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                <text>Crosses Cryptograms (East Jamb Of South Door)</text>
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                <text>On the east jamb of the southern door of the naos, apotropaic cross with a waived crown of thorns and cryptograms are depicted.&#13;
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                <text>Figure-034(5-5)</text>
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                <text>A chevron design, decorates the west portal of the south door of the central bay. The motif consists of superimposed wavy red and black lines in turn, on a white setting.</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-034(6-6)</text>
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                <text>Saint Anargyri, moneyless’ saints, occupy the eastern side of the soffit of the southern wall of the central bay.&#13;
They are Saint Ermolaos, Saint Panteleimon, Saint Damian and Saint Cosmas. They were practitioners who offered their services without accepting any money from their patients and therefore were associated with the concept of healing.&#13;
Their depiction on the soffit of the south wall was intentional and promoted their protective role, not only for the worshippers but the donor too.&#13;
Even though traces of the twelfth layer are not visible in any part, it is supposed that the same saints were painted there and this is another way the cosmopolitan aura of Asinou is revealed.&#13;
The Anargyri Cosmas and Damian are of particular interest as possibly in every church they are included within their iconographic cycles.&#13;
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-033(5-5)</text>
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                <text>Figure-033(6-6)</text>
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                <text>Christ the Merciful is depicted on the left side of the templon and is part of the Paraklesis composition, along with His mother and John the Baptist depicted across. This representation corresponds to the Deesis depicted on either side of the eastern wall of the narthex and in turn establishes a visual analogy between the two. This duplication was not unusual within the late Byzantine monastic mural programmes. According to scholars, their depictions in these two parts of the church operate as gradual thresholds of holiness.&#13;
&#13;
It bears no doubt that Christ the Merciful was part of the original programme of the Paraklesis as he was the receiver of Mary’s praise for showing mercy to the humankind. But the fourteenth-century fresco must have undergone a few stylistic modifications. The Christ in the bema imitates the posture, gestures and colour palette of His figure in the narthex but in a more lifelike manner, in order him to be evenly depicted on the available space of the panel.&#13;
&#13;
The depiction of Christ holding the book and the inscription on it taken from John (13:34):&#13;
&#13;
'A new commandment I give to you, that you&#13;
&#13;
love one another; even as I have loved you'. &#13;
&#13;
It seems not being part of the original programme as depictions of the Paraklesis before the 1105/6 cycle did not include Him holding a book. Therefore they thought to be innovative entries of the fourteenth century.&#13;
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                <text>On the east portal of the north door of the central bay, an apotropaic cross with a waived crown of thorns and cryptograms are depicted and date to the fourteenth century.&#13;
&#13;
The cross is brown-coloured and the letters black. Both are painted on a white background.&#13;
&#13;
A patch in the middle of the cross clearly shows that on the twelfth century layer, a decorative motif yellow lozenges and pink palmettes possibly along with a cross was represented.</text>
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            <description>Information about rights held in and over the resource</description>
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Depictions of them have been attested at Trikomo and at Asinu itself on the twelfth century layer within the bema area in scenes of the Mariological cycle. However, the whole representation of the bema arch bears visual features belonging to its era. Their contemporaneous parallels are to be found in Crete where Anna and eoakim are depicted in medallions beneath the Annunciation.</text>
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From right to left, they are recognised as Saint Mardarios  with its distinctive red vivid cap, Saint Evyenios as a yound man, Saint Ayxentios  with long grey hair and Saint Eystratios painted with pale face. The fifth saint of Sebaste, Orestes, is not depicted.&#13;
&#13;
The Saints were associated with healing as miracle workers, and their depiction was for taking care the congregation of the church and of course, the donor.&#13;
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They were a frequent theme, a ‘standard’, in fresco programmes across the middle Byzantine world. Consequently these saints show that Asinu was not a provincial and rural monastic foundation, but its programme was shaped by cosmopolitan ideas. Therefore although traces of the twelfth layer do not survive, it can be argued that the same Saints were portrayed there.&#13;
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According to their Vitas, these Saints were healers, in the form of miracle workers. They were chosen to be depicted on the arches of the naos, by protecting the worshippers and the donor.&#13;
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Saint Minas is a saint connected to Cyprus as he was widely venerated.&#13;
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Also these Saints were chosen frequently, and became the norm for middle Bizantine mural cycles across the empire. Therefore it is profound that the painters draw inspiration from cosmopolitan ideas traveled to Cyprus. &#13;
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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                <text>Figure-027(6-6)</text>
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