A Sacred Interior

This summer, three students in Historic Preservation from Columbia University's Graduate School of Architecture, Planning, and Preservation are conducting a conservation study for Moni Perivolis, a historic convent on the island of Lesvos, Greece, and 11 other churches on the same island that were included in the World Monuments Watch in 2008 and 2010. Below, Sarah Morrison describes the experience of taking a closer look at the 16th century wall paintings at Moni Perivolis:

Moni Perivolis' diminutive scale and rustic fenestrations belie the jeweled interior. Inside, throughout the narthex, nave, aisle and sanctuary, Greek Orthodox iconography covers every surface. In comparison to other Byzantine churches on the Greek island of Lesvos, the wall paintings at Moni Perivolis are unusually intact. Still, the paintings are in need of restoration to ensure their lasting survival. At the onset of our field campaign, the team assisted Adrian Heritage, professor at the Cologne Institute for Conservation Sciences, in a visual examination of the wall paintings. After performing a preliminary scan of the interior, three problematic conditions stood out: a consistent loss of paint where the wall came into contact with high-backed chairs and benches, major losses of the painted surface on the north and east walls of the aisle, and the presence of a thin milky veil covering the wall paintings and obscuring them from view.

Seeking to uncover more information about the wall paintings, the techniques employed in their execution, as well as the possibility of older painted layers hidden beneath, Professor Heritage began to take a closer look. Using raking light, he discovered the evidence of snap lines, compass points, and the original scaffolding lines used by the 16th century artists. The examination also revealed chaff within the plaster which, in the presence of moisture, was causing eruptions on the wall surface throughout the church. As we looked closer and closer, and the context became obscured, soon details like the presence of different handiwork became apparent. One hand painted curls in the hair in a distinct fashion, and another drew carefully radiating lines to imply depth, while another hand incised guidelines for the patterns on the saints' garments.

While looking at other churches on Lesvos, it was interesting to employ the examination techniques that Professor Heritage showed us at Moni Perivolis. In several interiors, evidence of the same dado pattern exists, as well as distinct painting techniques. Could the same hand have been responsible for multiple churches? Or was a type of pattern book used to design the frescoes? The questions compelled us to look closely. And under Professor Heritage's tutelage I found an unsated curiosity about wall paintings that made each new discovery very thrilling.