The northern apse of the church of the Virgin Mary Drosiani in Naxos, a space that hosts the exceptional fresco of the Virgin Mary Nikopoios from the 7th century.
Title: Virgin Mary Nikopoios (section)
Artist: Unknown
Type: Fresco
Date: 7th century AD
Dimensions: Not specified (fresco in an apse)
Materials: Paints on plaster
Location: Northern apse, Church of the Virgin Mary Drosiani, Moni, Naxos
The Charm of the Virgin Mary Nikopoios in Naxos
The Byzantine art treasure of Naxos is located in a tiny church near the village of Moni. The church of the Virgin Mary Drosiani is not much to look at from the outside, with a plain stone-thatched roof and a small entryway. But inside, this ancient church—dating back to at least the seventh century, and possibly much earlier—boasts a wall of beautiful frescoes on the northern side of the apse.
Naxos’s Drosiani church may not have the grandiosity of Notre Dame. But art historians, archaeology experts, and any unrepentant lovers of the Virgin may know that the wall fresco in Drosiani is one of the best preserved in all of Byzantium, its northern sibling the capstone atop the wall.
Positioned in the peaceful landscape of Naxos and not far from the village of Moni (Monastery), stands an art treasure from the early Christian period: the Panagia Drosiani Church. Dating back to either the 6th or 7th century, this ancient church harbors some of the most essential Byzantine frescoes found in the Balkans. Among the beautiful murals is the depiction of Panagia Nikopoios in the church’s northern apse, which undeniably takes the top spot as a Drosiani masterpiece.
What a wonder the Drosiani church is! If anything, its structure feels even more like the work of early Christian architects because of the single, central space that was possibly and originally designed around a domed mausoleum before it evolved into a full church complex. That core presence makes me think of the shell of a Nautilus, and the spiral growth of the church here: a westward extension, dome, apse, the charming snail’s pace in which they’ve added Byzantine chapels flanking the church on the north side and adapted the worship that mostly takes place in the sanctuary. The very air inside seems thick with tales of faith.
The Victorious Virgin: Iconography of the Nikopoios
Overshadowing the northern apse’s semi-dome is a large and commanding bust portrait of the Theotokos (Mother of God) Nikopoios. The term “Nikopoios” translates to “She Who Brings Victory,” and is laden with significance. This type of icon depicts the Virgin Mary facing the viewer and most often holding the Christ Child before her. In the Drosiani fresco, she is shown cradling the young Emmanuel and evidently surrounded by a huge, luminous circle. This image has a long pedigree through the Byzantine lands and centuries, and the title has taken on a special resonance in recent years.
Christ Emmanuel within the Mandorla
The Christ Child, Emmanuel “(God with us),” is enclosed within the circular glory. This mandorla isn’t just a frame; it’s a symbol of divine light and the uncreated energy of God coming from the Son. Though some details have been lost to time, one can still make out the solemn yet youthful features of Christ. Above his head, faint traces remain of a cross nimbus that probably had at its center the word “ΦΩΣ” (Light), further noting him as the Light of the World. What the artist does here is masterful. He separates and elevates the divine child, all while implying that he is still being held by his earthly mother.
Saints Kosmas and Damian are commemorated at the Drosiani Chapel in the Cyclades. They were renowned physicians noted for the healing arts and, like the Theotokos, were believed to intervene with the heavenly powers on behalf of the sick and troubled. Their remedies were not always trusted in society, but when all else failed, people were very likely to seek the help of these medicinal saints. The bust medallions on either side of the central image at the Drosiani Chapel speak greatly to the altarpiece at the Drosiani and the figure of the Theotokos before whose presence faithful supplicants sought intervention.
The Panagia Nikopoios fresco has a striking artistic quality that has lasted for 13 centuries, and it appears that even wear has not taken its toll on its strikingness. It represents a high point in Byzantine wall painting (Wulff). It does not belong to inventive period of the Middle Ages; it does not belong to a time when conservatively safe wall painting was the order of the day. Yet, for being different from those two extremes, the fresco is uneasily placed. It is not nearly so stagnant as so many 7th-century works seem to be, and there is in it some palpable presence.
The Face of Serene Majesty
The Virgin’s face is the undeniable focal point. Rendered with exquisite linearity, it embodies an ideal of serene, aristocratic beauty. The massive, almond-shaped eyes dominate, their slightly bluish whites lending depth to her solemn, direct gaze towards the viewer. Perfectly arched brows follow the upper curve of the eyes, tapering elegantly. The long, straight nose and small, delicately formed mouth contribute to an overall impression of dignified composure and profound inner peace. The artist used subtle modulations of colour to create a sense of volume, giving the features a smooth, almost ivory-like appearance against the rougher plaster surface. Her head is covered by a dark headcloth falling low on her forehead and a deep purple maphorion (veil), the traditional garment of the Theotokos, adorned with a cross at its peak. This combination of idealized beauty and spiritual gravitas makes the Drosiani Virgin one of the most beautiful surviving depictions from this period.
Colour, Technique, and Atmosphere
The colours, though perhaps faded from their original intensity, still convey richness. The deep purple of the maphorion contrasts with the paler tones of the face and the off-white background. The rendering technique relies on strong, clear outlines to define forms, typical of monumental painting of this era. The artist demonstrates a confident hand, shaping volumes with economical yet effective lines. The original viewing conditions, likely under the flickering light of oil lamps within the dimly lit church, would have further enhanced the fresco’s mystical atmosphere, making the Virgin’s large eyes seem even more penetrating and her presence more immediate. This connection to faith remains potent for the Naxian people, who hold the Drosiani church and its icons in deep reverence, a testament to the island’s enduring spiritual heritage.
The Dedicatory Inscription
Above the Virgin, along the narrow arch of the apse, runs a large-letter inscription. Though partly damaged, it serves as a dedication, likely honouring the anonymous patrons who commissioned and funded this magnificent artwork (“those who spent and took care”). Such inscriptions provide invaluable glimpses into the piety and social structures of the time, reminding us that these works were often community efforts, expressions of collective faith.
Scholarly Perspectives and Enduring Significance
While the 7th-century dating and Nikopoios identification are widely accepted, scholarly discussion continues around nuances of style, influence, and the precise historical context, sometimes referencing related theological studies (Theologia). Some researchers debate the extent of Constantinopolitan versus local Naxian workshop influence, while others explore connections to specific historical events of the turbulent 7th century. Regardless of these finer points, the Panagia Nikopoios of Drosiani remains an undisputed masterpiece. It’s more than just pigment on plaster; it is a profound statement of faith, a superb example of Byzantine artistic achievement, and a precious link to the deep history of Naxos and the Aegean. Its survival is a gift, offering us a direct window into the soul of a bygone era.
The Virgin Mary Nikopoios, a masterpiece of the 7th century, adorns the northern apse of the Virgin Mary Drosiani in Moni Naxos, testifying to the rich Byzantine heritage of the island.
Conclusion
The Virgin Mary Nikopoios of Drosiani in Naxos stands as a silent yet eloquent witness of a distant era, filled with faith, artistic creation, and historical challenges. Her figure, with its noble grace and penetrating gaze, bridges the past with the present, inviting us on a journey into the world of Byzantine art and spirituality. It is not merely a fresco in an early Christian church; it is a piece of the soul of Naxos, an invaluable heritage that embodies the beauty, history, and deep religiosity of the Aegean. Visiting Drosiani and viewing this masterpiece is a unique experience, a reminder of the timeless power of art to move, inspire, and connect people across time.
Frequently Asked Questions
What does the fresco of the Virgin Mary Nikopoios in Drosiani Naxos depict?
The fresco depicts the Virgin Mary in bust form, holding the Christ in childhood in front of her chest, within a luminous circular glory. This type is called “Nikopoios.” On either side of the Virgin Mary, in smaller circular medallions, Saints Cosmas and Damian are depicted. The depiction dominates the northern apse of the church of the Virgin Mary Drosiani in Naxos.
What is the date and significance of the Virgin Mary Nikopoios of Naxos?
The fresco of the Virgin Mary Nikopoios in Drosiani Naxos dates to the 7th century AD. It is one of the most significant and oldest examples of Byzantine monumental painting in Greece. Its significance lies in its artistic quality, its antiquity, and its connection to the important iconographic type of Nikopoios, which is associated with protection and victory.
Where exactly is the fresco of the Virgin Mary Nikopoios located in Naxos?
This specific fresco of the Virgin Mary Nikopoios is located inside the early Christian church of the Virgin Mary Drosiani. This church is situated near the village of Moni, in mountainous Naxos. The fresco adorns the quarter-sphere of the northern apse of the main church, serving as one of the central points of interest for visitors to the monument.
What are the main characteristics of the art of the Virgin Mary Nikopoios in Drosiani?
The art of the Virgin Mary Nikopoios in Naxos is characterized by flawless design, the large expressive eyes of the Theotokos, and the grace and dignity of her figure. It employs clean lines and vibrant colors, such as deep purple. The technique demonstrates a high level of artistic skill, typical of good Byzantine painting of the 7th century.
Why is this Virgin Mary of Naxos called “Nikopoios”?
The name “Nikopoios” (she who brings victory) is attributed to this iconographic type where the Virgin Mary holds Christ frontally before her. This type has historically been associated with the protection of Constantinople and the Byzantine Empire. The Virgin Mary Nikopoios of Naxos follows this model, symbolizing divine protection and the power of faith.
Bibliography
- Archaeological Bulletin. Archaeological Bulletin – Volume 60. 2005.
- Chatzēdakēs, Manolēs. Naxos. Melissa, 1989.
- Christian Archaeological Society (Athens, Greece). Bulletin of the Christian Archaeological Society – Volume 21. Athens: Christian Archaeological Society, 2000.
- Theologia: scientific periodical published quarterly. 1991.
- Wulff, Oskar. Early Christian and Byzantine Art. Akademische Verlagsgesellschaft Athenaion, 1916.
