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Mosaics of Nea Moni:

The mosaics of Nea Moni, in terms of technique, were created with the well-established technique used throughout the Byzantine Empire. This technique constitutes of the layering of lime plaster, the top of which is referred to as the setting bed where a preliminary sketch was made in fresco. Before the setting layer dried, small fragments of glass and other materials, known as tesserae, were set into the plaster to fit the fresco sketch and create the desired image. It is interesting to note that gold is the only metallic tesserae used over all the mosaics at Nea Moni.

As with many Byzantine churches, the main focus in their decoration are images of the Virgin Mary, saints, and scenes from the story of Christ. Though the mosaics sustained much damage over the several hundred years of history, many remarkable mosaics still remain.

The Virgin Mary:

In the central apse of Nea Moni is a mosaic of the Virgin Mary, standing in a orant pose with arms outstretched in prayer. It deviates from classic Byzantine iconography as she is not depicted with the Christ Child, which is meant to emphasize the Virgin Mary’s role in the Christian faith. Though the orant Virgin was an uncommon pose prior to iconoclasm, it became widespread during the 11th century, and emphasized her purity and devotion to God.

Baptism of Christ:

One of the more well preserved mosaic housed at Nea Moni is the scene of Christ being baptized. In this depiction, Christ’s head takes the center space and is framed by a red cross-nimbus and further emphasized by the vertical beam of light shining upon him. The Jordan River engulfs Christ as Saint John the Baptist towers over him on the bank of the river, presumably to acknowledge his role as Christ’s predecessor as he passes on the duty of the divine to Christ as he baptizes him. Two angels are represented on the right river bank while on the opposing side six figures who are presumably swimming or preparing for their own baptism. Also in the river, below the feet of St. John is the figure of a swimming youth determined to be the personification of the river Jordan, an iconographic tradition that precedes the Byzantine Empire.

The Transfiguration:

In the Chios mosaic, the figure of Christ is surrounded by a circle of glory created by the natural curvature of the alcove ceiling, accompanied in this space by Moses and Elijah on either side. The three figures below, representing the apostles Peter, James, and John, cower as Christ’s true divine nature is revealed to them. Though there is some form of background to this scene, it is notable that the setting conveys no element of Mount Tabor even though the Baptism of Christ had landscape elements of the River Jordan, though this is most likely the case in order to fully emphasize Christ’s holy nature.

The Crucifixion:

Another iconic scene from Christian scripture is that of Christ on the cross. In the scene’s mosaic at Nea Moni, the figure of Christ has taken the heaviest damage, leaving the five on lookers intact. Two of the figures, the mourning Virgin Mary and Saint John the Baptist, have been clearly labeled in dark blue lettering above their respective figures. In comparison to the other three figures, which are a Roman Centurion and the two Myrrh-Bearing women, the figures of the Virgin Mary and St. John are larger and bear halos to acknowledge their divinity. All that remains of the central figure are the hands and feet of Christ, still bleeding from the recent act of crucifixion.