Painted Churches In the Troodos Region

Ten small Byzantine churches scattered across the Troodos Mountains hold some of the finest medieval religious paintings in the Eastern Mediterranean. These UNESCO World Heritage sites preserve 500 years of artistic tradition in their vibrant frescoes.

Nine of the ten churches stand in the Nicosia District, while one church, Timios Stavros in Pelendri, is located in the Limassol District. These structures date from the 11th to the 16th centuries and display Byzantine metropolitan art of the highest quality alongside unique local characteristics.

The churches range from small rural chapels to larger monastery complexes like Agios Ioannis Lampadistis. Their simple exterior architecture contrasts sharply with the sophisticated paintings inside. This striking difference makes them easy to overlook from the outside, but stepping through their doors reveals walls completely covered in colorful religious scenes.

Historical Background

Cyprus became part of the Byzantine Empire in 965 AD when Emperor Nicephoros Phokas sent a fleet to repel Arab raids. For the next two centuries, Byzantine officials administered the island as a military province. Muslims either left or converted to Christianity, and a period of peace began. Despite high taxes, the island’s silk and food trades prospered, and major cities like Kyrenia, Famagusta, Nicosia, and Limassol were founded or expanded.

During this stable period, wealthy donors began endowing churches in the Troodos mountains. The region’s isolation and difficult terrain helped preserve these structures through centuries of political upheaval. The mountains protected them from coastal invasions and later conflicts that damaged many other Byzantine sites across the Mediterranean.

Over 500 years until the 16th century, many Byzantine churches were built in the Troodos region, creating one of the greatest concentrations of monasteries and churches in the former Byzantine Empire. The tradition of wall painting largely ended in 1571 when Cyprus fell to the Ottomans.

The Ten UNESCO Churches

UNESCO first recognized nine of these churches in 1985, then added the tenth in 2001. The complete list includes:

• Agios Nikolaos tis Stegis (St. Nicholas of the Roof) in Kakopetria is the oldest, an 11th-century monastery with the oldest surviving katholikon in Cyprus. The church got its nickname from the steep wooden roof added to protect the original dome.
• Panagia Phorviotissa, better known as Panagia of Asinou, near Nikitari dates to the 12th century. Built on the east bank of a stream in the north foothills of Troodos, it contains paintings from 1105-1106 with a definite date recorded by patrons, making it crucial for understanding mid-Byzantine art chronology.
• Panagia tou Arakou in Lagoudhera, also from the 12th century, sits between the villages of Lagoudhera and Saranti in the Pitsilia area. Scholars consider it one of the most important Byzantine churches on the island, with frescoes that represent some of the finest examples of Comnenian style.
• Agios Ioannis Lampadistis Monastery in Kalopanagiotis is a 13th-century monastery complex built on the east bank of the river Setrachos in the Marathasa valley. It represents the larger monastic establishments of the period.
• Panagia in Moutoullas, also 13th century, was built on a hill above the village through the effort of Ioannis of Moutoullas and his wife. Many believe it started as a private chapel. The church is the earliest example of the steep-pitched wooden roof style and features unique carved wooden basins.

• Timios Stavros in Pelendri has three parts, each built in a different period. The oldest section dates to 1178.
  The name means Holy Cross, relating to the story of Saint Helena, mother of Emperor Constantine the Great, who brought several relics, including parts of the holy cross to Cyprus during her time on the island.
• Timios Stavros tou Agiasmati in Platanistasa is a 14th-century church in the eastern Pitsilia area. Its late 15th-century paintings show a blend of Byzantine art with local painting tradition and some Western influence.
• Panagia Podithou in Galata, an early 16th-century church in the upper Solea valley, demonstrates the continuation of Byzantine artistic tradition even as the empire itself had fallen.
• Archangelos Michael in Pedoulas was built and decorated with frescoes in 1474 through the donation of Priest Vasilios Chamados. This timber-roofed church shows the late 15th-century combination of Byzantine art with local traditions.

• Metamorfosis tou Soteros (Transfiguration of the Savior) in Palaichori, built in the early 16th century, was the last church added to the UNESCO list in 2001. It overlooks the eastern section of the mountain range and features wall paintings influenced by various artistic styles.

Unique Architecture for a Mountain Climate

All ten churches share architectural elements specific to Cyprus, determined by the island’s geography, history, and climate. The most distinctive feature is the steep-pitched wooden roof with flat hooked tiles made from local materials. These roofs protect the churches from rain and occasional snow in the mountains.

In some cases, builders added a second roof over the original Byzantine masonry domes and vaulted forms. This architectural solution was necessary because weather fluctuations at high elevations threatened to damage the domes and the valuable fresco paintings inside. After discovering this protective measure, builders stopped constructing domed churches in such climates and used the steep wooden roofs instead.

The architecture is unique to the Troodos range and almost certainly of indigenous origin. From outside, these churches often look modest, even plain, like simple stone dovecotes. This humble exterior makes the elaborate interior decoration all the more surprising.

The Fresco Technique

The paintings are technically not true frescoes but wall paintings, though they follow the basic fresco technique. Artists applied paint to damp plaster walls, not dry or wet. The timing had to be perfect – if the plaster was too wet, the paint would run, and if too dry, it wouldn’t bond properly and would crack and peel over time.

The artists worked swiftly and with clarity, using a shared grammar of painting. They possessed a mutually accepted system of composition, figure proportion, and color that allowed them to create these works efficiently while maintaining high quality. This artistic language gave the iconography a durable visual significance that survives today.

The interior walls are covered almost entirely with painted scenes. The iconographic arrangement typically follows the classic Byzantine tripartition system, with three zones based on the church’s layout. The dome or highest area shows Christ Pantocrator (Christ the All-Powerful), the middle sections depict events from the life of Christ and the Virgin Mary, while the lower walls show individual saints and church fathers.

Artistic Evolution Over Five Centuries

The paintings provide an overview of Byzantine and post-Byzantine painting in Cyprus, documenting artistic influences over 500 years. Each period brought different styles and external influences while maintaining core Byzantine traditions.

The 11th-century paintings at Agios Nikolaos tis Stegis display important wall paintings from the Comnenian era. The quality suggests work by Constantinopolitan masters, the finest artists from the Byzantine capital.

During the 12th century, close relationships existed between painting in Cyprus and Western Christian art. The paintings at Nikitari show stylistic relationships with Western art, while those at Lagoudera demonstrate iconographical connections. These churches provide answers to the complex question of ties between Eastern and Western Christianity during a period just before the Frankish Lusignan Kingdom was established.

Living Churches, Not Museums

An important aspect of these churches is that they remain active places of worship. All ten are living monuments that continue their original function for religious practices and services. This ongoing use helps preserve their sacred character and connects modern Cypriots to their Byzantine heritage.

Local communities maintain these churches, though not all are frequently attended. Many stand in remote mountain villages, sometimes appearing to be in the middle of nowhere, surrounded only by the old wooden doors of long-abandoned monastic buildings.

Visiting the Churches

The churches are spread across the mountainous Troodos region in small villages connected by narrow, winding roads. Visitors can follow three geographic routes to see them conveniently:

• The Marathasa route (148 km) covers Kalopanagiotis, Moutoullas, and Pedoulas, including the Monastery of Agios Ioannis Lampadistis, Church of Panagia in Moutoullas, and Church of Archangelos Michael in Pedoulas.
• The Pitsilia route (97 km) includes Lagoudera, Platanistasa, Pelendri, and Palaichori, covering the Monastery of Panagia tou Araka, Church of Stavros tou Agiasmati, Monastery of Timios Stavros, and Church of Metamorfosis in Palaichori.

Visitors should note that opening hours can be irregular, especially at smaller churches. Some churches open only on specific days and hours, typically weekday mornings and afternoons in summer (10:00-13:00 and 15:00-17:30), with reduced winter hours (9:00-12:00 and 13:00-16:30). Saturday hours are usually 9:00-13:00, and most close on Sundays.

Brown road signs with church symbols mark the way to these sites, though they don’t use UNESCO symbols. In the villages, roads are often quite narrow and winding. Some churches may be locked, but local key-holders can sometimes be contacted to open them for visitors.

Why These Churches Matter

The Painted Churches in the Troodos Region represent an irreplaceable visual record of Byzantine and post-Byzantine religious art. Their importance extends beyond Cyprus to the broader understanding of medieval Christian art and the relationship between Eastern and Western traditions.

Cyprus’s position as an island at the crossroads of civilizations meant it absorbed influences from Constantinople, the Latin West, and local traditions. These churches capture that cultural mixing at a crucial period when the Byzantine Empire was declining and Western powers were expanding into the Eastern Mediterranean.

The steep-pitched roofs unique to Cyprus, the dated inscriptions that help establish chronology, and the artistic dialogue between neighboring churches all contribute to making these monuments particularly valuable for understanding medieval Mediterranean culture.