands raised in prayer.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
The still imposing bulk and monumental height of the buildings on
this high-lying terrace immediately indicate that these edifices were once palaces.
In spite of the ravages of time and the poor quality of the materials used, there
is an awesome air about the group of ruined buildings, which, for a span of nearly
three centuries, formed the seat of two Byzantine dynasties and of numerous foreign
and Greek princes.
The various buildings of the Palace comprise two wings, which almost
form a right angle whose apex is at the northern section of the level space, thus
shutting off any approach from the north and east sides. The level space thus
formed - unique on this conical hill - was the scene of numerous public assemblies.
Later, during the Turkish occupation, it served as a market place.
On public holidays the inhabitants assembled here to watch solemn
processions; on the Prince's name-day they came to wish him 'many years of life'.
Here strolled Plethon, the famous philosopher, surrounded by students who had
journeyed from the four corners of the Byzantine world to listen to his teachings.
The ruins which now occupy the two other sides of the terrace and confine the
open space considerably belong to the Turkish period. The only building of the
late Byzantine period is a fountain, commissioned by the Cantacuzenoi, the ruins
of which may be discerned at the north-west of the terrace.
The various apartments of the Palace were not all built at the same
time. The first apartment on the right of the level space has pointed Gothic windows
and a small balcony. It is the oldest section of the whole group of buildings
and betrays Western European architectural influences. Although named the palace
of Cantacuzenoi, it undoubtedly dates back to the short period of Frankish rule.
The next edifice - on the same side, and extending as far as the north-east
of the whole complex - is dated to the period of the Cantacuzenoi (1350-1400)
and includes the Despot's private apartments which consisted of spacious chambers
on each storey, a palace chapel on the top floor and, on the east side, overlooking
the alley of the Eurotas, an open colonnade supported by five pilasters and decorated
with a series of small arches similar to those on the mansions of the local aristocracy.
The north side of the Palace built during the period of the Palaeologoi
(1400-1460), is a single structural unit. The facade recalls the Palace of Constantine
Porphyrogenitus in Constantinople, as well as Early Italina Renaissance palaces.
Its present aspect is very unprepossessing; gone are the grace and beauty provided
by the two-storied colonnade of the facade, of which all that remains are the
bases of pilasters. On the level above the ground floor are eight vaulted chambers
which do not communicate with each other.
These probably served as the headquarters of various state services,
and must have been crowded with gorgeously robed signatories and courtiers. The
whole of the second story forms a single large hall. Between two large windows,
embellished with late Gothic arches, overlooking the level space, projects an
apse in which the throne was placed.Here were held the assemblies and solemn ceremonies;
here foregathered the foreign emissaries. A stone beach, on which visitors and
courtier sat, still surrounds the walls of the entire chamber.
A series of large rectangular windows runs along the length of the
facade surmounted by another row in the form roundels and squares. The hall was
consequently well lighted. Along the north wall eight fireplaces which, connected
with hearths in the vaulted apartments of the first storey, heated both the hall
and the entire building during the winter.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
Τα Παλάτια των δεσποτών του Μωρέως
δεσπόζουν σε όλο το Μυστρά από τη βραχώδη βάση τους στην πλατεία της Ανω Χώρας,
όπου οδηγεί από την Κάτω Χώρα η πύλη της Μονεμβασιάς.
Εντυπωσιακό συγκρότημα, αποτελείται από κτίρια, που κατασκευάστηκαν σε διαφορετικές
εποχές. Το πρώτο, το "ανάκτορο των Καντακουζηνών",
δημιούργημα ίσως των Φράγκων, χτίστηκε στη αρχή της ζωής του Μυστρά. Στην ίδια
περίοδο (1250-1350) ανήκει και το δεύτερο κτίριο. Το τρίτο κτίριο, τετραώροφο,
κατασκευάστηκε στην περίοδο 1350-1460, όπως και το τέταρτο, διώροφο αυτό, όπου
κατοικούσε ο δεσπότης. Το πέμπτο κτίριο, της περιόδου 1400-1460, είναι το παλάτι
των Παλαιολόγων. Έχει μήκος 38μ. και πλάτος 12μ. Ο πρώτος όροφος προοριζόταν
για τις υπηρεσίες του Δεσποτάτου. Ο δεύτερος ήταν η αίθουσα του θρόνου. Βασικός
πόλος έλξης για τον σημερινό επισκέπτη τα ερειπωμένα Παλάτια θυμίζουν, μετά την
αναστήλωσή τους, με ενάργεια μια εποχή, που άφησε ανεξίτηλα τα ίχνη της. Όπως,
άλλωστε, και η μεγάλη πλατεία μπροστά του, χώρος των επισήμων εκδηλώσεων τον καιρό
της δόξας και παζάρι τα κατοπινά χρόνια της ακμαίας εμπορικής ζωής του Μυστρά.
(κείμενο: Σωτήρης Μπακανάκης)
Το κείμενο (απόσπασμα) παρατίθεται το Μάρτιο 2004 από τουριστικό φυλλάδιο
της Νομαρχίας Λακωνίας.
Η ιστορία, αλλά και η καθημερινή ζωή, από το πέρασμα των αιώνων στα
ελικοειδή δρομάκια του Μυστρά, αναδύονται και από τα αρχοντικά
και τα σπίτια του. παλαιότερα και νεώτερα, έχοντας τα περισσότερα
διατηρήσει την αρχική τους μορφή, αποτελούν πηγή γνώσης για την αρχιτεκτονική
και τον τρόπο της κατασκευής, αλλά και για τις συνήθειες της ζωής, από τον 13ο
και μετά. Σημαντικότερα - σώζονται, άλλωστε, σε καλύτερη κατάσταση - είναι το
αρχοντικό του Λάσκαρη κοντά στη Μαρμάρα, το αρχοντικό
του Φραγκόπουλου ανάμεσα στην Περίβλεπτο και την Παντάνασσα και το Παλατάκι,
όπως λέγεται το αρχοντικό κοντά στον Αγιο Νικόλαο, στην Πάνω Χώρα, που οι διάφορες
φάσεις της κατασκευής του οριοθετούν τη χρονολόγησή του από το δεύτερο μισό του
13ου αιώνα ως τις αρχές του 15ου αιώνα.
(κείμενο: Σωτήρης Μπακανάκης)
Το κείμενο (απόσπασμα) παρατίθεται το Μάρτιο 2004 από τουριστικό φυλλάδιο
της Νομαρχίας Λακωνίας.
The edifice constitutes a fine example of a Byzantine mansion, which
is traditionally believed to have been the property of the Lascaris, one of the
most distinguished families of Mystra.
Two-storied, it was built with considerable taste, if one is to judge
from the surviving series of small arches which supported the balcony. The small
floor with a vaulted roof was probably uses as a stables. Clumsy repairs of a
later period have spoilt the original aspect of the edifice. Ruins of Byzantine
houses, approximately contemporary to the main mansion, are scattered around it.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
The earliest and largest aristocratic mansion, which is in a relatively good state of preservation, rises immediately above the Church of St. Nicholas. The building consists of two sections belonging to different periods. The north section, including the tower, was built 1.300 a.c.; the south one was added later - some time during the 14th century. The exterior sides of the edifice are plain. Those of the tower, however, possess a lavish decoration superior to any encountered of the exterior walls of other mansions of Mystra. The tower was three storied; and foreign archeologists, impressed by the mansion's numerous arches, chambers, cellars and attics, christened it "Le Petit Palais" (Palataki).
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Left of the path leading to a level spot shaded by a plane tree are
the remains of a Turkish fountain with a pointed arch and an ornamental marble
frieze. The paved path that starts near the fountain climbs the hill as far as
the Pantanassa.
In Byzantine times water for these fountains, which are encountered
up to the Palace level (higher up there are only cisterns for rain water), was
supplied from the wooded ravine on the opposite slope of Targets.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Τρεις εισόδους είχε η βυζαντινή πολιτεία. Την οχυρωμένη
με πύργο Πύλη στο εξωτερικό τείχος, κύρια είσοδο σήμερα για τους
επισκέπτες - σ’ αυτήν σταματάει, άλλωστε, ο δρόμος - την Πάνω Πύλη
(Πύλη Κάστρου) και την Πύλη του Ναυπλίου, ψηλά στη βορεινή πλευρά
του εσωτερικού τείχους, οχυρωμένη με τετράγωνους και στρογγυλούς πύργους και με
σιδερένια πόρτα που ανεβοκατέβαινε. Η εσωτερική επικοινωνία μεταξύ Κάτω και Πάνω
Χώρας γινόταν από την πύλη της Μονεμβασιάς ή Σιδερόπορτα.
(κείμενο: Σωτήρης Μπακανάκης)
Το κείμενο (απόσπασμα) παρατίθεται το Μάρτιο 2004 από τουριστικό φυλλάδιο
της Νομαρχίας Λακωνίας.
This gate is the only entrance that pierces the city's second line
of defense and leads to the Upper City, the aristocratic quarter where the palaces
were situated. A solid square town with gun embrasures, still existent, protects
the gate which had a portcullis; this slid smoothly up and down the jambs of the
doorways, protecting the passage way in times of danger. Immediately above this
fortified gateway survives a rare type of three-storied Byzantine mansion with
numerous arched apertures. The paved path which begins here was called the "middle
road
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
The name derives from the fact that travelers bound for Nauplia and Continental Greece passed through this gate, whereas the Monembassia Gate was used by travelers on their way to Monembassia, the port of Mystra at the time. Apart from the portcullis, which slid up and down the jambs, the gateway possessed impressive fortifications consisting of a group of strong defense towers, both round and square, of very considerable height in relation to the gate itself. Two alternative theories have been advanced regarding the great strength of this fortification. According to one, it constituted a defense post for the nearby Palace; other conjecturers believe it served as the main entrance to the city.
This text is cited Apr 2003 from the Laconian Professionals URL below.
1404 - 1453
CONSTANTINE XI PALAEOLOGOS (1404-1453) , also called Dragases, last
Byzantine emperor, was born in 1404 in Mistra, the son of Emperor Manuel II. He
was trained as a soldier, and in 1441 conquered the peninsula of Morea in Greece,
which had been under the Frankish principality of Achaia, a state established
by the Crusaders.
Constantine later occupied Boeotia. In 1446, however, the Turkish
ruler Murad II reconquered these lands.
The Turks had begun their invasions of the Balkans nearly a century
before, and now began to close in on Constantinople.
Constantine was crowned emperor on Jan. 6, 1449, succeeding his brother,
John VIII. A little less than four years later, on Dec. 12, 1452, the union of
the Roman Catholic and Greek Orthodox churches was proclaimed in Constantinople
in the presence of the papal legate and the Patriarch Gregory.
Constantine had been a strong advocate of this union, but the people
generally opposed it, and riots ensued. The popular insistence on Byzantine religious
autonomy furthered the estrangement between eastern and western Roman Christendom
and weakened Byzantine resistance to the Turks. The Turkish sultan, Mehmed II,
advanced on Constantinople, sacked the country around it and, after a determined
siege, captured the city on May 29, 1453.
Constantine was killed in the final assault.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Gemistus, Georgius, (Georgios ho Gemistos), or Georgius Pletho (ho Plethon). one
of the later and most celebrated Byzantine writers, lived in the latter part of
the fourteenth and in the beginning of the fifteenth century. He was probably
a native of Constantinople, but passed most of his life in the Peloponnesus. In
1426 he held a high office, under the emperor Manuel Palaeologus. He was called
Gemistos, or Plethon, on account of the extraordinary amount of knowledge which
he possessed in nearly all the branches of science; and the great number of writings
which he left prove that his surname was by no means mere flattery. Gemistus was
one of the deputies of the Greek church that were present at the council of Florence,
held in 1438, under pope Eugenius IV., for the purpose of effecting a union between
the Latin and Greek churches. Gemistus at first was rather opposed to that union,
since his opinion on the nature of the Holy Ghost differed greatly from the belief
of the Romish church, but he afterwards gave way, and, without changing his opinion
on that subject, was active in promoting the great object of the council. The
union, however, was not accomplished. Gemistus was still more renowned as a philosopher
than as a divine. In those times the philosophy of Aristotle was prevalent, but
it had degenerated into a mere science of words. Disgusted with scholastic philosophy,
Gemistus made Plato the subject of long and deep study, and the propagation of
the Platonic philosophy became henceforth his principal aim: the celebrated cardinal
Bessarion was one of his numerous disciples. During his stay at Florence he was
introduced to Cosmo de Medici; and having succeeded in persuading this distinguished
man of the superiority of the system of Plato over that of Aristotle, he became
the leader of a new school of philosophy in the West. Plato's philosophy became
fashionable at Florence, and had soon gained so much popularity in Italy as to
overshadow entirely the philosophy of Aristotle. But Gemistus and his disciples
went too far: it was even said that he had attempted to substitute Platonism for
Christianism; and before the end of the century Plato had ceased to be the model
of Italian philosophers. Gemistus is, nevertheless, justly considered as the restorer
of Platonic philosophy in Europe. He was, of course, involved in numberless controversies
with the Aristotelians, in the West as well as in the East, among whom Georgius,
of Trebizond, held a high rank, and much bitterness and violence were displayed
on each side. In 1441 Gemistus was again in the Peloponnesus as an officer of
the emperor: he was then advanced in years. He is said to have lived one hundred
years, but we do not know when he died.
Gemistus wrote a surprising number of scientific works, dissertations,
treatises, compilations, &c. concerning divinity, history, geography, philosophy,
and miscellaneous subjects. Several of them have been printed. The principal are:
1. Ek ton Diodorou kai Ploutarchou, peri ton meta ten en Mantineiai machen, en
kephalaiois dialepsis, being extracts of Diodorus Siculus and Plutarchus, which
are better known under their Latin title, De Gestis Graecorum post pugnam ad Mantineam
Duobus Libris Digesta. Editions: The Greek text, Venice, 1503; a Latin translation,
by Marcus Antonius Antimachus, Basel, 1540. the Greek text, together with Herodotus.
Basel, 1541; the Greek text, by Zacharias Orthus, professor at the university
of Greifswald, Rostock, 1575; the same by professor Reichard, under the title
Georgiou Gemistou tou kai Plethonos Hellenikon Biblia B, Leipzig, 1770. There
are French, Italian, and Spanish translations of this book.
2.Peri Heimarmenes, De Fato. Edition: With a Latin translation, and Bessarion's
epistle on the same subject, by H. S. Reimarus, Leiden, 1722.
3. Peri Areton, De Virtutibus. Editions: The text, together with some of the minor
works of the author, Antwerp, 1552; with a Latin translation, by Adolphus Orcanus,
Basel, 1552; by H. Wolphius, Jena, 1590.
4. Orationes duae de Rebus Peloponnesiacis constituendis, one addressed to the
emperor Manuel Palaeologus, and the other to the despot Theodorus. Ed. with a
Latin translation, together with the Editio Princeps of the Eclogae of Stobaeus,
by G. Canterns, Antwerp, 1575.
5. Peri hon Aristoteles pros Platona diapheretai, De Platonicae atque Aristotelicae
Philosophiae Diferentia. Ed.: The Greek text, with a Latin paraphrase, by Bernardinus
Donatus,Venice, 1532; the same, with a dissertation of Donatus on the same subject,
ib. 1540; the same, with the same dissertation, Paris, 1541; a Latin translation,
by G. Chariandrus, Basel, 1574. This is one of his most remarkable works.
5. Magika logia ton apo Zoroastrou exegethenta. The Greek title differs in the
MSS.: the work is best known under its Latin title, Oracula Magica Zoroastris,
and is an essay on the religion of the ancient Persians. Ed.:--The text, with
a Latin translation, by T. Opsopoeus, Paris, 1599; by Thryllitsch, Leipzig, 1719.
Besides these works, Gemistus made extracts of Appian's Syriaca, his object being
to elucidate the history of the Macedonian kings of Syria: of Theophrastus (History
of Plants); Aristotle (History of Animals, &c.); Diodorus Siculus (with regard
to the kingdoms of Assyria and Media); Xenophon, Dionysius Halicarnasseus, and
several other writers, whose works are either partly or entirely lost. He further
wrote Prolegomena Artis Rhetoricae, Funeral Orations (G. Gemistii sive Plethonis
et Michaelis Apostolii Orationes Funebres Duae, in quibus de Immortalitate Animae
exponitur, nunc primum ex MSS. editae, by Professor Fulleborn, Leipzig, 1793);
Essays on Music, Letters to Cardinal Bessarion, and other celebrated contemporaries,
&c. &c., which are extant in MS. in different libraries of Europe. His
geographical labours deserve particular notice. The Royal Library at Munich has
a MS. of Gemistus, entitled Diagraphe hapases Peloponnesou paraliou kai mesogeiou,
being a description of the Peloponnesus, in which he fixes the positions according
to the system of Ptolemy, with the writer's own corrections and additions. Gemistus
wrote also a Topography of Thessaly, and two small treatises, the one on the form
and size of the globe, and the other on some geographical errors of Strabo, which
are contained in the Anecdota of Siebenkees. Laporte Dutheil, the translator of
Strabo, derived considerable advantage from extracts of Gemistus, from the 7th,
8th, and 1 th book of Strabo; and the celebrated Latin edition of Ptolemy, published
in 1478, and dedicated to pope Sixtus IV., by Calderino, was revised after an
ancient Greek MS. of Ptolemy, in which Gemistus had written his corrections. A
publication of all the different inedited MSS. of Gemistus extant in various libraries
in Europe would be most desirable: the classical no less than the Oriental scholar
would derive equal advantage from such an undertaking.
This text is from: A dictionary of Greek and Roman biography and mythology, 1873 (ed. William Smith). Cited Dec 2005 from The Perseus Project URL below, which contains interesting hyperlinks
Georgius Gemistus Plethon. Born in Constantinople about 1355, died in the Peloponnesus, 1450. Out of veneration for Plato he changed his name from Gemistos to Plethon. Although he wrote commentaries on Aristotle's logical treatises and on Porphyry's "Isagoge", he was a professed Platonist in philosophy. Owing, most probably, to the influence of Mohammedan teachers, he combined with Platonism, or rather with Neo-Platonism, the most extraordinary kind of Oriental mysticism and magic which he designated as Zoroastrianism. It was due, no doubt, to these tendencies of thought that he openly abandoned Christianity and sought to substitute paganism for it as a standard of life. When he was about fifteen years old he visited Western Europe in the train of the Emperor John Palaeologus. After his return to Greece, he settled at Misithra in the Peloponnesus, the site of ancient Sparta, and there he spent the greater part of his life. In 1438, although he was then in his eighty-third year, he again accompanied the Emperor to Italy, where he was designated as one of the six champions of the Orthodox Church in the Council of Florence. His interest in ecclesiastical matters was, however, very slight. Instead of attending the Council, he spent his time discoursing on Platonism and Zoroastrianism to the Florentines. It was his enthusiasm for Platonism that influenced Cosimo de Medici to found a Platonic Academy at Florence. In 1441 Plethon had returned to the Peloponnesus, and there he died and was buried at Misithra in 1450. In 1465 his remains were carried to Rimini and placed in the church of St. Francis, where an inscription, curiously enough, styles him "Themistius Byzantinus". Among his disciples was the learned Cardinal Bessarion. Plethon's most important works are the "Laws" written in imitation of Plato's "Laws", which was condemned by Gennadios, Patriarch of Constantinople, and "On the Differences between Plato and Aristotle", in which he attacks the Aristotelian philosophy and asserts the superiority of Platonism. He also composed a work in defence of the Greek doctrine of the Procession of the Holy Ghost. In his philosophical system he borrows largely from the Neo-Platonist, Proclus, and mingles with the traditional Neo-Platonic mysticism many popular Oriental superstitions. His influence was chiefly negative. His attack on Aristotelianism was to some extent effective, although opposed to him were men of equal ability and power, such as Gennadios, Patriarch of Constantinople. He was honoured by the Italian Platonists as the restorer of the Academy, and as a martyr for the cause of Platonism.
William Turner, ed.
Transcribed by: Douglas J. Potter
This text is cited Dec 2005 from The Catholic Encyclopedia, New Advent online edition URL below.
As the visitor approaches he sees the east side of the church, built
according to the enclosed brick system, characteristic of ecclesiastical architecture
of the middle-Byzantine period.
The three-storeyed bell-tower on the left - a heavy edifice like a
Franklish tower - was built much later, during the 14th century, on top of a pre-existing
side chapel, erected shortly after the church and incorporated within it. The
original height of its roof may still be discerned from the two horizontal courses
of porous stones.
Proceeding a short distance one sees on the the right a stone with
dark stains that suggest drops blood is protected by a grille on the exterior
wall of the courtyard. This is traditionally believed to be the spot where Ananias
Lambardis, Metropolitan bishop of Lacedaemonia, was executed my the Turks, because
he was one of the instigators of the insurrection which ended, three years later,
in the uprising of Orloff.
Beyond it is another of the fountains commonly encountered at Mystra,
followed by a gate which leads to the Metropolis. To the right, and at the end
of the first paved court with the monumental stairway beyond the fountain a little
vaulted stairway leads to the women's gallery from the exterior south side of
the church. On the left wall of the landing, formed after the seventh step, the
founder's inscription may be read. From it we learn that the church was founded
by the Metropolitan Bishop Nicephorus in 1291-92. It reads as follows: "The
humble Nicephorus, prelate of Crete, who has as collaborator his brother Aaron,
erected this holy house of worship At the time of Andronicus Palaelogus, Who held
the sceptre over the Romans, and of his son, Michael, May those who pass here
beseech that they be forgiven their sins And found beside the flock on the right
had of Christ When He appears at the Last Judgement".
The original architectural plan of the Metropolis was that of a three-naved
basilica. Later, probably in the 15th century, another storey, consisting of a
women's gallery and a cruciform roof with five cupolas, was added above the interior
frieze of the first storey. The church thus evolved into an architectural form
which was to be repeated at the Aphentiko and the Pantanassa; a form which consists
of a combination of the three-naved basilica on the ground floor and a cruciform
church with five domes and a women's gallery on the upper storey. According to
an inscription in relief on the level of the women's gallery, this transformation
was the work of Mathew, Metropolitan Bishop of Lacedaemonia.
The manner whereby the transformation of the shape of the roof was
effected - and the reason for which is unknown - resulted the complete destruction
of a series of frescoes depicting scenes from the life of Christ on the north
side and in lopping off the upper part of others in the central nave. From top
(women's gallery) to bottom the church retains its earliest iconography which,
since the last cleaning in 1968, has recovered the brilliance of its colors and
revealed fresh details now unconverted by the removal of murky deposits and some
later frescoes.
The apse of the sanctuary is dominated by the upright figure of the
"Virgin Vrephocratousa". Eleven scenes from the martyrdom of St. Demetrios
are depicted in the middle section (towards the sanctuary) of the vault of the
north nave.
The Miracles of Christ are represented on the rest of the vault. Three
zones of paintings cover the entire wall space of this nave in the following order
(top to bottom): saints within medallions; pairs of martyrs; full length military
saints.
On the opposite nave, in the vaulted section within the sanctuary
which contains the Diaconicon, there is a grandiose composition depicting angels
preparing the throne of Christ of the "Second Coming". In the remaining
section of the nave scenes from the life of Christ and the Virgin extend as far
as the bishop's wooden throne. Between this point and the narthex the vault is
covered with a composition depicting the miracles of Christ which, in accordance
with Byzantine tradition, follow one another chronologically, although represented
in a single composition, as though depicting events that were occurring simultaneously
and not successively.
Between the sanctuary and narthex full-length figures, probably representing
the Apostles: are reanged at a much lower level along the wall of the same nave.
The walls the narthex are decorated with a depiction of the "Second Coming".
Here all the walls and vaults are covered with representations related to this
grandiose composition, at the center of which is the Preparation of the Throne
which extends across half the vault, above the wooden entrance door.
Angels with red wings stand around the throne; below them, on the
arches which frame the opening of the door, two angels awaiting the arrival of
Christ hold open Books of Judgement.
The iconographic decoration of the Metropolis - the earliest monument
in Mystra and especially rich in inscriptions - must have been executed between
1270 and 1285 and possesses little homogeneity of style. The variety furnished
by different schools of painting nevertheless gives this church a special place
in the history of Byzantine art, the painted decoration providing a kind of synopsis
of earlier styles which foreshadow some of the best work of the Palaeologus renaissance.
The decoration of the church is completed by the sculptures on the
columns and "iconostatis" which consist of reused materials removed
from elsewhere and consequently do not present any uniformity of style or epoch.
The Double-Headed Eagle, the heraldic device of the Paleologus dynasty, is depicted
in relief on a plaque on the pavement in center of the church. Polychrome marble
fragments of the early pavement survive here and there. The subject-matter of
the incised inscriptions on the columns consists of an inventory of the church's
various buildings and dependencies.
Fragmentary frescoes of prelates are visible on the exterior walls of the
colonnaded court which recalls the architecture of the Renaissance. The Marmara
sarcophagus is placed on the south side of the court. Immediately opposite is
the Museum, the ground floor of which possesses a large collection of inscriptions,
bas-reliefs, columnettes and capitals removed from various churches and mansions.
Fragments of frescoes from ruined chapels, portative icons, jewelry,
coins and a piece of Byzantine cloth found in the course of excavation are displayed
in the second hall. The court, including its colonnades and the group of outhouses
which now form the Museum, were built by the Metropolitan Bishop Ananias, who
was executed outside the buildings by the Turks. The relevant inscription embedded
in the wall of the second storey balcony of the Museum runs as follows: "The
chambers and gates here are not ancient But built by Bishop Ananias Who has renewed
them from their Bases, at a cost Paid from Dimitsana 1754".
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
Ο Αγιος Δημήτριος, η μετέπειτα Μητρόπολη, είναι η παλαιότερη εκκλησία
του Μυστρά. Χτίστηκε στα τέλη του 13ου αιώνα από το Μητροπολίτη Νικηφόρο Μοσχόπουλο.
Ο αρχικός αρχιτεκτονικός τύπος της Μητροπόλεως ήταν τρίκλιτη βασιλική.
Αργότερα, κατά το 15ο αιώνα, στο ύψος του εσωτερικού γείσου της εκκλησίας, προστέθηκε
ένας όροφος με γυναικωνίτη και στέγη με 5 τρούλους. Ετσι ο ναός πήρε τη μορφή
τρίκλιτης βασιλικής στο ισόγειο και πεντάτρουλης σταυρικής εκκλησίας στο υπερώο.
Συνέπεια της μετατροπής αυτής ήταν να καταστραφεί σημαντικά η ζωγραφική
διακόσμηση του ναού, με αποτέλεσμα ολόκληρη η σειρά του βίου του Ιησού από τις
τοιχογραφίες της νότιας πλευράς του μεσαίου κλίτους, να μείνει ακέφαλη. Από το
ύψος του γυναικωνίτη όμως και κάτω, όλος ο ναός σώζει την αρχική του εικονογράφηση.
Η ζωγραφική διακόσμηση της Μητροπόλεως πρέπει να πραγματοποιήθηκε
μεταξύ 1270-1285 και δεν παρουσιάζει ομοιογένεια τεχνοτροπίας. Η ποικιλία όμως
αυτή των Σχολών καθιστά τη Μητρόπολη μνημείο με ιδιαίτερη αξία για την ιστορία
της Βυζαντινής τέχνης, γιατί συνοψίζει παλαιότερες τάσεις και προμηνύει την αναγέννηση
της "Παλαιολόγειας ακμής".
Δεμένη με την παράδοση είναι η μαρμάρινη πλάκα με το δικέφαλο αετό
στο δάπεδο της Εκκλησίας. Εδώ λέγεται ότι πάτησε ο Κωνσταντίνος Παλαιολόγος, όταν
στα 1449 στέφθηκε "εν Χριστώ τω Θεώ πιστός Βασιλεύς και αυτοκράτωρ Ρωμαίων".
The church was built in the 14th century by Manuel Cantacuzenus, first
Despot of Mystra. In a probable attempt to revive memories of the Constantinopoitan
way of life, he have this official palace chapel a name, hallowed by tradition,
that would recall the "Great Church" of the capital.
Here, it is said, were laid the bones of Theodora Tocco, first wife
of Constantine Palaelogus; here too, it is believed, was buried Cleopa Malatesta,
wife of Theodore Palaelogos.
The architectural style of St. Sophia - distyle cruciform crowned
by a dome - is similar to that of the Evanghelistria.
The narthex, crowned by a large dome, is unusually large in relation
to the main naos. On the north side, from which the visitor now enters the church,
there is a portico, and chapels have been built in the four angles of the church.
The elegant silhouette of the belfry rises at the west end of the portico. During
the Turkish occupation, when St. Sophia converted into a mosque, the belfry served
as a minaret.
Only a few of the original frescoes are preserved in the church. The
fact that one of these representing Christ, spreads across the sanctuary apse
may have given rise to the theory that the church was dedicated to Christ, the
Life-Giver, and not, as traditionally believed, to the Holy Wisdom. On a higher
level are four angels holding a circular Glory which formed part of a large composition
of the Ascension covering the entire surface of the vault in the sanctuary.
More frescoes are preserved in the two east chapels, one of which
is entered from the church, the other from outside. On the walls of the first
chapel are depicted Christ, the Nativity of the Virgin above the entrance, and
the Divine Liturgy. Nearly all the frescoes in the second chapel are well preserved:
the "Virgin Platytera", the Dormition of the Virgin, the Crucifixion,
the Descent into the Hell, the Pantocrator and the Heavenly Powers.
Fragments of sculptural decoration, including the Monorgan of Manuel
Cantacuzenus, the founder, and the Double-Headed Eagle of the Paleologoi are preserved
on the capital of a column. The words Despotis and Cantacouzinos, are inscribed
in abbreviated form on the capitals of two marble pilasters near the narthex.
Outside, a few meters beyond the present entrance to the church, two round holes
in the ground indicate the position of a large underground cistern in which water
was preserved for the needs of the Monastery, Running water, flowing in pipes
from the opposite side of the Mountain, which is very fertile, only reached the
level of the Palace. Higher up, in the direction of the Castle, there are neither
remains nor traces of a single fountain, other than cisterns for preserving rain
water.
The elegant oblong building with numerous apertures and apses near
the north-west of the belfry was the refectory of the Monastery. Full length figures
of saints which decorated all the apses and apertures of the edifice can still
be distinguished.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
Η Αγία Σοφία, ο κυρίως ηγεμονικός ναός, ιδρύθηκε από το Μανουήλ Κατακουζηνό
(1349 - 1360). Ανήκει στον τύπο που λέγεται "απλός δίστυλος". Ο τρούλος
του στηρίζεται δυτικά σε 2 κίονες και ανατολικά στους 2 τοίχους που διαιρούν σε
3 μέρη το ιερό.
Εξωτερικά η διακόσμηση του κτιρίου είναι απλή αλλά μελετημένη. Δίπλα
στο καμπαναριό υπάρχουν μικρά τετράγωνα παρεκκλήσια στεγασμένα με θολίσκο που
θεωρούνται τάφοι των γυναικών του Κων/νου και Θεοδώρου Παλαιολόγου.
Στο Ιερό απεικονίζονται ο Χριστός ένθρονος, θέματα του ευχαριστήριου
κύκλου και ιεράρχες, ενώ στην αψίδα ζωγραφίζεται η Ανάληψη. Εορτές του Σταυρού
και τα πάθη ιστορούνται στο Διακονικό.
Στον τρούλο του Ν.Α. παρεκκλησίου δεσπόζει η μορφή της Παναγίας Βλαχερνίτισσας
ενώ στον τρούλο του Β.Α. παρεκκλησίου βλέπει κανείς το Χριστό και τους Αγγέλους.
Few facts regarding the history of the church, which must have been
built in the 14th or 15th century, have come down to us.
The proportions are pleasing, and there are some beautiful brick revetments,
especially on the exterior wall of the sanctuary. Architecturally, the Evanghelistria
is distyly cruciform, like the Peribleptos and St. Sophia. Judging form fragments
of frescoes, on must conclude that the church was decorated in the 15th century,
with the exception of the "iconostassis" which is adorned with inferior
paintings of the late 19th. On the other hand, the sculptural decoration is not
without interest, its unity of style indicating that all the sculptures were carved
for this church itself, instead of what we see in the other churches of Mystra.
The capitals, the door-surround of the "Beautiful Gate" and the inner
entrance to the church are characteristic specimens of this form of sculpture.
Behind the church other buildings have been added to the main edifice.
The stairway leading to the women's balcony, the roof of which no longer survives
was here.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Η Ευαγγελίστρια, κοντά στη Μητρόπολη, προς της βορεινή πλευρά, στο
χώρο του νεκροταφείου. Μικρή, αλλά εξαιρετικά ενδιαφέρουσα στην αρχιτεκτονική
της μορφή, φαίνεται ότι κατασκευάστηκε στο τέλος του 14ου αιώνα. Ιδιαίτερη σημασία
έχει ο γλυπτός διάκοσμός της.
(κείμενο: Σωτήρης Μπακανάκης)
Το κείμενο (απόσπασμα) παρατίθεται το Μάρτιο 2004 από τουριστικό φυλλάδιο
της Νομαρχίας Λακωνίας.
Στην ανατολική πλαγιά του βουνού ιδρύθηκε από τον Ιωάννη Φραγκόπουλο
η Μονή της Παντάνασσας. Σε τέτοια θέση το μοναστήρι φαίνεται από παντού και τονίζει
το μεσαιωνικό χαρακτήρα του τοπίου. Το σχέδιο της Εκκλησίας είναι πιστό στο χνάρι
του Αφεντικού. Κάτω βασιλική τρίκλιτη, πάνω σταυρειδής πεντάτρουλη. Αρχιτεκτονικά
είναι ο τελειότερος από τους ναούς του Μυστρά με κάποια στοιχεία φράγκικης επιδράσεως
στο διάκοσμο των αψίδων του ιερού βήματος και στο καμπαναριό.
Σήμερα μένουν ακόμη εκεί ευλαβικές και φιλόξενες μοναχές, που διατηρούν
ζωντανή τη συνέχεια της μεσαιωνικής παράδοσης. Ζωγραφίστηκε από το 17ο-18ο αιώνα.
Χαρακτηριστικές παραστάσεις του ναού είναι οι Εικοσιτέσσερις οίκοι του Ακάθιστου
Υμνου, ο Ευαγγελισμός, η Γέννηση, η Υπαπαντή, η Βάφτιση, η Μεταμόρφωση, η Ανάσταση
του Λαζάρου, η Βαϊοφόρος και η Κάθοδος στον Αδη.
Build in the 15th century (1428), by John Phrangopoulos, the Pantanassa
was the last edifice to be raised during the Despotate, and it provides an example
of a harmonious conflation of the various styles of church architecture fashionable
at Mystra into a single unity.
Architecturally, the Pantanassa resembles the Aphendiko and the Metropolis:
basilica type below, cruciform with domes on the upper storey.
Two porticoes, one (preserved intact) overlooking the valley of the
Eurotas, another outside the narthex, and of which only traces of the base of
the wall survive, provided a felicitous harmony to the church's numerous architectural
volumes. These porticoes, a popular feature of ecclesiastical architecture at
Mystra, although of Constantipolitan origin, were adapted with such a sound sense
of both calculation and fantasy to the difficulties inherent in the configuration
of the ground that they succeeded, in conformity with the space available, in
achieving a most original and aesthetically satisfying equipoise to the various
architectural volumes. In the north-west corner a superb four-storied belfry with
foundations in the court, and whose lowest storey contains a chapel .surmounts
the whole complex of buildings. The two upper stories of the belfry have large
pointed arches of Gothic influence with "tympana" decorated with threefold
apertures on all four sides. Unmistakable indicators of Western artistic influences
are apparent in whole construction; the melon shaped cupola the turrets on the
summit, the small windows with a cupola trefoil design above the colonnade.
Different artistic styles are also evident in the expert and lavish
exterior decoration of the sanctuary, which is divided into three zones. The upper
zone, embellished with brickwork decoration,is indeed completely Byzantine. if
not Constantinopolitan, in style; The middle one, late Gothic in style, is decorated
with small pointed arches and stone-wrought garlands adorned with blooms; the
lower one is plain and unadorned.
The church which, apart from the dome, has remained intact, unharmed
by the ravages of time, possesses frescoes in a relatively good state of preservation.
From the women's gallery upwards, the paintings are of the Byzantine
period, contemporary with the actual foundation of the church. The most characteristic
works are the "Virgin Platytera" in the sanctuary and, on a higher level
the Ascension which spreads across the entire vault of the sanctuary. In the curved
expanse of the east arm of the cross which circumscribes the base of the dome
are depicted the Entry to Jerusalem and the Descent into Hell, which is in a women's
gallery are representations of the Annunciation on the left, the Nativity on the
right.
The Presentation in the Temple and a somewhat damaged Baptism spread
across the west vault near the narthex. In the north vault are depictions of the
Transfiguration and the Raising of Lazarus. The little domes and walls of the
women's gallery are decorated with fairly well preserved figures of prophets.
The frescoes on the upper register are the last representative works
of Byzantine art, which, although "now approaching its twilight", still
possessed sufficiently dynamic potentialities to "create new styles"
and raise "pretty little Churches". These frescoes are distinguished
by a wide range of lavish colour - combinations unique in Byzantine art, by the
number of figures depicted in the compositions, by the crowded architectural detail
with numerous edifices filling in the background of the various scenes, and, above
by a tendency to reproduce a human form which corresponded physically to the setting
in which it was placed.
On the south side of the narthex is the tomb of Manuel Hadzikis, a
Byzantine notable of Mystra, who is depicted on the wall in an attitude of prayer.
Tradition has it that the bones of Theodora Tocco, first wife of Constantine
Palaelogous, were lain in the Pantanassa. On the other hand, the historian Phratzis
records that her mortal remains were buried in 1429 in the Monastery of the Life-Giver,
that is to say, St. Sophia.
The hospitable nuns of the Pantanassa, who charm the visitors with
their civility and kindness, are the last remaining inhabitants of the ruined
city, destined to play the dual role of survivors and guardians of the Byzantine
tradition.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
Ο ναός της Παναγίας Περιβλέπτου ιδρύθηκε στα τέλη του 14ου αιώνα.
Αρχιτεκτονικά η Περίβλεπτος ανήκει στον τύπο του σταυροειδούς, εγγεγραμμένου δίστυλου
ναού, κατά τον οποίο ο τρούλος στηρίζεται σε δύο κολώνες και σε δύο παραστάδες,
που ενσωματώνονται στους τοίχους του Ιερού.
Το δυτικό μέρος του ναού βρίσκεται μέσα σε βράχο. Εξαιτίας αυτού και
της μορφολογίας του εδάφους η κύρια είσοδος βρίσκεται στη βορινή πλευρά αντί της
δυτικής και το σχήμα του ναού δεν είναι ορθογώνιο.
Στην ανατολική πλευρά της Εκκλησίας (κτισμένη κατά το πλινθοπερίκλειστο
σύστημα δομής) προστέθηκαν αργότερα δύο μικρά παρεκκλήσια. Ετσι τώρα, δημιουργείται
η εντύπωση ότι ο ναός δεν εγγίζει το έδαφος αλλά στέκει μετέωρος.
Οι τοιχογραφίες της χρονολογούνται από το 1348-1380 και μαρτυρούν
την εξέλιξη που προκάλεσαν στη Βυζαντινή τέχνη οι μυστικιστικές θεωρίες των μοναχών,
διακοσμώντας τους πλαϊνούς τοίχους του κυρίως ναού με θέματα παρμένα από τη ζωή
του Χριστού και την Παλαιά διαθήκη.
A bas-relief with a design of two upright heraldic lions on either
side of the monogram of the Peribleptos surmounts the arched entrance of the peribolus
of the Monastery. Little is known of either the history of the church or of its
founder. There are only two indications: one of a representation of a man and
woman, doubtless the founders, offering a model of the church to the Virgin, on
the tympanum of the blind arch of the drum on the west wall of the lower storey,
below the depiction of the Descent into Hell: the other consists of the name of
Byzantine notable, Leon Mavropappas, inscribed above the outer entrance of the
adjacent narthex which is of a later date.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
Two buildings of the original monastery survive: the church with its
chapels, and the refectory, a tower-like edifice with distinct Frankish features,
situated on the north side of the peribolous. Architecturally the Peribleptos
belongs to the type of distyle cruciform
The Peribleptos possesses the most lavish and best preserved painted
decoration at Mystra. The frescoes, cleaned in 1962, are dated to the mid 14th
century. The walls of the Prothesis immediately left of entrance, are decorated
with a magnificent Divine Liturgy, one of the finest frescoes in the whole of
Mystra. A meticulous attention to rhythm, which seems to create the effect of
a serene other-worldliness, emphasizes the whole composition, which is rendered
particularly striking by the uniform angularities of the movements of the figures
in the divine procession. The Virgin Platytera is depicted in the ape of the sanctuary.
Higher up, the entire vault is covered with a representation of the Ascension,
with four superb angels surrounding Christ.
On the two walls below are depicted scenes from the Holy Communion.
On the upper part of the apse of the Diaconicon there is a marvelously
preserved Sleeping Christ, in the left vault the Denial of Peter and the Road
to Calvary and the Crucifixion. In the vaults surrounding the dome unfold scenes
from the Dodekaorton
In the east vault are representations of the Transfiguration and the
Raising of Lazarus, and right of the Last Supper and the Entry into Jerusalem;
in the north vault Pentecost and the Incredulity of Thomas.
Alone among the churches of Mystra the Peribleptos preserves frescoes
in the dome; a grandiose pantocrator which occupies a small sector in the center.
while the remaining surface each containing a Cherubim at the top and a pair of
Prophets below, the Virgin flanked by two Angels and directly opposite, the Preparation
of the Throne
Scenes of the Passion cover the walls of the church. Among the most
beautiful are the Descent from the Cross on the south wall and the Descent into
Hell on the west wall above the fresco of the founders.
The life of the Virgin is lavishly illustrated in a band which girdles
almost the entire church. The finest of these scenes is the grandiose Dormition
on the north wall, immediately above the entrance. On a lower level full-length
life-size figures of military saints, angels, prophets and bishops are depicted
on pilasters, arches and the remaining expanses of wall-space. The border tendencies
which distinguished the painted decoration of the Aphendiko are less evident here.
The conservative spirit which prevailed in mid-14th century Byzantium under the
Cantacuzenus dynasty seems to have influenced the creative are of the period.
The world-famous frescoes of the Peribleptos, while bearing a remarkable resemblance
to the detailed work characteristic of portative icons, also foreshadowed the
so-called Cretan School which was to dominate the post-Byzantine period.
The church was restored in 1954. Judging from the few surviving frescoes - figures of Apostles on the central arch of the south wall, St. Christopher (of which only the head survives) on a lower above the doorway, and a bishop enthroned on the following tympanum - the church can be dated to the late 14th century. These small chapels, mostly sepulchres, scattered all over the hill of Mystra, served as private churches of distinguished families.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Restored in 1953, this is one of the most characteristic of Mystra's chapels. The south roof, with its attractive brickwork decoration, is particularly interesting. Like other chapels at Mystra, St. George served as a private church, the property of some aristocratic family whose members were buried here.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
Ο ναός των Αγ. Θεοδώρων κτίστηκε γύρω στα 1295 από τον Παχώμιο.
Ανήκει στον τύπο που λέγεται "σταυροειδής οκταγωνικός" κατά
τον οποίο ο τρούλος στηρίζεται όχι σε 4 αλλά σε 8 στηρίγματα. Ο μεγάλος τρούλος
με τα πολλά παράθυρα δεν είναι ο αρχικός. Γι' αυτό και λείπει η κυρίαρχη μορφή
του Παντοκράτορα.
The exterior brickwork decoration of the sanctuary is particularly
lavish; moreover the cloissonne walling and glazed plaques create a decorative
ensemble that harmonizes most felicitously with the architectural disposition
of the church. Build in 1295 and restored by Professor Orlandos in 1932, the church
belongs to the type of "cruciform octagonal naos ". The dome is thus
supported at eight points which form an octagon distinguishable in the ground
plan. The church is, in fact, the last extant example of an architectural edifice
of this kind - a type fashionable between the 11th and 13th centuries - later
in date to the Monastery of Hosios Loukas, Daphi (11th century) and St. Sophia
at Monembassia (end 12th century).
The main feature of this type of church is the large dome crowing
a high drum which dominates the whole of the central area of the ground floor
and, by reason of its height, compels the worshipper to turn his gaze unwittingly
to the point where the Pantocrator reigns glory.
Of the church's painted decoration there survive some full-length
figures of "military saints" which are distinguished by the live-liness
and freedom ofmovement of their somewhat realistic attitudes. The style recalls
paintings of the Macedonia School.
Both within and outside the church there are many tombs. The two chapels,
added to the western side of the church and entered from the now blocked-in narthex,
also served as sepulchres, as well as the Prothesis within the sanctuary where
there is the tomb of a certain Manuel Paleologos, according to an inscription
accompanying the relevant representation on the wall. On the interior wall above
the entrance to the Diaconicon extends the Domition of the Virgin in a relatively
good state of preservation, though covered with crystalline deposits.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
Ο μεγάλος και επιβλητικός αυτός ναός, με τα παρεκκλήσια, τα κελιά
και τις στοές, κτισμένος στα 1310 φανερώνει την προσπάθεια του Παχώμιου να δημιουργήσει
κάτι μεγάλο που να θυμίζει την πρωτεύουσα της Αυτοκρατορίας.
Εξωτερικά το κτίριο έχει τη μορφή διώροφου πεντάτρουλου ναού ενώ στο
εσωτερικό παρουσιάζει αρχιτεκτονική ιδιομορφία: Το ισόγειο είναι βασιλική χωρισμένη
σε τρία κλίτη με 2 σειρές από 3 κολώνες, ενώ στο υπερώο αναπτύσσεται ολόκληρο
σύστημα τετράστυλου σταυροειδούς ναού με 5 τρούλους.
Η συνδυασμένη αυτή μορφή βασιλικής και σταυρικής εκκλησίας, βρίσκεται
σπάνια. Αξιοσημείωτη είναι η άνεση που έχει ο αρχιτέκτονας ώστε τίποτα να μη δείχνει
δοκιμαστική προσπάθεια αλλά όλα να μαρτυρούν άρτια σύλληψη της αξίας και της λειτουργίας
της καινούργιας σύνθεσης.
Το καθολικό της Οδηγήτριας του Βροντοχίου φέρνει στην πρωτεύουσα της
επαρχίας αρχιτεκτονικούς τρόπους και συνήθειες της Κων/πολης.
Οι τοιχογραφίες της Εκκλησίας χρονολογούνται από το 1366. Χαρακτηριστικά
αναφέρεται στον τρούλο η Παναγία Βρεφοκρατούμενη και δεόμενη ενώ στους 4 τρουλλίσκους
και στα φουρνικά έχουν ζωγραφιστεί βιβλικοί προφήτες και πατριάρχες περιτριγυρισμένοι
από αγγέλους.
Επίσης στο νοτιοδυτικό παρεκκλήσι έχουν τοιχογραφηθεί αντίγραφα από
τα χρυσόβουλα που μαρτυρούν ποια ήταν η περιουσία της μονής.
This large imposing church, with its chapels, cells and porticoes,buildabout
twenty years after the Holy Theodoroi, is an illustration of Pachomius endeavor
to raise an impressive edifice would recall the architecture of the capital of
the Empire.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains images.
The exterior, restored by professor Orlandos, is the form of a five-domes
edifice. At each of the four corners rise chapels, like miniature towers; in the
south corner of the west side is the restored well-proportioned belfry. Originally,
the north and west sides of the church were embellished with porticoes- an architectural
feature that will be encountered again at the Pantanassa. At the Aphendiko only
the bases of the arches of the colonnade are preserved on the west side, whereas
on the north, from which the church is now entered, a few columns, replaced in
the restoration, indicate the position of the one-time-portico.
The architectural plan of interior is both interesting and individual.
The ground floor is in the form of a three-naved basilica, with two colonnades
of three columns each, whereas the upper register consists of the entire complex
of a "tetrastyly cruciform church" with five cupolas and a sixth crowning
the narthex. This conflation of the basilica an cruciform plans had not been previously
encountered outside Mystra, except in the chapel of the Katapoliani on the island
of Paros.
Originally, the walls were covered with marble revetments up to the
base of the colonnade of the women's gallery and in the two side naves. They must
have added variety and splendor to the scene. Three small marble rectangles, respectively
white, black and dark magenta in color, are still preserved on the south colonnade
next to the sanctuary. A series of three successive slabs of white marble with
carved decoration are also preserved above the small window in the apse of the
Diaconicon. Of the small marble rectangles which surrounded the frescoes (now
completely destroyed) in the two side naves and the marvelously preserved figures
of the bishops in the sanctuary, only the coffers remain. An impression of the
elegance of the capitals is obtained from the only remaining authentic one which
crowns the first column of the south colonnade.
The frescoes in a good state of preservation include the "
The chapel on the opposite side of the narthex is completely dark,
without a single window or aperture. Its four walls are covered from top to bottom
with copies of chrysobulls, published by the Emperor and stamped with his gold
seal, relating to the constitution of the Monastery of the Vrontochion. Here were
listed the estates, often reaching the proportions of entire tracts of the Peloponnese,
together with the names of villages and the number of their inhabitants, which
formed part of the Monastery's property. The chrysolbulls also contained references
to the fact that these estates were, thanks to tie
A steep narrow stairway leads to the women's gallery. On the side
walls are well preserved full-length figures of the seventy apostles. Their drapery
recalls that of the art of Classical Greece On the south side of the church there
is a large sepulchral chapel. It is full of frescoes which, after being cleaned
in 1969, have recovered some of the original brightness of their colors.
On the walls above the tombs were once portraits, of which only two
survive of the persons buried here. A very detailed representation of the Dormition
of the Virgin runs round the entire chapel. the ceiling is covered with crowded
depictions of scenes from the childhood of Christ.
The next small chapel was built, according to an inscription on the
interior wall, by the Abbot and Protosyncellus Cyprian. It contains some well
preserved figures of bishops and scenes from the life of Christ. Of these the
most interesting, from the point of view of subject-matter, is the one on the
part of the vault opposite the entrance. It depicts John, Bishop of Euchaita,
with the three Hierarchs, the dates of whose feasts, suggested to him in a dream,
were introduced into the Calendar and subsequently confirmed by the Church.
The painters who worked at the Aphetiko, and who probably came from
Constantinople, have left us some of the finest frescoes of the early 14th century.
The artist who worked in the women's gallery was bold and lavish in his use of
color, whereas the painter of the figures of the Bishops in the sanctuary seems,
for all his refinement and feeling for religious dignity, to have been more restrained.
The skill of the painter who depicted the life of Christ in the narthex is apparent
in the variety of movements, the elegance of the attitudes and the range of simple
rather delicate colors. The "procession of martyrs
A large group of buildings comprising two imposing churches, ruined
edifices and remains of an outer wall which surrounded the whole complex, once
constituted the wealthiest monastery at Mystra: the Vrontochion, as it was called
at the peak of its prosperity.
The founder was Pachomius, the Great Protocyncellus of the Peloponnese.
By means of his services to the Emperor in the management of the political affairs
of the Despotate, this energetic cleric succeeded in gaining so many privileges
and receiving so many donations from the imperial bounry that in the course of
twenty years he founded two churches (The Holy Theodoroi and the Panagia Hodeghetria
or Aphentiko), complete with cells, towers and refectories unsurpassed in lavishness.
He also finally succeeded in obtaining the privilege, granted by the Emperor,
of declaring the Monastery independent of the local ecclesiastical authorities
and establishing its dependence on the Patriarch.
The monastery's privileged position during the period of the Despotate
probably accounted for its appellation of Aphendiko; a name derived from the official
personages who were members of its community and from the enormous wealth which
came under its administration, thus likening it to the most powerful "Aphendi"
of the locality.
This text is cited Apr 2003 from the Laconian Professionals URL below, which contains image.
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