Monumental Art in the Lordship of Athens and Thebes 375
και μοναστηριών του Κοινού17 and there are several examples in Lusignan Cyprus.18
Moreover, the Chronicle of the Morea records donations made by William ii
deVillehardouin shortly before his death to monasteries both of the Franks
and the Greeks.19 In addition, the Chronicle of Galaxeidi mentions that the
Hospitallers built a church dedicated to St John and offered it to the com-
munity of Galaxeidi in 1404.20 According to the inscription over the arcoso-
lium in the church of Akraiphnion, the monastery church was renovated and
decorated in the year 1311 by two Greek brothers and hieromonks, the abbot
Germanos and Nikodemos, who probably also arranged le Flamenc’s burial in
the church. In fact, the arcosolium under the inscription on the south wall of
17 Zacharias Tsirpanlis, ed., Κατάστιχο εκκλησιών και μοναστηριών του Κοινού (1248–1548):
Συμβολή στη μελέτη των σχέσεων Πολιτείας και Εκκλησίας στη βενετοκρατούμενη Κρήτη [The
Register of Churches and Monasteries of the State (1248–1548): contribution to the study of
the relations between Church and State in Venetian Crete] (Ioannina, 1985), pp. 82–83 and
passim. Chryssa Maltezou, “Κοινωνία και τέχνες στην Ελλάδα κατά τον 13o αιώνα: Ιστορική
εισαγωγή” [“Society and the Arts in 13th-Century Greece: An Historical Introduction”],
Δελτίον της Χριστιανικής Αρχαιολογικής Εταιρείας 21 (2000), 9–16, esp. pp. 9–10, 14.
18 See the image of the Latin lady in the narthex of the church of Panagia Asinou; Sophia
Kalopissi-Verti, “The Murals of the Narthex. The Paintings of the Late Thirteenth and
Fourteenth Centuries,” in Asinou Across Time: Studies in the Architecture and Murals
of the Panagia Phorbiotissa, Cyprus, ed. Annemarie Weyl Carr and Andréas Nicolaїdès,
Dumbarton Oaks Studies 43 (Washington dc, 2012), pp. 122–30, and Annemarie Weyl Carr,
ibid. p. 367; the depiction of the Latin couple of the Lusignan family in the scene of the
Incredulity of Thomas in the north aisle of the church of the Holy Cross at Pelendri, Ioanna
Christoforaki, “An Unusual Representation of the Incredulity from Lusignan Cyprus,”
Cahiers Archéologiques 48 (2000), 215–55; Nektarios Zarras, Ο ναός του Τιμίου Σταυρού στο
Πελένδρι [The Church of the True Cross at Pelendri] (Nicosia, 2010), pp. 47–52; the icon of
St Nicholas, now in the Byzantine Museum of the Archbishop Makarios iii Foundation,
dedicated by a knight of the Ravendel family to the church of St Nicholas of the Roof,
Jaroslav Folda, “Crusader Art in the Kingdom of Cyprus c.1275–1291: Reflections on the
State of the Questions,” in Cyprus and the Crusades, ed. Nikos Coureas and Jonathan Riley-
Smith (Nicosia, 1995), pp. 216–22; Ioannis A. Eliades, ed., Η Κύπρος και η Ιταλία την εποχή του
Βυζαντίου: το παράδειγμα της εικόνας του Αγίου Νικολάου της Στέγης του 13ου αι. που συντηρήθηκε
στη Ρώμη [Cyprus and Italy in the Byzantine Age: The Case of the Icon of St Nicholas of the
Roof which was Restored in Rome] (Nicosia, 2009). See also Annemarie Weyl Carr, “The
Holy Icons: A Lusignan Asset?” in France and the Holy Land: Frankish Culture at the End of
the Crusades, ed. Daniel H. Weiss and Lisa Mahoney (Baltimore, 2004), pp. 319, 326.
19 The Chronicle of Morea, vv. 7778–7780.
20 Konstantinos N. Sathas, ed., Χρονικόν ανέκδοτον Γαλαξειδίου [The Unpublished Chronicle
of Galaxeidi] (Athens, 1865), pp. 208–09. John Rosser, “Byzantine ‘Isles of Refuge’ in the
Chronicle of Galaxeidi,” in The Archaeology of Medieval Greece, pp. 141, 145, n. 43.