Cave Church Research Articles

Maltese antiquarians of early-modern age and the cave church of Mellieha

This article aims at presenting some unpublished documents about historiographical research on Maltese Christian Middle Ages written by a Discalced Carmelite friar in the 17th century and recently discovered in the Archives of the Generalate of the Discalced Carmelites in Rome. This is the occasion to report some accounts of Maltese and European scholars regarding one of the most important Medieval sites of Malta (the Church of Our Lady of Mellieha) and to underline how scholars and missionaries of the 17th century related with the historical and archaeological affected by close contacts with Islam. The paper wants therefore to contribute on describing how scholars of the 17th century approached the multicultural and often turbulent aspects of the main Mediterranean areas and how they contributed in assessing the nascent study of Arabic language and culture in terms of historiographic structuring of Mediterranean identity.

Muography of the Cave Church of the Holy Dormition Pskovo-Pechersky Monastery

Muography of the Cave Church of the Holy Dormition Pskovo-Pechersky Monastery

Interdisciplinary Research on Medieval Fresco Subjected to Degradation Processes in the Corbii de Piatră Cave Church.

This paper presents research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors. The medieval fresco dates from the end of the 13th century and the beginning of the 14th century, being painted on a sandstone wall. The infiltration of meteoric water through this wall, the temperature variations, the environment and the repeated wetting/drying processes determined the degradation of the fresco, resulting in its detachment from large surfaces. This research established correlations between the processes that take place, the structural transformations, the changes in composition and the adhesion of the fresco to the sandstone wall. The results have been made available to conservation and restoration specialists, in order to choose appropriate materials and technologies. This paper presents findings regarding the pictorial material and introduces new analysis techniques in research on the degradation processes of the fresco painting in the cave church of Corbii de Piatră Hermitage under the influence of meteoric infiltration water and environmental factors.

Cultural Routes in Cappadocia – Suggestions for Tourist Development

This study aims to promote the special cultural monuments of Cappadocia and their organization in cultural routes, in order to promote and use them for touristic purposes. Cappadocia as a destination is a journey of life in the East. It has a strong Greek element, unique landscapes, such as the famous rock formations, the underground cities and the Byzantine cave churches. Its history is linked to the multicultural roots of different people, who have left their mark on the region. The special morphology, the volcanic rocks, as well as the rock formations, led to the creation of cities and neighborhoods with special natural beauty, functioning as a pole of attraction for tourists. Suggestions for the use of caves and cave churches could follow the example of Matera and Spinalonga.

The Characterization of a Fragment of a Medieval Fresco from Corbii de Piatră Cave Church

The fresco of the Corbii de Piatră Cave Church, dating from the end of the 13th century and the beginning of the 14th century, is applied to the sandstone wall. The degradation of the fresco on large surfaces, with many areas of detachment, has been determined by the infiltration of meteoric water through the sandstone wall on which it is applied, as well as temperature variations, and repeated wetting/drying processes. However, there are small portions of fresco that show good adhesion to the wall. The present research, aimed at providing scientific data to restorers and historians, involves the advanced characterization of a fragment of fresco with good adhesion to the wall and is being carried out by an interdisciplinary team. The stratigraphy, microstructure, compaction defects, chemical composition, and variation of chemical composition in the fresco from the pictorial surface to the mortar-sandstone interface were determined. Correlations were established between degradation processes and wall adhesion.

Bacteriobiota of the Cave Church of Sts. Peter and Paul in Serbia—Culturable and Non-Culturable Communities’ Assessment in the Bioconservation Potential of a Peculiar Fresco Painting

The principal aim of this study was to determine bacterial diversity within the Cave Church of Sts. Peter and Paul, via culturable and non-culturable approaches, and elucidate the antifungal potential of autochthonous antagonistic bacterial isolates against biodeteriogenic fungi. Furthermore, whole-genome sequencing of selected bacterial antagonists and the analysis of genes included in the synthesis of secondary metabolites were performed. With the highest RA values, determined in metabarcoding analysis, phyla Actinobacteriota (12.08-54.00%) and Proteobacteria (25.34-44.97%) dominated most of the samples. A total of 44 different species, out of 96 obtained isolates, were determined as part of the culturable bacteriobiota, with the predominance of species from the genus Bacillus. Bacillus simplex was the only isolated species simultaneously present in all investigated substrata within the church. The best antagonistic activity against 10 biodeteriogenic fungi was documented for Streptomyces anulatus, followed by Bacillus altitudinis, Chryseobacterium viscerum, and Streptomyces sp. with their highest PGI% values ranging of from 55.9% to 80.9%. These promising results indicate that characterized bacteria are excellent candidates for developing biocontrol strategies for suppressing deteriogenic fungi responsible for the deterioration of investigated fresco painting. Finally, isolate 11-11MM, characterized as Streptomyces sp., represents a new species for science prompting the need for further study.

Mycobiome Diversity of the Cave Church of Sts. Peter and Paul in Serbia-Risk Assessment Implication for the Conservation of Rare Cavern Habitat Housing a Peculiar Fresco Painting.

The mycobiome of the cave Church of Sts. Peter and Paul, housing the peculiar fresco painting of "The Bald-headed Jesus", was analyzed via culture-dependent and -independent methods. Salt efflorescence, colored patinas, and biofilm, as well as biopitting, discolorations, and fruiting bodies of wood-decay fungi were observed on surfaces within the church. Microscopic analyses showed an abundance of fungal structures, i.e., conidiophores, conidia, chlamydospores, and ascospores. The estimated values of the contamination classified all surfaces as the "Danger zone". A total of 24 fungi from 17 genera were determined as part of the culturable mycobiome, with a dominance of Ascomycota of genera Penicillium. Biodegradative profiles analyzed via plate assays demonstrated positive reactions for 16 isolates: most commonly acid production (8), followed by pigment production and ligninolytic activity (6), protein degradation (5), cellulolytic activity (3) and carbonate dissolution (2). Metabarcoding analysis showed a dominance of Ascomycota in all samples (79.9-99.7%), with high relative abundance documented for Hypoxylon fuscopurpureum on the iconostasis and unclassified Mycosphaerellaceae family within order Capnodiales on fresco and stone, as well as moderate relative abundance for unclassified Dothideomycetes, Botryolepraria lesdainii, Verrucaria sp. and Cladosporium sp. on stone walls. The used set of integrative methods pointed out species of genus Neodevriesia and H. fuscopurpureum as the main deteriogenic agents of fresco and iconostasis surfaces, respectively.

On the Biography of Simon, one of the Authors of the Paterikon of the Kievan Cave Monastery

The author analyzes the evidence of the sources concerning the main points of Simon's biography, the first bishop of Vladimir and Suzdal and one of the authors of the Paterikon of the Kievan Cave Monastery. The hypothesis is that Simon was a descendant of Shimon the Varingian who arrived in Rus in the middle of 11th century. Simon’s desire to commemorate the role of this kin in the past of one of Rus’s most significant monasteries resulted in creating an ‘alternative’ version of the history of the house that was described in the Word of the Kievan Cave Church. This work was addressed to descendants of Shimon the Varangian settled down in Suzdal rather than to the monks of the Cave Monastery. It is highly likely that Monk Polikarp also was one of Shimon’s descendants.

The “Sant’Angelo in Criptis” Cave Church in Santeramo in Colle (Apulia, South Italy): A Multidisciplinary Study for the Evaluation of Conservation State and Stability Assessment

Sant’Angelo in Criptis (Santeramo in Puglia, South Italy) is a karst cave located in the Alta Murgia National Park (aspiring geopark), presently degraded, but with signs of intense past visiting activity for worship, as testified by the beautiful wall paintings and the large number of inscriptions and engravings on the cave walls. With the aim to permit the desirable restoration and the following fruition of this ancient geo-cultural heritage, a multidisciplinary investigation of the cave was carried out in this study. The 3D cave model permitted a detailed map of the area and highlighted that the cave vault, although very regular, somewhere presents chimneys that develop upwards, indicating areas where the rock thickness is now very small. The stability analysis indicates that presently, the cave does not show remarkable signs of instability, but block failures, toppling and roof collapse are possible. Archaeometry investigations confirmed the past importance of this holy site, as testified by the overlapping in the paintings of three different pictorial cycles and the use of precious pigments, thus confirming the necessity of preservation through a conservation management strategy for a full future fruition of the cave.

Inventory and Assessment of Geosites for Geotourism Development in the Eastern and Southeastern Lake Tana Region, Ethiopia

Geotourism is a niche form of sustainable tourism that focuses on the geological and geomorphological features of an area, and the associated culture and biodiversity. Geosites are important resources for geotourism development. The eastern and southeastern Lake Tana region in Ethiopia has several geosites with a potential for geotourism development. Despite the diversity of potential geosites and the strategic location of the area in the Northern Tourist Circuit of Ethiopia, only a few attractions such as Lake Tana and the Blue Nile Falls are currently being visited. The objective of this paper is twofold: to inventory geosites in the eastern and southeastern Lake Tana region and assess their potential for geotourism development; and to propose a geosite inventory and assessment methodology for geotourism purposes with adaptations from previous studies. Several studies were reviewed and finally nine of them used as the main references to prepare the criteria, indicators, and sub-indicators for this study. The indicators used for assessing the potential of geosites relate to scientific, educational, scenic, recreational, protection, functional, and ecological values. This research presents the first inventory of geosites in the Lake Tana basin. A first list of 120 geosites has been inventoried. Further screening and clustering resulted in 61 geosites, of which 17 are viewpoints. Among the major geosites are waterfalls, a lake with islands and island monasteries, a flood plain, caves and cave churches, lava tubes, a mountain (shield volcano), volcanic plugs, volcanic cones, rock-hewn churches, and viewpoints. Quantitative assessment of the geotouristic potential of these geosites revealed that clustered (complex area) geosites received higher scientific, scenic, and recreational value scores.

The rock-cut churches of Lalibela and the cave church of Washa Mika'el: troglodytism and the Christianisation of the Ethiopian Highlands

The monolithic churches of Lalibela are commonly regarded as evidence for the shift of the Christian kingdom of Ethiopia from Aksum to the Ethiopian Highlands during the thirteenth century AD. Recent research, however, has shown that the rock-cut churches were not createdex nihilo.New archaeological evidence has emerged for an earlier, local troglodytic culture, particularly at Washa Mika'el, further illuminating the cosmopolitan society that existed in medieval Ethiopia. This article considers the role played by this troglodytic culture in the Christianisation of the Ethiopian Highlands and how it attests continuity with its predecessors, especially in the way that sculpted decor are perpetuated and transformed in the frame of a new religious background.

Fresco Paintings of Southwest Crimea Cave Churches According to Igor Grabar

Introduction. Today, the remains of fresco paintings are preserved in six cave churches of Taurica: the temple of the Southern Monastery (Mangup); church in the field of Kielse-Tubu (district of Mangup); the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the church number 12 on Zagaytansky rock (Inkerman). Authors of the 19th – early 20th centuries left descriptions of the now lost murals of six more monuments. Methods. Frescos of Crimean cave churches in historiography received insufficient comprehension. Only one monograph was published on this issue (1966). Analysis. Opinions and comments regarding the mural paintings of the cave churches of Crimea, expressed by reputable art historians and specialists in fresco paintings, are relevant. These include Igor Grabar. He was in Crimea in 1927, as the head of the Central Art Conservation Center by Glavnauka of the RSFSR. The Manuscript Department of the State Tretyakov Gallery stores leaflets from the notebook “Igor Grabar’s trip notes in the Crimea and about Old Russian art”. Authors publish the full text of Igor Grabar’s notes concerning the murals of cave churches: the temple of the Assumption and the Three Horsemen (Eski-Kermen); the Donators Temple (district of Eski-Kermen); the temple of the Southern Monastery (Mangup). Results. Igor Grabar’s notes help us clarify many points of view in the study of frescos of cave temples in Crimea. The study of the murals of the temple of the Three Horsemen by Igor Grabar allows us to justifiably discard the versions of “three Georges” and “portraits of real local figures”. There are images of three holy warriors: Dmitry, Theodore (Stratilates or Tyrone), and George in the cave temple. The study of the Mangup Church fresco by Igor Grabar allowed us to develop a periodization of the formation of fresco paintings of this monument.

Analysing, modelling and promoting tangible and intangible values of building heritage with historic flame lighting system

The aim of this research is to define a multidisciplinary method capable of enhancing the tangible and intangible values of the historical-cultural heritage through the virtual reconstruction of the ancient internal flame lighting systems. The survey by laser scanner and/or by digital photogrammetry and solid modelling were the techniques used to carry out the three-dimensional reconstructions of the artefacts. The 3D model based on archaeological and historical documentation made it possible to define the lighting scenarios according to various historical-interpretative hypotheses and the reconstruction of the used luminaires. Instead, the laboratory experiments on the flame allowed obtaining the scientific reference parameters to be used in the virtual reconstruction of the lighting scenarios. This method was validated in two different case studies. The first is a cave church in Matera, a medieval religious building built entirely in the ravine with evident architectural signs that enabled to identify the ancient lighting systems. The second is a Roman villa in Mola di Bari, a devastated archaeological site among which several Roman lamps were found, thanks to which it was possible to start the study of light. In addition to making an important contribution to the community of scholars, the lighting scenarios obtained from the research also aim to enhance the architectural artefacts and promote the related history knowledge for future generations. Virtual reality, augmented reality and online 3d visualization can be some of the possible applications towards which this research can converge to promote the fruition of cultural heritage.

Die Ausmalungen der Wiener Virgilkapelle. Die visuelle Kultur in Byzanz, im Kaukasus, in Syrien und Nordmesopotamien

This case study of the aniconic wall paintings – red-colored, monumental crosses from the mid-thirteenth century – in Vienna’s subterranean Chapel of St. Virgil demonstrates that, in the absence of written sources, artifacts can serve as historical documents. The article offers an alternative approach to the quest for historical context, exploring transcultural, cross-media, and diachronic visual comparisons. Since late antiquity, cross decorations with surrounding zigzag patterns were common in Syria, Northern Mesopotamia, Armenia, and Georgia. Formal parallels survive on the facade of the Armenian basilica of Ereruk and among the many red-colored paintings in the cave churches of Cappadocia. Brick ornaments with crosses in blind arches from the eleventh through the fourteenth century offer the most striking visual correspondences to St. Virgil. Compelling examples can be seen on the facades of the eleventh- and thirteenth-century churches of Nea Moni and the Panagia Sikelia on Chios and on the fourteenth-century facade of the Orhan Gazi Camii in Bursa. The paintings of the Viennese chapel are thus likely to refer to the ornate brick facades of Middle Byzantine architecture.

Reassessing the Periodization of Mural Paintings in the Cave Church of the Southern Mangup Monastery

Introduction. The Southern Monastery is located in the southern part of the Mangup plateau in a natural rock grotto. The cave church is in the eastern side of the grotto. It is decorated with mural paintings. The murals of the church are concentrated in the altar. Frescos are divided into the images on the apse, on the altar arch and on the vaults of the church. Methods. Authors give the periodization of frescos comparing iconography and stylistics. Analysis. The images on the apse are flat. The eaves of the altar arch are similar to the icon row. Saints on the arches of the church have their original compositional solution. The apse’s painting was formed earlier than other architectural divisions of the church interior. The fundamentally different organization of the tectonics of the pictorial surface of the altar arch eave and vaults suggests that different artists made these images at short intervals. Results. The church’s murals of the Southern Mangup Monastery were probably formed in three stages. Different artists, who were the representatives of various eastern Christian schools of sacred painting, made the murals. Due to the closed compositional scheme the painting system appears as an indissoluble whole, despite the definite duration of the murals’ formation in the church of the Southern Mangup Monastery. In general, the paintings of the church of the Southern Mangup Monastery date from the early – the third quarter of the 15th century. Probably this monastery is associated with the ruling dynasty of Theodoro.

Doctors in the Choir: Healing Embodiment and Ingestion in Early Church Space

Holy physicians (anargyroi) dominate an eighth-century program of encaustic paintings in the Church of the Holy Virgin at the monastery of Deir al-Surian, yet the site is not known to have been nor included a healing sanctuary. This essay considers theological and therapeutic meanings of this program in relation to the anti-Julianist controversy as it related to healing nurture of Christ’s body, eucharistic theology, diverse narratives of medicine, the vulnerable body, and pious defacement of holy images. A brief comparison with the Chapel of the Physicians at Rome and an Egyptian cave church suggests that Deir al-Surian’s anargyroi program was not unique in late antique liturgical architecture.

The Murals of the Cave Church of the South Mangup Monastery: the specifics of the iconography and the features of the composition

The Murals of the Cave Church of the South Mangup Monastery: the specifics of the iconography and the features of the composition

The Murals of the Cave Church of the South Mangup Monastery: the specifics of the iconography and the features of the composition

The Murals of the Cave Church of the South Mangup Monastery: the specifics of the iconography and the features of the composition

Interpreting medieval mobility from burials at the rock‐hewn church of St. Georges, Gurat (France): Insights from strontium isotope analysis of bones and teeth

AbstractThe cave church St. Georges is a hand‐carved limestone cave church located in Gurat, southwestern France, which likely developed from a hermitic site by the High Middle Ages (1001–1300 AD). Gurat is unique in that few bioarchaeological studies of monastic collections, particularly in France, have been conducted. This research represents the first effort to understand who the people at Gurat were, and where they might have travelled from, by employing strontium isotope analysis. Such data are used to interpret motivations behind hypothesized mobility. Dental and skeletal tissues from 14 individuals excavated at the cave church site were analysed for their strontium isotope ratio via laser ablation multicollector inductively coupled plasma‐mass spectrometry. The 87Sr/86Sr values in human bone samples from Gurat indicate that all individuals likely lived near Gurat for at least the last few years of their lives. 87Sr/86Sr values yielded from tooth enamel samples indicate that during childhood, the Gurat individuals were mobile and originated from a region isotopically dissimilar to Gurat. Mobility into the site of Gurat may be explained by the pilgrimage routes in which traversed Gurat, as well as by the practice of transhumance. Given that two pilgrimage routes passed near the village, Gurat would have been a consistently well‐travelled site for nonlocal Christians during the Middle Ages. It is therefore likely that many travellers passed through the village of Gurat. Additionally, because Cistercian monks practiced transhumance during the medieval period, and many of the Gurat individuals do appear isotopically to have origins from highland regions in France (i.e., the Massif Central), it is possible that these individuals engaged in seasonal migration between highland and lowland regions. Therefore, the data presented here have demonstrated that, through strontium isotope analysis, the Gurat individuals were likely migrants to the Gurat cave church.

Addis Amba Mädhané Aläm: the Uncommon Troglodytic Heritage of Ethiopia

Ethiopia is one of the few African countries that have preserved the antiquities of early and medieval Christianity. The cave church of Addis Amba Mädhané Aläm (the church of Saviour of the World), is one of the little known troglodytic heritages found in Mäqét, North Wällo. This study aims to uncover the historical, architectural and artistic values of the cave church that has unique cultural testimonies.Data for the study were collected through fieldwork, interviews, and archival consultations. The cave is believed to have been excavated by Musé, the second bishop of Ethiopia. The church has six different caves cut into a rock face. Five of them are chapels, treasuries and gusting rooms. This paper discusses the cave which is the church of Mädhané Aläm. It has a complex layout compartmented into chanting room, holy and sanctuary. The holy and sanctuary form the nave which is rock-hewn monolithic feature detached from the main rock except on its roof and base. This planning is uncommon in the rock cave church tradition of Ethiopia because the nave is monolithically carved within a cave that should not be confused with churches built under a natural cave. The old enough canopy, a large artistic processional umbrella permanently projected over the chanting place also distinguishes this cave church. This is an indigenous piece of handcraft crafted locally from the bark of a tree. It is painted with different symbols and saint icons. The cave is also home to archaic mural paintings.