Περίληψη : The church s iconographic programme is based on the decorative elaboration of well-known symbols; it focuses mainly on the jewlled cross, the triumphant symbol of Christ. This is why the depiction of the Crucifixion is the only representation of a narrative - descriptive character. Its central position is flanked by rows of Apostles in arcades and crosses in arcades. Other decorative motifs include the horn of Amaltheia, the vine and the peacock feather pattern. The interior inscriptions provide evidence of the cult of the stylites and of the relation to a kleisoura in the region. Χρονολόγηση 7 th -9 th century Γεωγραφικός εντοπισμός Valley of Kızıl Çukur / Kizil Cukur, province of Nevşehir, Cappadocia 1. General information on the church s wall painting The church of Niketas the Stylite in Kızıl Çukur of Cappadocia boasted rich and interesting wall paintings whose remainings still attract the interest of visitors. The church s narthex, nave and apse are covered with wall plaster and large areas of the wall paintings have been destroyed or are faded. Large incised inscriptions add to the sense of destruction. The main characteristics of the iconographic programme are its intensely decorative symbolic character and the presence of painted inscriptions. These inscriptions are valuable evidence for historians and epigraphists, concerning the study of the church itself as well as the study of the region, the cult of Symeon the Stylite 1 and the institution of kleisoura and kleisarchia. The iconographic programme emphasises on the symbol of the jewelled cross (crux gemmata). We cannot know to whom the original concept is to be attributed, it is however similar to the relief cross carved on the roof of the stylite s hermitage, on top of the cone, although this is not unusual in the region s hermitages. There are also the symbolic patterns of peacock feather (the peacock being considered as a symbol of immortality) and of the vine. The latter decorative motif, that of the vine with grapes, brought about the name given to the church by local people Üzümlü kilise of Kızıl Çukur (church of the grapes of the red valley), in contrast to the Üzümlü kilise in Zelve. 2. Research history The descriptions of the wall paintings made by G. P. Schiemenz in 1959, 1965 and 1967 are extremely detailed. 2 During the same period Michel and Nicole Thierry appear to have also been studying the monument, especially its inscriptions. 3 The inscriptions were also studied by L. Politis (1971) 4, but special mention is given by N. Thierry to C. Maungo and I. Ševčenko who granted her permission to publish their relevant conclusions. 5 Catherine Jolivet-Lévy later included the monument and mainly its wall paintings in her comparative accounts. 6 3. Chronology The chronology of the wall paintings is uncertain and spreads over a period from the 7th to the 9th century. On the church s northern extensions and passages from one space to the other, the undercoat has been destroyed to a large extent, so it cannot be discerned whether these wall paintings are contemporary to the rooms they correspond to. Scholars have suggested several dates based on secondary evidence. Schiemenz suggests the end of the 9th century because of the mention to the title of kleisourarch in the inscriptions. 7 N. Thierry leans toward the second half of the 7th or beginnings of the 8th century, based on an analysis of the mention of Zeugos, a location which appears to be the jurisdiction of the kleisourach in the Δημιουργήθηκε στις 5/2/2017 Σελίδα 1/9
inscription of Eustratios, as well as on the earlier occurrence of the title of kleisourarch in Theophanes' Chronographia dating to c. 695-696. 8 4. Description of the wall paintings 4.1. Narthex As the visitor enters from the Imperial Door to the narthex, the north and south walls, to his left and right, as well as the arcosolium, are covered by white wall plaster and bear no decoration. The barrel vault, however, bears a large jewelled latin cross (crux immissa), decorated with stylized thistle foliage, the repeated motif of the horn of Amaltheia and a vine pattern, within an approximated square outline. Inwards of the frame s red outlines the decoration is made up of intensely red foliage contained by a peripheral decorative strip. The eastern lunette, above the entrance to the nave, bears the remains of a medallion which scholars have agreed that contained the figure of St. Euthymios. The only surviving elements are the saint s reddish hair and beard and the grey script of the letters..γ Ι.. [ο άγιος, the saint], on two lines, and ΠΘ/ΥΜΗ/ΟC [Ευθύμιος, Euthymios], 9 on three lines, which is the name of the depicted saint. At this point, it is interesting to note the rapid destruction of the plastering and wall paintings over recent decades. Schiemenz s descriptions of the writing on this medallion mention the letters ΟΑΓΙ, proving that the two first letters existed until 1959. During his subsequent visits in 1965 and 1967, he makes detailed notes of the already serious damages. 10 4.2. Nave On entering the nave, the visitor meets the continuation of the iconographic programme on the top of the barrel vault, with a large jewelled latin cross, this time in an even more elaborate version. In this way, the image of the Cross is revealed to the pilgrim as the main theme of the iconographic programme. The cross and stylized horn of Amaltheia dominate within a rectangular frame formed by interlaced circles containing Maltese crosses enclosed in seventeen medaillons. From the foot of the cross, to the west, spring white vines bearing twenty-eight bunches of grapes. Its four arms end in grey and white animal feet. On the lunette of the chancel arch there is a representation of the Crucifixion. Jesus is represented wearing a long, brown-red tunic (colobium) with two long strips, which corresponds to the Syrian iconographic model. 11 The depiction is quite stylized and his stance is hieratical. To his left stands Mary, wearing a brown-red tunic and maphorion. She holds a long strip of cloth, the kerchief (mappa) of Byzantine aristocratic women. We read the inscription +ΗΑ/ΓΙΑ Θ/ΕΟΤΟΚΟC [η αγία Θεοτόκος, the holy Mother of God]. To the right of the Cross stands John the Evangelist. We find two more inscriptions in the scene: on the left ΙΔΕ Ο ΙΟ/C Cծ [ίδε ο υιός σου, this is your son], and on the right ΙΔΕΗΜΙ[Τ]Ε [ίδε η μήτηρ σου, this is your mother]. Next to the Evangelist appears John the Baptist holding a scroll bearing the inscription +ΙΔΕ Ω Α/ΜΝΟC Τծ/Θ ΡΟΝ/ Ι Ν ΑΜΑ/ΡΤΗ [ίδε ο αμνός του θεού ο αίρων την αμαρτίαν του κόσμου, behold the Lamb of God which taketh away the sins of the world], a line from the evangile of John 1.29. To the left of the scene St Symeon the Stylite is represented on his pillar, with an inscription, +ΟΑΓ ΙΟC/CΥΜΕΟΝ (ο άγιος Συμεών, St Symeon) which identifies him. On the upper level of the south and the north wall, beneath the decorative motif of the barrel vault, two rows of Apostles in arcades are represented. On the north wall there are Simon (+CΙΜ/ΟΝ), Thomas (+ΘΩ(Ο)ΜΑC), 12 Mark (+ΜΑΡΚ/ΟC), John (ΙΩ/ΑΝΝΙC), Jacob (+ΙΑ/ΚΟΒ/ΟC) and Paul (ΠΑΥ/ΛΩC); on the south wall there are six more figures whose names have been lost, but one can identify Philip (+ΦΙΛΙΠΟC), Peter and Andrew (ΑΝΔΡΕΑC). Beneath the Apostles on the south wall there are five large crosses placed in a decorated arcade, a pattern that probably continued on the west and on the north wall. Around them there is a geometric pattern made up of squares and circles as well as decorative motives of vines and grapes. On the west wall lunette the visitor sees the standing figures of four more saints set on a brown-reddish background: Damianos (+ΟΑΓΙ/ΟCΔΑ/ΜΙΑΝ/ΟC), Kosmas (+ΟΑΓΙΟC/ΚΟCΜΑC), Panteleemon (ΟΑΓΙ/ΟCΠΑΝ/ΤΕΛΕΙΜ/ΟΝ), and Anna ( Δημιουργήθηκε στις 5/2/2017 Σελίδα 2/9
ΑΝΑ). The inscriptions with the names of the saints are placed to the left of their halos. 4.3. Apse of the bema On the arch of the Royal Doors there are the coloured remainings of a decorative strip forming interlaced circles. The content of the small medallion at the crest has been lost. According to N. Thierry it could be the hand of God pointing toward the Cross at the summit of the apse. Two medaillons flank the central one, containing the heads of two kings. The angular crown indicates King David while the portrait of a younger figure bearing a triple arched crown is characteristic of King Solomon. 13 Once again, at the summit of the apse a jewelled latin Cross is depicted, the arm which points to the west being the longer and all four arms being broadened. The Cross is on a background of concentric circles with faded decoration. On one of these we can discern a row of eight-point stars. The rest of the area is decorated with peacock feather pattern. Further down, in the conch (semi-dome), Virgin Mary with the Child is depicted enthroned, flanked by the archangels Michael and Gabriel. 14 Michael holds the royal symbol, an orb with a cros, and Gabriel holds a sceptre. The Virgin is depicted in a smaller scale to the archangels due to the small niche in the middle of the conch. The recesses have not preserved their decoration apart from the middle one where we can discern another cross. The wall decoration has been largely destroyed by a series of graffiti. Above the northern recess is a square area bearing a cross. 15 5. Style, technique and layers Scholars have noted only one layer of mortar which also forms the support for the wall paintings. It is a thin layer of lime. The colours in the church are confined to warm tones, mainly brown-red, yellow ochre and brown-grey. There is a small use of green, in a pale variation. The dark green found at Kokar Kilise or at the church of Symeon is completely absent as is the blue. Schiemenz doubts whether all the wall paintings are the work of the same painter, 16 while N. Thierry attributes the entire decoration to the stylite Niketas himself. 17 Despite the overall impression that the iconographic programme is a sofisticated and elaborate one, the execution is quite rough at places. For the depiction of the Apostles, for example, a handful of hair and beard motifs are repeated again and again, an so do the colours of their tunics and mantles. 6. Inscriptions Apart from the inscriptions with the names of the saints, found to the left of their halos, we also find inscriptions in the scene of the Crucifixion. Here, by depicting the Word of God, they become an organic component of the scene itself (e.g. the evangelic quotations "this is your son", "this is your mother"). In addition to these inscriptions there are two others on the east lunette: a dedicatory one, a confession of faith by the stylite Niketas, and a thanksgiving one by the kleisourarch Eustratios, both very important. 6.1. Inscription of the Stylite Niketas To the left of the pillar of Symeon the Stylite we can read the inscription of the stylite Niketas. The inscription consists of six lines and is damaged towards the end of the text, which has led scholars to different interpretations of its text. According to the most widely accepted transcript, the text reads as follows: 18 + Ὑπὲ ρ εὐ χῆ ς καὶ σ(ω)τηρίας καὶ ἀφέσε(ω)ς ἁμαρτιῶν Νικίτα στυλίτου. Πιστὶ ἀσκητοῦ καλλιεργ(ή)σαντος τὸν ναὸν τοῦ τον Δημιουργήθηκε στις 5/2/2017 Σελίδα 3/9
The meaning of the inscription is given as such: For the prayer and salvation and the forgiveness of sins of Niketas stylite. By the faith of the ascetic was this church decorated. Inscriptional research has led to the conclusion that this is a votive inscription by a stylite named Niketas. Perhaps this led N. Thierry to attribute the wall decorations to the ascetic himself. 6.2. Inscription of the kleisourarch Eustratios The second inscription is placed below the Baptist s scroll, symmetrically opposite to the first one. This inscription is of particular historical interest but presents some difficulties for the reader. However, it has been better preserved than the inscription of Niketas. According to N. Thierry the inscription reads: +Υπ[ερ] αγηας ηεραρχια[[ς]] δοξις τιν υπερεσηαν εν Θεοσ καρποφορεισαντος Ευστρατιου ευκλεου[ς] κλησουριαρχου Ζευγους <και> Κλαδους. αυτόν φυλαξον. Αμην This is a pale-coloured inscription, destroyed in part and painted over with dark lettering. Thus, a part of it can be easily read, while others are more ambiguous. There are important discrepancies between Schiemenz 19 and N. Thierry 20 concerning the inscription s decoding. Consequently, the transcripts differ in several details and their comparison is quite eloquent for the difficulties of interpretation and for the misinterpretations which occur. The meaning the inscription presents, according to the widely accepted version that I. Ševčenko and C. Mango have established and interpreted, is as follows: For the glory of the Holy Hierarchy, Eustratios, divinely inspired, offered this service, the famous kleisourarch of Zeugos and Klados. Protect him. Amen. The inscription s lettering, sometimes black against a red-ochre background, is completely faded and are best read by the gaps they have formed. The spelling seems to reflect the local dialects. 21 The lettering is clear with tall and well-shaped letters. Apparently all inscriptions, including those next to the saints hallos, are by the same hand. The mention of the Holy Hierarchy and the expression "divinely inspired" may imply a concern of the kleisourarch for the chapel of Niketas the Stylite, either for its decoration or for the chapel in general. There is also an ambvalence concerning the names in the phrase "kleisourarch of Zeugos and Klados". Most scholars agree that they are names of locations, but they are unknown. As for Zeugos, it may refer to Zygos, a kleisoura (tourma) in Antitaurus. 22 But Klados is difficult to be identified and it has been suggested that it is a family name. Another suggestion is that "zeugos", which is the greek word for "couple", should refer to Eustratios' family, while "kladoi" should be read as "branches", therefore refering to the kleisourarch's children. 23 7. Graffiti and other damage. Present-day situation The church s interior walls are completely covered by graffiti (carved inscriptions) from past centuries which suggest that the church was a place of pilgrimage. N. Thierry dedicates an entire chapter to gleaning these spontaneous manifestations of faith. 24 The most serious damages occurred after the most recent rehabilitation of the area in the mid 1960s, use of the church as a stable 25 but also an increase in tourism. 26 8. Assessment Δημιουργήθηκε στις 5/2/2017 Σελίδα 4/9
The painted decoration is affiliated to that of the other churches in the neighbouring and wider area and based on previous models, but is in total completely original. The jewelled crosses on the barrel vaults are similar to the crosses at St. Stephanos, at St. Vasileios, at the southern church of Kızıl Çukur kilisesi, at Eğri Tas kilisesi and the neighbouring church, Kokar kilise and Ağaç alti kilise. Besides, the garment of Christ on the Cross, the characteristic long colobium, can also be seen at Kokar kilise, Pürenlıseki kilisesi (Ihlara), Batkin kilise and Çömlekçi kilisesi, at more remote, therefore, monuments. The stylite Saint Symeon holds a prominent position and, in this, presents similarities with two other neighbouring monuments, where Jerphanion had already found evidence attesting his cult. However, the scene of the Crucifixion in the chapel of Niketas the stylite remains unique for being so abbreviated: we usually see a more descriptive composition with more figures (Batkin and Kokar kilise, Pürenlıseki and Çömlekçi kilisesi). 27 The conception of this particular iconographic programme is strictly theological in content. The execution, rendered in a schematic and abbreviated manner, implicate a process of faithful contemplation. 1. St Symeon the Stylite, 5 th century. There is a chapel in Zelve with paintings of episodes of his life. 2. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 239-258. 3. Thierry, N. M., Ayvali Kilise ou pigeonnier de Güllu Dere: Église indédite de Cappadoce, Cahiers archéologiques 15 (1965), p. 97-154, and inscriptions on p. 99, 100, 128; Thierry, N., Enseignements historiques de l'archéologie cappadocienne, Travaux et mémoires 8 (1981), p. 501-519, inscriptions from Kizil Çukur, p. 507, and from Zelve, p. 509. 4. Πολίτης, Λ., «Βυζαντινά επιγραφικά», Ελληνικά 24 (1971), p. 126-128. 5. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 258, n. 4. 6. Jolivet-Levy, C., Les églises byzantines de Cappadoce (Paris 1991), p. 53-56. 7. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 250. According to the author, the chapel was the jurisdiction of province of Charsianon, not far from the Cappadocian border. 8. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 277-278. 9. Schiemenz mentions the more recent writing of the name in the church at Tokalı, ΕVΘVΜΗΟC, see Schiemenz G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 242. 10. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 239. 11. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 263. 12. Schiemenz has established the inscription with an Ω while Thierry sees an Ο, see Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 265. 13. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 261. 14. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), σημ. p. 260. Virgin Mary and the Child are enthroned and they both have halos and are Δημιουργήθηκε στις 5/2/2017 Σελίδα 5/9
dressed in brown-reddish garments. The throne's four pillars end in orbs and they don't contain the slightly larger light brown cushion. N. Thierry makes some comparisons in her commentary: The Virgin's throne along with its cushion reminds the throne in St Appolinario Nuovo in Ravenna represantations, while the larger-than-the-throne cushion seems to be a local motif and we find it also in the churches of Peter and Paul in Çavuşin, John the Baptist in Meskendir and Joachim and Anna in Kızıl Çukur. 15. The same goes for the walls of the Batkın kilise near Belisırma. 16. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 256. 17. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 264. Thierry refers to him as to a "painter, ascetic and stylite". 18. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 258. 19. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 249. 20. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 258. 21. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 257, where we find the author's comments on the spelling of the inscription refering to the angel on the right in the arch, «ΓΑΟΥΡ-ΙΗΛ», as well as on the alternation of ΑΒ and ΑΥ in Cappadocia. 22. TIB 5, v. 1, p. 465, entry "Zygos". 23. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 259, n. 1. 24. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 278-281. 25. Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 239. 26. As N. Thierry informs us, in 1976 the inscriptions were litteraly vandalised, as a consequence of the interest of tourists for the location, see Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 257. 27. For a presentation of these monuments see Thierry, N., Haut moyen-âge en Cappadoce 1-2 (Paris 1994) και Jolivet-Levy, C., Les églises byzantines de Cappadoce (Paris 1991). Βιβλιογραφία : Jolivet-Lévy C., Les églises byzantines de Cappadoce. Le programme iconographique de l abside et de ses abords, Paris 1991 Rodley L., Cave Monasteries of Byzantine Cappadocia, Cambridge New York Melbourne 1985 Schiemenz G. P., "Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar", Jahrbuch der Österreichischen Byzantinistik, 18, 1969, 239-258 Thierry M., Haut moyen-âge en Cappadoce. Les églises de la région de Ģavuşin, 1-2, Paris 1994 Δημιουργήθηκε στις 5/2/2017 Σελίδα 6/9
Thierry N., "Enseignements historiques de l'archéologie cappadocienne", Travaux et mémoires, 8, 1981, 501-519 Thierry M., Thierry N., "Ayvali Kilise ou pigeonnier de Güllu Dere: Église indédite de Cappadoce", Cahiers archéologiques, 15, 1965, 97-154 Πολίτης Λίνος, "Βυζαντινά επιγραφικά", Ελληνικά, 24, 1971, 126-128 Δικτυογραφία : Inscriptions of the Christian Empire (ICE), Greek http://132.236.125.30/jmm/ice_ick_biblio/ice_grk.html Kokar kilise http://www.pbase.com/sabbilsel/kokar_kilise Les peintures murales de six églises du haut Moyen Âge en Cappadoce http://www.persee.fr/web/revues/home/prescript/article/crai_0065-0536_1970_num_114_3_12541 Pürenli seki kilisesi http://www.pbase.com/sabbilsel/purenli Γλωσσάριo : iconographic programme The elaboration and arrangement of wall paintings in a Byzantine church, according to unwritten rules. For example, the customary depiction of Christ Pantokrator on the dome. Imperial Door The entrance to the naos (main church). narthex A portico or a rectangular entrance-hall, parallel with the west end of an early Christian basilica or church. Royal Doors (or Holy Doors) The central entrence to the bema, the door of the temple in an Orthodox Church Παραθέματα Inscription of Niketas the Stylite +ΥΠΕΡΕΥΧΙCΚCΟΤΙ ΡΙΑCΚΦΕCΕΟCΑΜΑΡΤΙ ΟΝΝ ΚΙΤΑCΤΥΛΙΤ[ΟΥ] ΠΗCΤΙΑCΧΗΤΟΥΚ[ΑΤΑ] ΓΙCΑΝΤ. ΟΙ.. According to the transcription by Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 248. +ΥΠΕΡΕΥΧΙCΚCΟΤΙ ΡΙΑCΚΦΕCΕΟCΑΜΑΡ.. ΟΝΝΗΚΙΤΑCΤΥΛΙΤ.. Γ Ι/CΑΝ Τ ΟΝ Δημιουργήθηκε στις 5/2/2017 Σελίδα 7/9
Ήτοι + Υπὲρ εὐχῆς καὶ σ(ω)τηρίας καὶ ἀφέσε(ω)ς ἁμαρτιῶν Νικίτα στυλίτου. Πιστὶ ἀσκητοῦ καλλιεργ(ή)σαντος τὸν ναὸν τοῦτον According to the transcription by Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 258. + Ὑπὲρ εὔχης κ(αὶ) σοτι/ρίας κ(αὶ) [ἀ]φέσεος ἁμαρτί/ον Ν[ι]κίτα στυλίτ[ου]/ πήστι ἀσχητοῦ Κ[..]/ΓΙCΑΝΤ[./οι[ According to the transcription by Rodley, L., Cave Monasteries of Byzantine Cappadocia (Cambridge 1985), p. 187. Inscription of the kleisourarch Eustratios +ΥΠ[ΕΡΥ]ΓΗΑCΗΕΡΑΡΧΙ ΑΟΔΟΙΩΙCΤΙΝΥΠΕΡΕCΗ ΑΝEΝΘΕΟCΚΑΡΠΟΦΟΡEΙCΑΝ ΤΟCΕΥCΤΡΑΤΙΟΥ.ΥΕΡΕΤ? ΚΑΗCΟΥΡΙΑΡΧΟΥΖΕΥΓΟΥC ΚΛΑΛΟΥCΑ.ΤΟΝΦΥΛΑΙΩΟΙ ΑΜΗΝ According to the transcription by Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 249. +ΥΠ ΓΗΕCΗΕΡΑΡΧΙ ΑΟΔΟΞΙCΤΙΝΥΠΕΡΕCΗ ΑΝΕΝΘΕΟCΚΑΡΠΟΦΟΡΕΙCΑΝ ΤΟCΕΥCΤΡΑΤΙΟΥ.Υ.Κ.Ε.Υ. ΚΛΗCΟΥΡΙΑΡΧΟΥΖΕΥΓΟΥC.ΚΛΑΔΟΥCΑΥΤΟΝΦΥΛΑΞΟΝ ΑΜΗΝ Ήτοι +Υπ[ερ] αγηας ηεραρχια[[ς]] δοξις τιν υπερεσηαν εν Θεοσ καρποφορεισαντος Ευστρατιου ευκλεου[ς] κλησουριαρχου Ζευγους <και> Κλαδους. αυτόν φυλαξον. Αμην According to the transcription by Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 258. + Ὑπὲρ ἁγήας ἡεραρχί/α[ς] δόξις τὶν ὑπερεσή/αν ενθέος καρποφορείσαν/τος Εὐστρατίου εὐκλεοῦ[ς]/ κλησουριάρχου Ζεύγους/ [καὶ] Κλάδους. αὐτὸν φήλαξον. Ἀμήν According to the transcription by Rodley, L., Cave Monasteries of Byzantine Cappadocia (Cambridge 1985), p. 187. For different transcriptions see: Schiemenz, G. P., Die Kapelle des Styliten Niketas in den Weinbergen von Ortahisar, Jahrbuch der Österreichischen Byzantinistik 18 (1969), p. 248, 249. Thierry, N., Haut moyen-âge en Cappadoce 2 (Paris 1994), p. 258. Δημιουργήθηκε στις 5/2/2017 Σελίδα 8/9
Rodley, L., Cave Monasteries of Byzantine Cappadocia (Cambridge 1985). Jolivet Lévy, C., Les églises byzantines de Cappadoce (Paris 1991), p. 56. Δημιουργήθηκε στις 5/2/2017 Σελίδα 9/9