International congress of byzantine studies belgrade, 22 27 august 2016

Charalambos Bakirtzis 
Foundation A. G. Leventis, Nicosia, Cyprus; 
[e-mail]
Ioannis Iliadis
Krinides-Kavala, Greece; 
[e-mail]
The Lighting in Two Byzantine Churches on Cyprus: 
The Panagia tis Asinou and the Panagia tou Arakos
The natural lighting in Byzantine churches that have been in constant liturgical use has not 
always remained unaltered owing to a variety of interventions rendered necessary by constantly 
arising needs. Structural interventions have altered the quantity and the quality of the light entering 
the churches, as well as the original harmonious relationship between the exterior and the interior 
and vice versa. Consequently, it is not surprising that many Byzantine churches today satisfy neither 
the needs of their numerous visitors nor their own liturgical needs. In order to remedy these needs, 
lighting systems are often installed without following specific aims and principles.
Recognising this problem, the A. G. Leventis Foundation, in collaboration with the Department 
of Antiquities in Cyprus, has installed artificial lighting systems in ten churches in the Mount 
Troodos region which are on the UNESCO List of World Heritage Monuments in such a way as to 
highlight their spiritual character and historical value. 
In this paper we will present the observations that led to the design, construction and 
installation of lighting systems in two 12
th 
century churches on Cyprus: the Panagia tis Asinou and 
the Panagia tou Arakos.
The main aim in the architecture of these two Byzantine churches, as in all Byzantine churches, 
was to convert the internal surfaces of the building into space. This was achieved through the flow 
of natural light into the interior, its reflection on the curves and flat surfaces and the positioning 
of the wall-paintings. This combination of surfaces, lighting and careful positioning of frescoes, 
permitted the creation of space: length, width and height, as well as a fourth dimension – a kind of 
depth which exists beyond and before the painted surfaces.
The light is constantly changing in terms of position, intensity and colour as a result of the 
movement of the sun and changing weather conditions. As the light is reflected off the painted 
surfaces of the walls, the images give the impression that they are moving. For example: Because 
the twelve windows in the dome of the Panagia tou Arakos, are positioned slightly out the church’s 
main axes, the viewer has the sensation that the painted interior of the building is revolving. As it 
revolves, some of the depicted figures, appear to emerge from their frames. 
Also, in its reflections off the painted surfaces of the walls, the light is transformed into a 
diffuse pool of colour. It is this which enables the interior of the Panagia tis Asinou to assimilate into 
one single whole the painted scenes from different historical periods that exist side by side.

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After continuous measurements and calculations, we reached the conclusion that the interiors 
of the Asinou and Arakos churches were amply lit at alternating points throughout the day and all 
year long. For example, for a few minutes at sunrise on the equinox, a beam of light illuminates 
the tomb of the founder of the Panagia tou Arakos. In Asinou, following the additions made to 
the building in the late 13
th
-early 14
th
century, the central part of the church was the most brightly 
illuminated, and for this reason was selected for the new mural decoration in ca. 1340, depicting a 
veritable wealth of scenes.
In order to select the most suitable form of lighting system for each church and the best 
position for it, we followed the following principles: the number of lighting devices had to be kept 
to a minimum; the lights had to be as inconspicuous as possible and produce a minimal amount 
of glare, and the lighting had to be of a sufficient quantity and quality to illuminate not the painted 
surfaces but the church’s internal spaces.