{"id":503,"date":"2019-07-25T08:44:53","date_gmt":"2019-07-25T08:44:53","guid":{"rendered":"http:\/\/efaathculture.gr\/?page_id=503"},"modified":"2021-01-27T10:42:58","modified_gmt":"2021-01-27T10:42:58","slug":"metamorfosis-of-sotiros-kottaki","status":"publish","type":"post","link":"https:\/\/efaathculture.gr\/en\/metamorfosis-of-sotiros-kottaki\/","title":{"rendered":"CHURCH OF SOTIROS (SOTEIRA KOTTAKI)"},"content":{"rendered":"\n

“Fixing and conservation works of frescoes in the Byzantine part of the I. N. Metamorfosis of Sotiros (Kottaki)”<\/h4>\n\n\n\n

The Transfiguration Church of Sotiros (Soteira Kottaki) dates back to the 11th century and has received many interventions and extensions during the 19th and 20th centuries. The frescoes that adorn it belong to the 20th century, most of them works by the well-known artist and iconographer D. Pelekasis, while the Platytera throne dates back to the end of the 19th century. The elements of its Byzantine phase and, in particular, its eastern main masonry, the dome and the four marble columns with their crowns that hold it up, showed extensive damage, mainly affecting the stability of the monument. These problems were dealt with by applying new joints, grouting the masonry and installing tractors. In addition, in order to further highlight and promote the Byzantine core of the church, maintenance and restoration work was carried out on its stone members and frescoes. During these works, the only, to date, part of the original wall painting of the Byzantine church with a representation of a dialith cross was also revealed.<\/p>\n\n\n\n

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The Platytera and Pantokrator in I. N. Metamorfosis of Sotiros (Soteira Kottaki) during and after the conservation works<\/figcaption><\/figure>\n\n\n
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“Fixing and conservation works of frescoes in the Byzantine part of the I. N. Metamorfosis of Sotiros (Kottaki)” The Transfiguration Church of Sotiros (Soteira Kottaki) dates back to the 11th century and has received many interventions and extensions during the 19th and 20th centuries. The frescoes that adorn it belong […]<\/p>\n","protected":false},"author":1,"featured_media":2916,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","footnotes":""},"categories":[27,26],"tags":[],"class_list":["post-503","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-our-work","category-espa"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/posts\/503","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/comments?post=503"}],"version-history":[{"count":3,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/posts\/503\/revisions"}],"predecessor-version":[{"id":8045,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/posts\/503\/revisions\/8045"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/media\/2916"}],"wp:attachment":[{"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/media?parent=503"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/categories?post=503"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/efaathculture.gr\/en\/wp-json\/wp\/v2\/tags?post=503"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}