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                  <text>Church of Panagia of Asinou</text>
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                <text>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. </text>
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                <text>Figure-104</text>
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                <text>The wall-painting of Saint George on horseback, in the type of Diasorites, is placed in the conch of the south apse of the narthex and it is dated to the early thirteenth century.&#13;
As stated by the inscription, Nikiphorus Kallias, a farrier of horses, was the donor of the fresco.  The choice of Saint George was not only due to the fact that he was famous among other saints, but also due to the connection of his patron’s occupation and his characteristic as a protector of cattle.  &#13;
Saint George stands out as one of the most elaborated frescoes in Asinou church reflecting the wealth of the donor.  He is depicted in lavish materials such as gold, silver, cinnabar and the distinctive blue, lapis lazuli.  The set in which he was portrayed is a spare landscape while he is riding eastward to the bema with his bright red cape flowing.  Being chief of the elite corps of saint stratilate, George wears military blue and ginger colour garments embellished with pearls and gems and an imperial crown, particular features of holy warriors.  Behind him is his splendid round shield painted with stars and medallions and adorned with pearls around a cross supported with a crescent moon. Lastly, the horse occupies a large surface of the fresco and is depicted in an active position. </text>
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                <text>Ioannides, Marinos</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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            <description>Information about rights held in and over the resource</description>
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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-103</text>
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                <text>Saint Mamas</text>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>Saint Mamas is pictured on the wall of the south apse of the narthex, adjacent to Saint George.  It is considered as additional to the protective and therapeutic implication of the fresco program of the area, as he was seen as a holy warrior and a curer.  &#13;
The figure of Saint Mamas in the church of Asinu is one of the earliest in Cyprus and dates to the layer of 1332 A.D..  He is depicted beardless with a youthful face, riding a lion and having a lamb in his left hand and a shepherd’s crook in his right.&#13;
The image of Mamas riding a lion and holding both his attributes in the frescoes of Asinu is one of the earliest examples of the variant.  In other instances, Mamas was depicted either only riding the lion, or holding the lamb and the shepherd’s crook.&#13;
Saint Mamas was especially venerated in both East and West, so his worship in Cyprus was not to remain unaffected.  Traditionally, he was a protector of shepherds and curer of their flocks and therefore, he was a beloved saint on Cyprus and in other sheep-breeding areas such as kapadokia, Crete, Macedonia and Serbia.  On the other hand, the Lusignan court in Cyprus was promoting the worship of Saint Mamas as he was a favoured patron saint in the West with the most prominent example being the Cathedral of Langres in Champagne.&#13;
Lastly, a connotation of the placement of Saint Mamas’s figure opposite the portrait of Saint Anastasia could not be hypothetical, as to both saints were attributed the characteristic of the curer.</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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            <description>Information about rights held in and over the resource</description>
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                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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            <description>A name given to the resource</description>
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According to the fifteenth century chronicler Mahairas, St George Machairemenos is i.e. a local man who works miracles.  His cult can be found in the vicinity of Achlionatas village, today known as Analiontas south of Nicosia.  Additionally, in the eighteenth century, the historian Archimandrite Kiprianos characterises him as one of the three hundred ‘Alaman’ saints; who found shelter in Cyprus during the repeated population movement from the mainland to the island taking place in the long Arab conquest.</text>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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                <text>Library of Cyprus University of Technology</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="833087">
                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>https://apsida.cut.ac.cy/items/show/45036</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>JPG, MP3</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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            </elementTextContainer>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Figure-098</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>35.046355, 32.973431</text>
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        <name>Panayia Asinou (Church : Troodos--Cyprus)</name>
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        <name>Εικόνες--Μεταβυζαντινές--Κύπρος</name>
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      <tag tagId="7453">
        <name>Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)</name>
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              <description>A name given to the resource</description>
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                  <text>Church of Panagia of Asinou</text>
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      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Prophet Zechariah</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>Icons--post-Byzantine--Cyprus</text>
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                <text>Εικόνες--Μεταβυζαντινές--Κύπρος</text>
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                <text>Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)</text>
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            <description>An account of the resource</description>
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                <text>The Prophet Zechariah or Zaharias is depicted on the southern half of the soffit above the eastern doorway of the narthex.  As Prophet Isaiah on the other side, he is depicted as an old man with grey long hair and a pointed beard but, additionally, Zacharias wears the priestly hat, an ornamented grey tunic and the so-called paludamentum, bordered with pearls and gems and held together with a brooch.  The passage written on the scroll, taken from Luke I:68, reads Blessed be the Lord God of Israel, for he has looked favourably. The inscription reminds of a passage from Matthew 3:2 and 4:17 : “Repent, for the kingdom of heaven has come near” ; which is depicted on the scroll of John the Forerunner below.  Similarly, the conveyed message is again that salvation will happen only when one is repentant.&#13;
The figure at Asinou, can be easily confused between the Prophet Zechariah and priest Zacharias, the father of John the Forerunner.  Prophet Zachariah is usually portrayed as a beardless, bareheaded young man while priest Zacharias is depicted as an old man with the priest hat and the scroll.  Therefore a confusion arises regarding which person is depicted in the narthex of Asinou.  Nonetheless, as from the twelfth century onwards the two figures are frequently fused.  In Asinou, however, the priest Zacharias as a prophet must have been depicted as he was a popular figure in Cypriot iconography.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Ioannides, Marinos</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="833063">
                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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          <element elementId="45">
            <name>Publisher</name>
            <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>Library of Cyprus University of Technology</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>2006</text>
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            </elementTextContainer>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="833068">
                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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            <description>A related resource</description>
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                <text>https://apsida.cut.ac.cy/items/show/45036</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>JPG, MP3</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Image</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Figure-096</text>
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            <name>Coverage</name>
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                <text>35.046355, 32.973431</text>
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        <name>Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Church of Panagia of Asinou</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Monk Germanos</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>Icons--post-Byzantine--Cyprus</text>
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                <text>Παναγία της Ασίνου (Ναός : Τρόοδος--Κύπρος)</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Below Prophet Isaiah, on the lower part of the soffit of the eastern arch of the narthex, the monk Germanos is depicted.  He wears a brown tunic, not long, with a waistband under which another brown garment is worn.  He also wears a pair of black boots and his head is covered with a black kukulion.  His posture and hands are turned to the Panagia Phorviotisa, placed on the tympanum of the eastern arch of the narthex.  The accompanying inscription reads: 'Prayer of the servant of God Germanos the monk'.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Ioannides, Marinos</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="833044">
                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="833045">
                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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                <text>Library of Cyprus University of Technology</text>
              </elementText>
            </elementTextContainer>
          </element>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
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                <text>2006</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="833049">
                <text>Απαγορεύεται η δημοσίευση ή αναπαραγωγή, ηλεκτρονική ή άλλη χωρίς τη γραπτή συγκατάθεση του δημιουργού.</text>
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            <description>A related resource</description>
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            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="833051">
                <text>JPG, MP3</text>
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John holds an open scroll.  He is popular for his theological writing and also the hymns he wrote, contributing to the formation of the Oktoihos or Paraklitiki.  He is portrayed in a few other Cypriot Byzantine churches and also, in the central nave of Asinu, on the layer dated to the thirteenth century.&#13;
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                <text>The Prophet Isaiah is portrayed on the north side of the soffit above the doorway leading from the naos to the narthex.  He is depicted as an old man with long grey hair, holding a scroll.  The scroll passage is extracted by his book I:19 and reads: "If you are willing and obedient, you shall eat the good of the land".  The inscription’s message contradicts and is cancelled by the new commandment, to love one another, written on the book of Christ who is depicted below.  Thus humankind from this time onwards does not have to obey and obtain the goods of the earth so as to secure eternal salvation of the soul but to love each other.</text>
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            <description>Information about rights held in and over the resource</description>
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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>Monk Theophilos is pictured on the lower part of the soffit of the eastern arch of the narthex.  Reference to Theophilos is made in the dedicatory inscription as one of the main donor supported by the common people.  His body is turned towards Virgin Phorviotisa but his eyes and glance turn to the side of the observer.&#13;
His tunic and undergarment are dark grey and brown, respectively.  Both are fastened by a black belt with a metallic buckle while the folded triangles indicate that the tunic had a front opening.  The length of his tunic is remarkably short with this resulting in a part of his legs being exposed along with his pointed, black and white boots.  The monk Theophilos has his head covered with a kukulion.  The inscription that accompanies his figure reads: 'The servant of God Theophilos the monk is dead, and those who look at this pray to the Lord, amen'.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Panayia Asinou (Church : Troodos--Cyprus)</text>
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                <text>Saint John the Forerunner, is depicted on the lowest part of the  southern side of the soffit on the eastern arch of the narthex.  Along with Christ and Virgin the Merciful constitute an iconographic Deesis.  Nevertheless, traditionally John is placed next to the Virgin and not next to Jesus as in Asinou.  Christ, though, is perceived equally to Mary.&#13;
John is dressed in a grey goatskin with sleeves and a scarf knotted in front.  His posture declares respect towards Christ as his head is inclined.  He blesses with his right hand and on his left he holds an open scroll.  On the scroll the following passage, extracted from Matthew 3:2 and 4:17, is written: 'Repent, for the kingdom of heaven has come near'.  Its message emphasises repentance during the course of our life, the most determining precondition for the salvation of the soul.  This message is in great accordance with the meaning of Deesis and the Second Coming.  &#13;
Contextualising Deesis in the whole iconographic program of the narthex of Asinou, it functions as a key image either by its placement, the selection of inscriptions or the gestures of each figure and serves a number of roles.  Firstly it is part of the Last Judgement.  Then it copies the iconography of the Deesis on the templon and sets zones of prayer and gradual holiness from the narthex to the church.  And lastly, Deesis has the role of the recipient of the intercessions of the saints depicted in the narthex, the individuals or groups of donors portrayed on the walls, the brotherhood of the monastery and every person participating in the services.  These roles can be enclosed within the cyclical procedure of response.  John preaches that the Kingdom of Heaven will not be late and evokes the humankind that only though repentance they will earn a place in Heaven.  Mary, on the other hand, asks from her son the salvation of humans and, in turn, Christ gives back a new command, to love one another, as a precondition.  Therefore, if those commands are fulfilled, then Jesus, Eleemon as He is, will show mercy and will bless the faithful.</text>
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                <text>Ioannides, Marinos</text>
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                <text>Digital Heritage Research Lab of Cyprus University of Technology</text>
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                <text>Library of Cyprus University of Technology</text>
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