UDC 75.052:726(497.

7)

ANDRIJANA I. GOLAC
Независни истраживач, Београд*
Oригинални научни рад / Original scientific paper

The representation of Saint Nicholas

the monk and former soldier in
the Monastery of Zrze

ABSTRACT: The paper deals with the newly discovered image of St Nicholas the
monk and former soldier from the main church of the Monastery of Zrze. Zrze is located
near Prilep and was founded in the 14th century by the monk German. The oldest church,
dedicated to the Holy Transfiguration, was probably decorated right after it was built. Un-
fortunately these earliest frescoes did not survive to this day. During the second half of the
14th century a nartex was added to German’s church and painted in 1368/1369. This is the
oldest remaining decoration in the church. The rest of the frescoes that adorned the nave
and altar of the Holy Transfiguration church, that date back to the founder of Zrze – monk
German – were probably badly damaged, so the painter Onuphrios Argitis was summoned
to redecorate this part of the church. Sadly, much of these frescoes were also destroyed in
the 18th century. But in what has remained of his work, we witness the brilliant Greek
painter introducing yet another bold and original solution to one of his frescoes in this church
and it hasn’t been identified until now. It represents Nicholas the monk and former soldier,
celebrated on the 24th of December. The Saint is depicted in a medallion in the second zone
of the south nave wall. What makes his representation highly interesting is the three-headed
snake that the painter has added to his ichonography. We haven’t found any parallels for such
a solution.
KEY WORDS: Zrze, Onuphrios Argitis, St Nicholas the monk and former soldier,
three-headed snake.

The medallion that bears the image of Saint Nicholas the monk and former soldier hasn’t
been identified until now (Fig. 1). It is located among the medallions with busts of martyrs,
in the second zone of the south wall of the nave in the main church of the Monastery of Zrze
near Prilep (FYROM). It was painted in the 16th century by Onuphrios Argitis, during the

*
[email protected]

127
 ANDRIJANA I. GOLAC *

Fig. 1. St. Nicholas the monk and former soldier, katholikon of Zrze, south wall of the nave, painter Onuphrios,
16th century. (Преподобни Никола монах и бивши војник, друга зона јужног зида наоса, манастир Зрзе,
сликар Онуфрије, 16. вeк)

renewal of frescoes in the nave and altar of the Holy Transfiguration church (Бабић 1980:
276-277; Расолкоска-Николовска 2004: 363).1
The oldest frescoes in the Holy Transfiguration church were probably painted right after
the church was erected, in mid 14th century, during the time of the church’s founder, monk Ger-
man (Ђурић 1969: 22; Ќорнаков 1971: 17-18; Ивковић 1980: 68-81; Расолкоска-Ник­ ол­ овска
2004: 349-354; Тодић 2011: 211-222).2 However, these frescoes must have been badly damaged,
1
Based on the Deesis row from the iconostasis of the church of Saint Nicholas in the village of Zrze, painted in
1535 and attributed by Boško Babić to Onuphrios, the author dated the frescoes from this church, as well as the ones
from the main monastery church, to the time around the year 1535. See: Бабић 1980: 276. Onuphrios renewed the frescoes
of the nave and altar of the Holy Transfiguration church, but unfortunately the frescoes of the vault and the highest
zone of the nave were destroyed in the 18th century. See: Расолкоска-Николовска 2004: 367, inscr. Nᵒ 28 (Rasolkoska-
-Nikolovska questions Babić’s attribution of the Deesis row from the church of Saint Nicholas to Onuphrios, considering
it to be the work of Jovan, the painter who decorated the Toplica monastery. See: Расолкоска-Николовска 2004: 363).
2
Even though the narthex, built in addition to the main church, was decorated in 1368/1369, its frescoes were not
repainted by Onuphrios. Instead, this is now the oldest remaining fresco ensemble in the church. A lot has been written

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* THE REPRESENTATION OF SAINT NICHOLAS THE MONK AND FORMER SOLDIER IN THE MONASTERY OF ZRZE

Fig. 2. Three headed snake, Etruscan tomb of the Infernal quadriga, Sarteano, second half of the 4th century.
(Троглава змија, Етрурска „Гробница подземне кочије”, Сартеано, друга половина 4. века)

because less than two centuries later, they were renewed by Onuphrios. But, even the renewed
frescoes are now in very bad shape, especially the ones on the north and south wall of the nave and
the ones in the higher zones. Only a few traces remain of the painted decoration of the vault.
The bust of the Holy Saint Nicholas, mentioned earlier, is depicted in a light blue medal-
lion which turns lighter in colour as it expands and eventually ends in white. The Saint is
represented as a man of mature age with brown hair and a short brown beard. He is dressed
as a monk, wearing a brown gown and an ochre robe over it. The robe is fastened with a button
placed on the saint’s chest. He is wearing a red hood on his head, decorated with a big black
cross in the front. The saint is shown with outstreched arms, the palm of his right hand turned
towards the onlooker while holding a three-headed snake in his left (Fig. 1). He is grasping the
snake just beneath its three heads which are turned away from him. It looks as though the
animal had been depicted with three protruding tongues and three red crests on its heads, much

about this painted program, so we will mention only a few of the authors: Ђурић 1969: 22; Ќорнаков 1971: 17-18; Ивко­
вић 1980: 68-81; Расолкоска-Н иколовска 2004: 349-354; Тодић 2011: 211-222.

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 ANDRIJANA I. GOLAC *

like the one in the Etruscan tomb of the Infernal Quadriga in Sarteano – Fig. 2 (Pieraccini
2016: 92-102; Cermanović, Srejović 1996: 203).3 The fresco is very faded in the area where
the animal’s heads are depicted and part of it, right above its tail, has fallen off, so it is difficult
to conclude whether the snake has one body and three heads or if there are, in fact, three
separate snakes, which is more likely.4
Although the inscription next to the saint is partially preserved, it can be fully recon-
structed <Ο ΑΓΙΟΣ ΝΙΚΟ>ΛАОС О АПО СТРАǀТΙОТѠΝ. Due to this reconstruction and
the unusual detal of the three-headed snake in his hand, we are able to conclude that the saint
in question is Saint Nicholas the monk and former soldier.5
The first reliably dated mention of the saint appears in the Greek synaxarion from the
Synodal collection of manuscripts from the State Historical Museum in Moscow (Synod. 390).6
In 1295 this synaxarion was copied from an unknown source, created sometime around the
middle of the 12th century (Сергий 1901, I 323-333). At the end of the 13th, or during the first
decades of the 14th century, the Vita of St. Nicholas the monk “τοῦ ἀπὸ στρατιωτῶ” was incor-
porated into an edition of the Synaxarion of the Constantinopolian church (Paris, National
Library, Paris. gr. 1582) (SEC 1902, XXXVIII, XL, 34121-56, 34329-35; Stephenson, Shilling 2011:
421-438). The Vita speaks of a young man who lived in the 9th century and was a member of
the imperial army during the reign of Byzantine Emperor Nikephoros I (802-811). When the
imperial army set out to war against the Bulgars in July 811, Nicholas, then a soldier, didn’t
travel with the rest of his army. For some reason, not mentioned in the Life of the Saint, he
travelled alone, stopping to spend the night at an inn. During the night he was tempted three
times by the innkeeper’s daughter. Driven by lust, the young woman came to his room, trying
to lure him into deadly sin. However, Nicholas rejected her advances, and for doing so his life
was speared on the battlefield. The rest of the soldiers weren’t as fortunate. It is said that the
whole imperial army was killed at Pliska, on the 26th of July 811 (Treadgold 1997: 428-429;
Острог­ орски 1998: 200; Haldon 2003: 15, 20, 29; Sophoulis 2012: 211-212).7
Namely, during the night before the battle, Nicholas had a dream in which he saw a
“Mighty figure” that showed him the course of the battle between the Romans and Bulgars,
the death of the whole Roman army and a single empty space on the field in which Nicholas
3
For snakes with “crests” and “beards” see: Pieraccini 2016: 92-102. One of the many examples of the three-
-headed snake with a “crest” on each of its three heads can be found in the Etruscan tomb of the Infernal Quadriga in
Sarteano, depicted in the second half of the 4th century BC. The snake is part of a fresco that represents the Etruscan
deamon of death, Charun (Greek Charon), driving the deceased to the underworld in a quadriga, while the three-headed
monster follows. For Charun see: Cermanović, Srejović 1996: 203.
http://www.museosarteano.it/pagina4.php?linguanumero=2
4
Even though it looks like the Saint is holding a snake that has one body and three heads, it seems as if its tail
has three tips which would mean that the Saint is holding three and not one animal.
5
In scientific literature, until now, the representation of St. Nicholas the monk has only been referred to as ‘an
unidentified saint’. See: Бабић 1980: 272; Расолкоска-Н иколовска 2004: 361-362; М итревски 2009: 60-61.
6
For the life of St. Nicholas the monk see: Н икодим 1819, I, 410-412; Сергий 1901, II 393, III 519; SEC 1902:
34121-56, 34329-35; Поповић 1977: 714-715; Stephenson, Shilling 2011: 421-438.
7
Emperor Nikephoros I shared the fate of his army. It is said that he had lost his life in the battle at Pliska, against
the Bulgars, on July 26th 811, after which the Bulgarian khan Krum made himself a drinking bowl from the emperors
skull. See: Treadgold 1997: 428-429; Острогорски 1998: 200; Haldon 2003: 15, 20, 29; Sophoulis 2012: 211-212. For
the drinking bowl made from emperor Nikephoros’s skull see: Sophoulis 2012: note 233. In difference to these
sources, the Life of St. Nicholas, written by Justin Popović, notes that Emperor Nikephoros managed to escape the
battlefield with a small group of soldiers. On the matter see: Поповић 1977: 715.

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* THE REPRESENTATION OF SAINT NICHOLAS THE MONK AND FORMER SOLDIER IN THE MONASTERY OF ZRZE

would have been put to rest hadn’t he resisted the triple temptation. According to his Life, in
his dream, Nicholas saw himself standing in mid air while the “Mighty Figure” sat close by
with his right leg crossed over the left one. While his legs were crossed this way, the Romans
were winning the battle against the Bulgars. But, at one point, the “Figure” changed the pos-
sition of his legs, crossing His left leg over the right one, which made the course of the battle
change. With God’s will the Bulgars won, leaving none of the Roman soldiers alive (Sophou-
lis 2012: 211-212). When the battle ended, the “Mighty Figure” asked Nicholas to tell him what
he sees on the battlefield. The soldier replied that he sees the whole field covered with bodies
of dead soldiers, and one empty space covered with grass and big enough for one man to lay
in. Asked by the ‘Figure’ why he thinks this is so, Nicholas said that he doesn’t know why, for
he is an ignorant man. That is when the soldier learnt that the spot had been prepared for him
to lay in, hadn’t he rejected the innkeeper’s daughters advances during the night at the inn
(Stephenson, Shilling 2011: 423).8 The “Mighty Figure” explained the miraculous salvation to
Nicholas using these words: “When last night you shook off sensibly from you the triple-braided
snake who wrestled you thrice into shameful intercourse and intended to kill you, know that
you freed yourself from this slaughter..” (Stephenson, Shilling 2011: 435). Rejecting the young
woman three times and restraining himself from sinful lust, Nicholas saved his body and soul
and was therefore summoned by the “Mighty One” to spend his life serving Him. So after this
event, Nicholas left the army and retreated to a monastery where he spent the rest of his days
serving God. Eventually he became a respectable father.
According to archbishop Filaret Gumilevsky, a reputable church historian and theologian
from the 19th century, St. Nicholas was actually of Slavic and not Greek origin. As an argument
for his statement, Filaret quotes part of the saint’s Life in which it is said that Nicholas is going
to war against the Bulgars with “his army”, interpreting the words as a usual practise of Byzantine
emperors to use hired troops in their war campaigns (Филарет, Святые южных Славянъ 1894:
310). However, the respectable hagiographer, archbishop Sergey Spassky, who lived in the 19th
and at the beginning of the 20th century, opposed this point of view. He thought that Nicholas
was actually Greek, supporting this claim with the Saint’s Life found in the Greek synaxarion
(mentioned earlier in the text), from 1295, whose primary source was thought to have entered
the synaxarion right after it had originated, sometime around the mid 12th century (Сергий
1901, III 519).
In the parable of Nicholas, the innkeeper’s daughter, who tempted the soldier three times
is refered to as τòν τρíπλοκον őφιν or “the triple-braided snake” (Stephenson, Shilling 2011:
422).9 This is probably what influenced painter Onuphrios to represent the saint with a three-
headed snake in his hand. According to a version of the Synaxarion from the 17th century, the
8
Nicholas rejected the girl telling her that he wishes to remain pure as he leaves for battle against barbaric na-
tions. This led some authors to believe that the point of the parable of Nicholas was to emphasize the moral purity of
the soldier and of the army, too. See: Stephenson, Shilling 2011: 423.
9
Stephenson, Shilling 2011: 422, note 6. This phrase was also used for the Plataian tripod from Delphi, made
in honour of the victory of the alliance of the Greek city-states against the Persian Empire, at the battle of Platea in
the 5th century BC. The tripod was situated on top of a bronze column that ended with a carrier made in the shape of
a three-headed bronze snake. The remains of this triumphal monument were taken to Constantinople by Emperor
Constantine the Great and displayed at the hippodrome. See: Stephenson, Shilling 2011: 433-434, note 47; R idgway
1997: 374-379. In the Saint’s Life published in Serbian by Justin Popović we also recognize the innkeeper’s daughter
in these words: ‘The cunning snake that tried to force herself upon you three times..’ (Поповић 1977: 714-715).

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 ANDRIJANA I. GOLAC *

phrase “triple-braided snake” was changed to τòν τρικεφαλον φηδην, or the “three-headed
snake”. And even though the phrase wasn’t changed until the 17th century, painter Onuphrios
must’ve been familiar with it, especially as it was in use in 16th century bestiaries in western
Europe and was already well known in eastern Europe (Stephenson, Shilling 2011: 433).
The image of the snake with a negative connotation has been known in art since antiquity
(Vinycomb 1906: 108, 113, 114). In Ancient Greece and also later, with the acceptance of Chris-
tianity, there were many stories of brave heroes, deities and later saints who fought snake-like
creatures that were symbols of evil, in many cases connected with Hade’s underworld. Greek
mythology is full of stories about fearless heroes battling snakes, like the one depicting the
battle between the mythical creature Python and Apollo. Python was a much feared snake that
Apollo killed in order to build himself a shrine in Delphi (Cermanović, Srejović 1996: 445;
Dowden 2005: 68). There is also the story of Heracles and the Learnean Hydra, a monstrous
serpent with nine heads (Vinycomb 1906: 96-97; Cermanović, Srejović 1996: 214-215); Hera-
cles and the hundred-headed snake-like monster Ladon that guarded the golden apples of
Hesperides (Cermanović, Srejović 1996: 306); Perseus and Medusa, the monster with live snakes
covering its head (Vinycomb 1906: 103-104; Cermanović, Srejović 1996: 181-182). There are
also many myths in which snakes are used as weapons in the hands of vengeful deities, like
the story of Heracles and Hera who, driven by jealousy, sent two snakes to kill the hero when
he was still a baby in his crib. But even at that age, Heracles showed incredible strength and
strangled the two snakes (Cermanović, Srejović 1996: 214). Out of jealousy that Leto is about
to give birth to Zeus’s twins, Hera sent Python to kill his mistress. However, Leto managed to
escape the snake and give birth to twins
Artemis and Apollo who killed Python in
Delphi four days after he was born. After
he defeated the beast, Apollo organized
the Pythian games, held every nine years,
to commemorate his triumph (Cermano­
vić, Srejović 1996: 316). Probably even
more famous is the story of Apollo’s priest,
Laocoon. According to one version, Apollo
sent two snakes to kill the priest for having
inappropriate intercourse with his wife in
front of Apollo’s statue, while the other
version has it that goddess Athena sent the
snakes to punish Laocoon for warning the
Trojans against bringing the wooden
horse into Troy – Fig. 3 (Cermanović, Sre­
jović 1996: 307).
The snake was also related to the un-
derword, which is why it is often shown
with deities that were themselves connected
Fig. 3. Laocoon group, c. 42-20 BCE, Vatican Museum. to Hades. One of the numerous examples
(Лаокон и његови синови, 42-20. пре нове ере,
Ватикански музеј) is the Roman sculptural group from the

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* THE REPRESENTATION OF SAINT NICHOLAS THE MONK AND FORMER SOLDIER IN THE MONASTERY OF ZRZE

5th century BC, representing goddess Minerva with a three-headed snake wrapped around her
arm and covered with snakes (Tuck 2015: 29).10 Snakes are wrapped around the caduceus of
Mercury, the deity in charge of taking souls of the deceased into the underworld. They are also
found on the wheels of the chariot of the goddess Persephone, Hades wife (Vinycomb 1906: 108).
However the negative comprehension of the snake peaked in the Middle Ages, when it
became a synonym for temptation and evil. Surely the best known “role” of the snake as a
symbol of evil appeares in the Old Testment, specifically when the snake persuades Eve to eat
from the tree of knowledge of good and evil in the Garden of Eden. Eventually, Eve gave in
to the persuasion, which lead to the exclusion of Adam and Eve from the Garden of Eden and
man’s alienation from God (Genesis III, 3). As a punishment for tricking Eve into eating the
fruit from the forbidden tree, God cursed the snake and its kind to forever crawl on their bellies,
telling the beast: “I will put enmity between you and the woman, and between your offspring
and hers; he will crush your head, and you will strike his heel” (Genesis III, 14-16).
The snake is mentioned frequently in Apocryphal texts (Јовановић 2012: 245-253), and
also in the New Testament, for instanse, when Christ compares the teachers of the law and
Pharisees to snakes (Matthew 23:33), or when He advises the Apostles to be wise like snakes
(Matthew 10:16). In the Book of Revelation, satan is described as a snake-like creature that
deceives people and leads them into deadly sin (Revelation 12:9; 13; 20:2).
Temptation, disguised as a snake appears in the Lives of many Saints. In the story of Saint
Andrew the Fool and a greedy monk, it came in the form of a three-headed snake that drove
the monk into sin of covetousness. Namely, this monk was very respected in Constantinople
and many people came to him, confessing their sins and giving him, as a sign of repentance,
money to distribute to the poor. But stricken with greed, the monk kept it all, gladdening as
he gathered more and more of it each day. One day the monk was visited by Saint Andrew
who was blessed with the gift of vision, so he noticed a three-headed snake wrapped around
the monk’s neck, its tail reaching down to his feet (Поповић 1977: 45-48). Then he saw an
Angel and demon, appearing as a light and dark figure, fighting over the monk’s soul and the
words: “The snake of greed is the root of all evil” written close by. Even though the demon
claimed the soul, St. Andrew wasn’t prepared to give up on it. So the next time he saw the
monk, the saint warned him of the blindness the snake has caused him, of the ill fate that
awaits him if he doesn’t repent and reminded him of all the monastic virtues he has cast aside
because of it. Stricken by the words, the monk distributed the hoarded gold to the ones in need
and thus rid himself of the snake that had found a resting place in his soul.
Many hagiographic texts mention that the devil sends snakes and other beasts to scare
saints and weaken their faith in God. It is said in the Life of St. Anthony the Great that the devil
used many beasts as weapons agains his faith and he also used to send a snake to scare him
many times (Поповић 1972: 524, 526, 531). In the Life of St. Marina, the devil appears in the
form of a snake, trying to scare her (Поповић 1996: 389), and the same thing happened to
Holy John the Long-Suffering in the 12th century. The devil came to him in the form of a snake
breathing smoke and fire, attacking him and trying to devour him (Поповић 1996: 407).
10
Tuck 2015: 29. Also dated to the 5th century BC is the fresco from the Etruscan tomb of Blue Deamons located
in the Necropolis in Tarquinia. The fresco shows a blue deamon holding a snake in each hand and the ferryman Charun
(Greek Charon), close by, steering a boat with the deceased into the underworld.
http://www.travelingintuscany.com/art/art/tarquinianecropolises.htm

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 ANDRIJANA I. GOLAC *

St. Nicholas the monk and former soldier is celebrated on the 24th of December and his
life is in some way very similar to the life of St. Nicholas the New of Vounena, celebrated on
the 9th of May.11 St. Nicholas the New lived almost a century later and was formerly a soldier,
too. His Vita gives a detailed insight into his life, starting from his childhood, while this is not
the case with the Life of St. Nicholas the monk.12 According to his Life, St. Nicholas the New
was born in Asia Minor to religious parents and from an early age, he showed great wisdom
and love for God. His virtue was heard of in Constantinople and even by the Emperor, Leo
the Wise (886-912). The Emperor demanded to meet the young man and as soon as he did, he
requested his service. Soon Nicholas was appointed head of the imperial province of Larisa
in Thessaly and guardian of Thessalonica, which he gladly accepted. Not long after, the Avars
invaded Thessaly, devastating the land and killing its people. After failing to stop their advances,
Nicholas and his soldiers fled to the mountain called Vounena, where a group of hermit-monks
lived in prayer, so Nicholas and his men joined them. But soon the Avars discovered the place
where Nicholas and twelve other monks were living.13 One night, while in prayer, an Angel
appeared to the monks, announcing that they will soon be martyred for Christ. Not long after,
St. Nicholas of Vounena and the monks were captured by the Avars who demanded they give
up their faith in Christ and bring offerings to the pagan gods. After refusing to do so, the monks
were tortured and killed while Nicholas managed to escape, and hidden in a cave beneath an
oak tree, he lead an ascetic life a while longer. But soon the Avars captured him again, and
after failing to persuade the saint to abandon his faith with kind words, they tortured him for
ten days. First they beat him, then hung him from a tree and shot him with arrows, after which
they beat him again and poked him with his own spear. Seeing that he will not give up his faith
in Christ, the Avars beheaded him (Поповић 1974: 227-228).
The Saints relics were miraculous and cured many people. His remains were taken to
Tyrnabus by the bishop of Larissa, where they were discovered many years later by the Duke
of Thessalonica, Euphemian, who suffered from leprosy. He couldn’t be cured by doctors, so
when he was in Larissa, he was advised to visit a place called Vounena, on the feast day of St.
Nicholas the New. He was told that he will witness the miraculous appearance of the saint’s
“blood” flowing from the cave in which he lived, the oak tree growing above the cave and his
grave. As soon as Euphemian anointed his body with this liquid, he was miraculously cured.
To thank the saint for healing him, the Duke built a chapel dedicated to St. Nicholas and placed
his relics in it.14
11
St. Nicholas the monk also shares an almost identical Life to the one of St. Nicholas of Stoudios (Fontes
graeci historiae bulgaricae 4 1961: 25-27). But this doesn’t mean they are the same person. It is explained in: Stephenson,
Shilling 2011: 422-423, note 7.
12
For the Life of St. Nicholas the monk and former soldier see: Н икодим 1819, I, 410-412; Id. III, 27-28; Сергий
1901, II 393, III 519; SEC 1902: 34121-56, 34329-35; Поповић 1977: 714-715; Stephenson, Shilling 2011: 434-436.
13
http://full-of-grace-and-truth.blogspot.rs/2009/05/st-nicholas-new-righteous-martyr-of.html. It is important
to note that a church devoted to St. Nicholas of Vounena existed in Constantinople, around 1200 and was situated by
the sea, near Blachernae. It was mentioned by the Russian pilgrim, Dobrinja Jadrejković, later Antonije, archbishop
of Novgorod. According to Jadrejković, the body of St. Nicholas of Vounena was buried in the church (Савваитов
1872: 101). The publisher of the travelogue, Savaitov (Савваитов 1872: 101) and archbishop Sergij (Сергий 1901, III:
519), both think that it was Nicholas the monk and not Nicholas of Vounena who was buried here, but one should keep
in mind that in hagiographic sourses, Nicholas the monk never appeared with the epithet “New”.
14
http://full-of-grace-and-truth.blogspot.rs/2009/05/st-nicholas-new-righteous-martyr-of.html
http://www.johnsanidopoulos.com/2011/05/saint-nicholas-new-of-vounenis.html

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* THE REPRESENTATION OF SAINT NICHOLAS THE MONK AND FORMER SOLDIER IN THE MONASTERY OF ZRZE

When compared, the Lives of the two

saints, both monks and former soldiers, it
is clear that there are many similarities be-
tween the two. They were both soldiers in
the Imperial Army, but eventually gave up
their high ranks (they were both Dukes) to
become monks. Both saints experienced
providence, after which, Holy Nicholas
withdrew to a monastery, while Nicholas of
Vounena prepared for martyrdom. On the
other hand, many differences occur in their
Lives, too. The biggest difference between
the two is that the first died a natural death
and the other was martyred. Certain like-
nesses in the Lives of the two Saints con-
tributed to the blending and overlapping
of their cults and iconographies, which as a
result, leads to great confusion when one
attempts to identify which of the two is rep-
resented. The biggest problem in fact is that
their ichonographic characteristics were
never strictly defined nor individualised
(Поп ­ овска-Коробар 2006: 105-118).15
The further problem in identifying
which of the two is depicted, is caused by
the fact that they were often represented
without any iconographic distinctions and
what is more, the inscriptions that accom-
pany the saints are usually generalized (Ми­
­ ић 1973: 269; сл. 12; Тодић 1993: 78, сл.
јов
73; Поповска-Коробар 2006: 108-109, сл. 5;
Πελεκανιδου 1953: fig. 152 β),16 and some-
times even inscribed only as “Saint Nicho-
las” – Fig. 4 (Djurić 1991: fig. 15; Суботић
1980: 54, цртеж 33).17 Fig. 4. St. Nicholas the New, Protaton, end of the
13th century. (Св. Никола Нови, Протатон, крај 13. века)
15
For a detailed review of numerous images of both saints, with the focus on St. Nicholas of Vounena (9th of May)
and his ichonographic characteristics see: Поповска-Коробар 2006: 105-118.
16
For example in: Staro Nagoričino (1317-18), where the saint is depicted twice and inscribed as St. Nicholas the
New, Тодић 1993: 78, сл. 73; for the saint within the calendar scene for the 24th of December, see М ијовић 1973: 269,
цртеж 12; in the church of St. Nicholas Tzotza in Kastoria (mid 14th century), Поповска-Коробар 2006: 108-109, сл. 5;
in the church of St. Athanasius of Mouzaki (1384-85), where he is dressed as a nobleman, Π ελεκανιδου 1953: 152 β.
17
He is depicted and inscribed with only the inscription “St. Nicholas the New” in the Protaton monastery of
Mount Athos (end of the 13th century), where he is shown in full figure, as a youth with long hair, among martyrs in

135
 ANDRIJANA I. GOLAC *

The only certain identifications of

the two saints can be made when, and if,
they are illustrated in the calendar cycles.
In that case, St. Nicholas the Monk is rep-
resented within the scene for December 24th
and St. Nicholas the New, in the scene for
the 9th of May. The image of St. Nicholas
the monk depicted in Zrze is important
because he is shown with a snake as an
attribute in his hand, but without a martyr’s
crown.18 And we know that the snake is
mentioned only in his Life and that he didn’t
die a martyr, so this information explains
why he was depicted with the snake with-
out the crown (Поповска-Коробар 2006:
сл. 9).19 As for the images of St. Nicholas
the Monk within the calendars, only the one
in the narthex of the Patriarchate of Peć
(1565) was inscribed (Мијовић 1973: 367,
цртеж 70). Here he is depicted in the back
of the scene showing the martyrdom of
St. Eugenia who is also celebrated on De-
cember 24th. Holy Nicholas the Monk is
shown in bust, he is an old man, with a
long gray beard, bold and dressed as a
Fig. 5. St. Nicholas the monk and former soldier, monk (Fig. 5).20 He is inscribed prepodobni
calendar cycle, narthex of the Patriarchate of Peć, 1565. nJkolae I/e wt voin.
(Св. Никола монах и бивши војник, менолог, On the other hand, verifiably identi-
припрата Пећке патријаршије, 1565) fied images of St. Nicholas the New of
Vounena, (e.g., the icon from Meteora),
always show the saint, whose cult was very strong in Thessaly, as a beardless youth or a young
man with a very short brown beard and curly brown hair of varying length, which is, in most
cases, tucked behind the saint’s ears. Knowing that the images of the hosiosmartyr Nicholas,
were all inscribed “Nicholas the New” and that his cult was stronger and more popular than that
of St. Nicholas the monk and former soldier, it is almost certain that all the other images in which

the third zone, Djurić 1991: fig. 15; or in the church of St. Ilias in Dolgaec (1454-1455), near Prilep, where he is identified
by Gojko Subotić as St. Nicholas the monk and former soldier, celebrated on December 24th. He is depicted in the
second zone of the south wall in a medallion between Saints Victor and Polycarp. See: Суботић 1980: 54, цртеж 33.
18
It has crossed our minds that he might be wearing a martyr’s crown under his hood, but we doubt it.
19
The biggest resemblance to the image from Zrze is that of St. Nicholas the New of Vounena from the monas-
tery of St. Nicholas Anapavsa (1527) on Mount Meteora. He is pictured in the first zone, next to St. Jacobos of Persia,
as a man of mature age, with a beard and mustache, curly shoulder-length hair, with the crown of martyrdom on his
head and a cross in his right hand. See: Поповска-Коробар 2006: сл. 9.
20
I am thankful to my colleague Nada Miletić for the photograph from the narthex of Peć.

136
* THE REPRESENTATION OF SAINT NICHOLAS THE MONK AND FORMER SOLDIER IN THE MONASTERY OF ZRZE

he has the same attributes and characteristics, should be understood as the images of St. Nicholas
the New of Vounena, celebrated on the 9th of May (Поповска-Коробар 2006: сл. 10-11).21
The only exceptions are the images from the Philantropinon monastery (1560) and Met-
amorphoses church in Veltsista in Epirus (1568), where the epithet ο από στρατιωτών accom-
panies St. Nicholas the New (Поповска-Коробар 2006: 111, нап. 36 и 37, сл. 12 и 13). But the
epithet ο από στρατιωτών, meaning “former soldier”, appears only in the Life of St. Nicholas
the Monk, and as it has already been mentioned, it appears in the representation from Peć, only,
in Serbian. However, the images from the two forementioned Greek churches correspond to
the iconography of St. Nicholas the New of Vounena, which proves that painters and writers
of liturgical manuscripts used to confuse the cults of the two saintly monks that shared the
same name and similar lives. Also, they ”gave” the caracteristic physiognomy of St. Nicholas
the New, to the former soldier and monk, Nicholas, which was a usual practise in Eastern
Christian ichonography.22
At the end of this text we will try to explain the reasons for the depiction of St. Nicholas
the Monk among the medallions with busts, in the second zone of the south wall of the Holy
Transfiguration church. Nicholas is depicted in the middle of the only three remaining medal-
lions on the south wall. Saint John the Kalyvitis О АГΙОС ΙѠ О КАΛVВНТНС (Павловић
2014: 60-66),23 is depicted in a medallion east from St. Nicholas and this fresco is well preserved
(Fig. 6). On the other hand, the bust of St. Paraskeve of Rome, in the medallion west from St.
Nicholas the Monk, is almost completely ruined (Поповић 1996: 639-642).24 Only three medal-
lions remain on the opposite, north wall, bearing the images of (from east to west): Righteous
Job (Поповић 1974: 159-163); St. Alexius, the man of God (Павловић 2014: 71-73),25 and St.
Athanasius of Persia (Fig. 7). Righteous Job is depicted in the first medallion, next to the iconosta-
sis and opposite St. John the Kalyvitis; St. Alexius, the man of God is opposite St. Nicholas
the monk and former soldier; while St. Athanasius of Persia (Поповић 1972: 705-716)26 faces
St. Paraskeve of Rome.

21
It is important to note that St. Nicholas the New is sometimes represented as a soldier, fully armed, and when
he is shown in such a way, he is always beardless. Well-known examples are from the Stauroniketa monastery on
Athos (1546) and the church of St. Demetrius in Palaticia (1568/1569), Поповска-Коробар 2006: сл. 10-11.
22
For examples of the overlaping and blending of cults of saints with the same name and its influence on
ichonography, see: For the two Theodores: М арковић 1995: 594-597; the two St. Menas: М арковић 1995: 611-615;
two St. Andrews: П авловић 2012: 213-241. I owe great gratitude to my mentor Miodrag Marković for his help and
support during the writing of this paper.
23
Even though St. John the Calybites was not martyred, he, like Holy Nicholas, forsake eathly goods and became
a monk, dedicating his life to serving God. See: П авловић 2014: 53-89.
24
Although Paraskeve of Rome is not commemorated on the same day as saints Nicholas and Eugenia (on Decem-
ber 24th), we think that Paraskeve, and not Eugenia, is depicted in the medallion next to St. Nicholas. We believe this is
so (even though the whole upper part of her body and face are missing), because the remaining part of her medallion shows
something resembling a face in her right hand, to which she is pointing with her left. Paraskeve of Rome is celebrated
on July 26th, that is, on the same day the battle of Plisca took place (when St. Nicholas’s life was spared), which explains
why she was depicted next to him. And even though Justin Popović mentiones the commemoration of the battle of
Plisca (in the Lives of Saints), on July 23rd (Поповић 1996: 587), it actually took place on July 26th, so this should be
understood as the reason for the depiction of Parasceva the Roman and Holy Nicholas, next to each other.
25
For the images of the two saints depicted next to each other, one opposite the other, or close to each other, see:
Павловић 2014: 71-73, with numerous examples from the Byzantine and Post-Byzantine period, and voluminous literature.
26
Before converting to Christianity, St. Athanasius of Persia was a soldier in the service of the Persian Em-
peror Khosrau II (590-628). When he left the army, he became a monk, which makes a parallel between his and the
life of St. Nicholas the monk and former soldier. Another parallel between the two is that both of them had a vision in

137
 ANDRIJANA I. GOLAC *

Fig. 6. St. John the Kalyvitis, katholikon of Zrze, south wall of the nave, painter Onuphrios, 16th century.
(Св. Јован Колибар, друга зона северног зида наоса, манастир Зрзе, сликар Онуфрије, 16. вeк)

The first four medallions (two on the south and two on the north wall) next to the icon-
ostasis are occupied with saints who were, appart from Righteous Job, not very popular in the
eastern Christian world. However, they belong to a category of long-suffering saints who were
willingly submited to “bloodless” martyrdom for Crist, each in his own way. The two remain-
ing medallions, further from the iconostasis, display images of saints who died as martyrs
(Djurić 1991: 85).27
Saints Constantine the Great and his mother Helena are depicted holding the Holy Cross
between them,28 in the first zone of the south wall, beneath the medallion with St. Nicholas the

which, St. Athanasius was summoned to martyredom, while St. Nicholas, recognising God, left the army and became
a monk.
27
For the practise and meaning of the distribution of a specific category of saints, closer or further from the
iconostasis, see: Djurić 1991: 85.
28
It is possible that the decision for representing St. Athanasius of Persia opposite the Holy Cross was influenced
by the episode from the saint’s Life. It is said that the saint converted to Christianity when he saw the Holy Cross,
aftter it had been brought from Jerusalem to Persia among other war spoils.

138
* THE REPRESENTATION OF SAINT NICHOLAS THE MONK AND FORMER SOLDIER IN THE MONASTERY OF ZRZE

Fig. 7. Medalions in the second zone of the katholikon of Zrze, south wall of the nave, painter Onuphrios, 16th
century. (Медаљони у другој зони северног зида наоса манастира Зрзе, сликар Онуфрије, 16. вeк)

Monk and the Baptism of Christ is depicted above the medallion with the saint, in the third
zone of the south wall.29 The Royal Deesis is depicted in the first zone of the opposite, north
wall, with the military saints, next to it. St. Nicholas was a soldier too, before he left the army
to become a monk.
It is an interesting fact that painter Onuphrios decided to represent the far less popular
of the two saints named Nicholas, both former soldiers and later monks.30 It should be noted

29
For the conection between the phrase “triple” that is used for the number of times that St. Nichola the monk
had been tempted by the innkeeper’s daughter, depicted by Onuphrios in the form of a three-headed snake in the saint’s
hand, and the triple immersion during Baptism, see: Stephenson, Shilling 2011: 433. The authors also point out to the
connection between the phrase and the Serpent Column from Delphi, that seated a tripod on three snake heads, taken
to Constatinopole by Emperor Constantine the Great. It is possible this is the reason why painter Onuphrios depicted
St. Nicholas between the images of Constantine the Great, in the first, and The Baptism of Christ, in the third zone
of the south wall.
30
How the popularity of a saint’s cult, or the personal wish of a ktetor influences the selecton of saints that will
enter the painted programs of churches, see: М арковић 1995: 593, нап. 206.

139
 ANDRIJANA I. GOLAC *

that, even though it is probably younger, the cult of St. Nicholas of Vounena, had a much bigger
response in Byzantine and Post-Byzantine monumental painting, especially in the northen
parts of the historical region of Macedonia, where monastery Zrze is situated. So this gives us
the freedom to assume that in Zrze, painter Onuphrios personally chose to depict St. Nicholas
the monk in such an unusual and brilliant manner.31 In any case, the exceptional iconography
from Zrze clearly shows which of the two Nicholas painter Onuphrios had in mind when he
represented him in the naos of the main church.

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http://www.museosarteano.it/pagina4.php?linguanumero=2
http://www.travelingintuscany.com/art/art/tarquinianecropolises.htm
http://full-of-grace-and-truth.blogspot.rs/2009/05/st-nicholas-new-righteous-martyr-of.html

Андријана И. Голац

ПРЕДСТАВА ПРЕПОДОБНОГ НИКОЛЕ МОНАХА И БИВШЕГ ВОЈНИКА

У МАНАСТИРУ ЗРЗЕ

Резиме

Предмет проучавања овог рада је до сада неидентификована представа која је сачувана у глав­ној
цркви манастира Зрзе код Прилепа, на јужном зиду, у другој зони сликарства, међу медаљонима са
попрсјима светих. Реч је о представи преподобног Николе, монаха и бившег војника. Она је дело
сли­кара Онуфрија Аргитиса и настала је у XVI веку.
Кључне речи: Зрзе, Онуфрије Аргитис, Преподобни Никола монах и бивши војник.

Уредништво је примило рад 17. III 2017. и одобрило га за штампу 5. V 2017.

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