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The dedicatory inscription in a late 13th cent wall painting in Cappadocia raises interesting questions on the
materiality and visuality of the script. It reads : † Ἐκαληεργή[θη] ὁ πάνσεπ-
τος ναὸ[ς τῆς ὑπ]εραγίας
Θ[εοτόκου ---] The all-sacred church of the most (1/5)
![The dedicatory inscription in a late 13th cent wall painting in Cappadocia raises interesting questions on themateriality and visuality of the script. It reads : † Ἐκαληεργή[θη] ὁ πάνσεπ-τος ναὸ[ς τῆς ὑπ]εραγίαςΘ[εοτόκου ---] The all-sacred church of the most (1/5)](https://pbs.twimg.com/media/EyecMF7WEAEnPq0.jpg "The dedicatory inscription in a late 13th cent wall painting in Cappadocia raises interesting questions on themateriality and visuality of the script. It reads : † Ἐκαληεργή[θη] ὁ πάνσεπ-τος ναὸ[ς τῆς ὑπ]εραγίαςΘ[εοτόκου ---] The all-sacred church of the most (1/5)")
![The dedicatory inscription in a late 13th cent wall painting in Cappadocia raises interesting questions on themateriality and visuality of the script. It reads : † Ἐκαληεργή[θη] ὁ πάνσεπ-τος ναὸ[ς τῆς ὑπ]εραγίαςΘ[εοτόκου ---] The all-sacred church of the most (1/5)](https://pbs.twimg.com/media/EyecMF7W8AAEfGm.jpg "The dedicatory inscription in a late 13th cent wall painting in Cappadocia raises interesting questions on themateriality and visuality of the script. It reads : † Ἐκαληεργή[θη] ὁ πάνσεπ-τος ναὸ[ς τῆς ὑπ]εραγίαςΘ[εοτόκου ---] The all-sacred church of the most (1/5)")
materiality and visuality of the script. It reads : † Ἐκαληεργή[θη] ὁ πάνσεπ-
τος ναὸ[ς τῆς ὑπ]εραγίας
Θ[εοτόκου ---] The all-sacred church of the most (1/5)
holy Theotokos has been decorated… Not only is this inscription, which appears below the image of the three Hebrews in the fiery furnace, placed in a privileged architectural setting, but it is also executed with what may be termed ‘material imagination’. (2/5)
is also executed with what may be termed ‘material imagination’. A vivid imitation of mosaic in painting creates the rich visual background for the dedicatory text, adding a new example to the very limited number of decorations known for the display of fictive rather than (3/5)
than real materials on the walls of Byzantine churches. The use of such pictorial technique associated with the inscribed word may have had a particular impact on its medieval audiences, evoking the impressiveness of the metropolitan monuments. (4/5)
The faux mosaic in painting must have been intentionally chosen as a vehicle for the construction of personal identity for the patron. (5/5)
