Location: Near the village of Platanistasa in the Pitsilia area at the foot of Troodos mountain range in the area of Madari

Founding Date: The church, probably built in the last decade of the 15th century, belonged to a small monastery.

Architecture: It is timber-roofed and surrounded on all sides by a unique-for-Cyprus covered portico that is wider on the west side where the narthex would normally be and is under the same roof as the church.

Wall Paintings: Decorated with wall paintings by Philippos Goul who was influenced by Byzantine and Western art as well as by local tradition, yet was unable to create a coherent personal style. Nonetheless, they are both pleasing and impressive.

The entire west wall is covered with wall paintings and the entire interior of the church is painted. The south and north walls are divided into two horizontal zones, whereas the east wall with the apse and the west wall are divided perpendicularly. The church's founder, chief priest Petros Peratis and his wife Pepani are depicted on the exterior south wall offering the church to Christ through the Virgin. Further to the right, on the small blind arch, is depicted the composition "From Above the Prophets have Heralded Thee".

All the depicted biblical scenes are reminiscent of miniature manuscripts, influenced by the art of the Middle Ages but with poor proportions and often unnatural postures. In the Passion and Resurrection and the Recovery of the Holy Cross by St Helen scenes, there are clear elements of western Medieval Art such as tall Venetian buildings in the background and the three-dimensional portrayal of buildings.

In contrast, other scenes indicate a rather naïve expression of Byzantine tradition including Christ the King of Glory and the wall paintings behind the iconostasis on the eastern parts of the south and north walls that are technically different from the other paintings in the church.

The portrayal of the standing Saints using the Byzantine tradition on the lower zone of the north and south walls is more successful. The modelling of forms, the garment folds and in general, the iconography of the standing Saints show the artist's thorough knowledge of Paleologan painting, the last phase of Byzantine painting.

The iconographies of Agios Mamas mounted on a lion and a mounted St George, both on the lower part of the western wall, conform to local tradition.

Athanasios Papageorgiou

Timio Stavros (Holy Cross) Agiasmati-PlatanistasaTimio Stavros (Holy Cross) Agiasmati-Platanistasa Timio Stavros (Holy Cross) Agiasmati-Platanistasa
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