On the south portal of the west door of the narthex prophylactic crosses with a waived crown of thorns and cryptograms are shown.
The cross operates as apotropaic symbols to evil powers. Therefore its depiction on the doorstep had a reasonable meaning.
The cryptograms written on the jambs of the narthex underline the sacrifice of Jesus though the cross, his charity and operate as signs of the faith of the martyrs but also highlight the salvific and eschatological symbolism of the cross.

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On the soffit of the west arch of the narthex, two angels unfold the Scroll of Heaven. The Scroll is embellished with golden stars and two medallions containing two heads, the personified Moon and Sun. The accompanying inscription reads: the angels are rolling up the scroll of heaven, and the source of inspiration comes mainly from the book of Apocalypse, Isaiah and an extract of a homily on the Second Coming. Counterparts of the representation are attested at the same exact position in the church of Saint Nicolas of the Roof.

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On the southern half of the internal part of the west arch of the narthex, an angel sounding a trumpet is depicted. In front of him there is a group of sarcophagi from which two pairs of souls emerge. The first accompanying inscription reads: 'The trumpeting angel' and the second one: 'The dead rise'.

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On the western side of Saint Irene, a renowned saint is depicted. It is Saint Demetrios, a traditional military saint who at Asinou is portrayed in consular attire. It was the norm to be illustrated armoured on a horse or more frequently on foot. Thus his representation at Asinou as a martyr wearing the mantle and embroidered tunic of a dignitary is exceptional. The portrait is inspired by an early Christian custom which depicted Demetrios with his original occupation as a consul. His conversion to a military saint took place around the tenth century in Thessaloniki, his focal cult centre. From fourteenth century onward and during the whole Palaiologan period, when he was extensively venerated, it was uncommon for Demetrios to be depicted as a consul, even though in biographical scenes he usually wears tunic and mantle.

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On the soffit of the south arch of the narthex, depictions of the Torments of the Damned are placed.
On the western side, the representations refer to group punishments and they are developed within rectangulars. These are the worm that sleepeth not, the gnashing of teeth, Tartarus and the outer darkness. The group of people in each representation are discerned only via symbols and inscriptions such as white lines corresponding to worms in the panel of Worm that Sleepeth Not, visible teeth for the scene of the Gnashing Teeth, poor light in the scene of Tartarus and dark light for the Outer Darkness. An important detail is that the figures are turned to the centre of the narthex where Christ, the Supreme Judge, is pictured while raised eyebrows and brown brushstrokes on the face of the condemned declare grief and torture.
Regarding the subject of the scenes, these are mentioned in apocalyptic texts and church hymnography. The Worm, the Gnashing of Teeth and the Outer Darkness are representations drawn by the Gospels of Mark and Matthew and are sung again and again in troparia. However, Tartarus is an unusual appearance in iconography and hymnography.
In terms of iconography, the representation of the damned as a unified group, half lengthened as in Asinou, belongs to a long-standing tradition which is abandoned in the Palaiologan era. From this period on, the damned are represented in full length and separated.
By contrast, on the eastern side of the southern arch of the narthex, individual torments are represented. As on the opposite side, the four scenes are developed within square partitions and are identified as: he who ploughs over the boundaries and the dishonest miller, the thief and the slanderer, the usurer and falsifier of weights and the faithless nun, the faithless monk and the woman who refuses to nurse her children.
The figures are depicted naked, bounded by restraints and hanged over flames. The equipment, symbols and inscriptions which accompany the figures contribute to distinguish the identity of each one. In fact, those symbols and the message of each scene have a didactic purpose and an apotropaic impact to the agrarian congregation of Asinou.
Most possibly the selection of the specific individual sins portrayed in Asinou represents the rural and monastic environment of the Phorviotisa monastery. Counterparts in Venetian Crete, such as village churches, follow a common tradition depicting aspects of the local historical and social conditions such as crimes in an agrarian society.

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Saint Irene, the Daughter of Saint Spiridon, constitutes an iconographical unicum, attested only at Asinou church. She holds a cross, the characteristic feature of a martyr and wears a maphorion of brown and dark blue colours.
Information concerning her life are drawn exclusively from the Life of Saint Spiridon. According to the story, an unknown man handed over his personal valuable items to her before leaving on a journey. When he returned he was informed that Irini was dead and he was terrified that he lost all his belongings. Then he visited his father and Saint Spyridon went to her grave and called her back to life in order to indicate to him where she had buried his valuable things.
The explanation for choosing Saint Irini to be displayed in the narthex must be twofold. Primarily she is linked to the message of narthex’s iconographic program regarding the Second Coming and resurrection and secondly due to the fact that she is a local saint.

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The wall-painting of the Virgin of Mercy and Latin Donors is on the semidome of the south apse of the narthex and shows a Latin widowed mother and her children praying to her patron saint Virgin.
The fresco represents an outstanding case, along with others, of a historical reality. It offers an insight to the multicultural character of Lusignan Cyprus and the impact of Greek and Latin cultures on one another. The wall-painting is a hybrid, as it was offered by a Latin lady to an Orthodox church with Latin and Greek iconography and style and a Greek inscription.
This image of the Mother of God belongs to the western iconographic type of the Madonna della Misericordia as Mary extends her mantle in protective mercy over supplicants. Although the iconographic type of the Virgin is Latin, particular features relate her with local Orthodox and Eastern Mediterranean artistic production, such as Mary’s maphorion which was common in late thirteenth-century Cypriot icons or the pearled-rimmed haloes attested in icons at Sinai, which are believed to be artistic products of Crusaders or Cypriot painters.
The Latin benefactress wears a cloak-like black veil, a garment believed to have been introduced by refugees of Western European origin from Palestine. The fresco dedication was executed possibly to express her appreciation for her own and her sons’ survival after the siege of the last bulwark of Christianity in the Levant, Acre, in 1291 A.D. and presumably in memory of her husband.

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The monk Kallinikos is depicted on the west respond of the south arch, above the petitioner Vasilios. The inscription is placed above the head of the monk and reads: prayer of the servant of God Kallinikos the monk. He is portrayed facing to the east, with his face now faded, and wearing the characteristic monastic attire, i.e. dark grey girdled tunic, black kukulion and black boots with pointed ends. His hands are raised in prayer and one of them is painted outside the frame, overlapping the red band. In this way his petition is integrated into the space of the narthex and the visitor can imagine him physically asking for deesis.
Paradoxically, Kallinikos is depicted in the south bay of the narthex and is the only monk who is represented among the area where the donors are. Normally, monks were depicted on the east wall in proximity to the Virgin Phorviotisa and the Deesis or on the northern half of the narthex where the Paradise and the Justice are.

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Basilios Drakocheres is portrayed on the west respond of the south arch, under the monk Kallinikos. His face is turned eastward with his hands raised in prayer. His clothing, rolled hair and head garment resemble the Western clothing of the portrait of the donor of Saint Georgios Mahairemenos. Specifically, he wears a white cotte discerned from the white cuffs, a long dark blue coat and a white coif. The inscription reads: 'Prayer of the servant of God Basileios Drakocheres.'

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George, the donor of the portrait of his patron saint, is depicted as a bearded man dressed in an entirely Western apparel. He wears a dark coat with a brown lining, seen through the front opening, sleeves and neck, which is folded back in order to form the two triangular parts of a collar. Under the coat, he wears a dark blue cotte which has long tight sleeves, each with five white buttons and pointed shoes and raises his hands towards his patron saint. He also wears a white bonnet-type cap, reflecting Italian and French head garments of the thirteenth and the first half of the fourteenth century with the traditionally accompanied hairstyle, rolled outward.

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