EUROPEAN CENTRE OF BYZANTINE AND POST-BYZANTINE MONUMENTS Routes of Faith in the Medieval Mediterranean History, Monuments, People, Pilgrimage Perspectives International Symposium Thessalonike 7-10/11/2007 PROCEEDINGS Edited by Evangelia Hadjitryphonos in the frame of the project Egeria - Mediterranean Medieval Places of Pilgrimage of the program INTERREG IlIB/Archimed "THE PROJECT “EGERIA" - MEDIEVAL PLACES OF PILGRIMAGE I CO-FINANCED BY THE EUROPEAN PROGRAM INTERREG IIIB-ARCHIMED Thessalonike 2008The Basilica of the Forty Martyrs, Albania: A pilgrimage church of the Early Christian Period Ioannis Vitaliotis Archacologist, Research Center for Byzantine and Post-Byzantine Art, Academy of Athens ‘The remarkable Early Christian Basilica of the Forty Martyrs, located in the town of Saranda in southern ‘Albania; is one of the major Early Christian monu- ‘ments found in the wider geographical region of Epirus (Fig, 1, 2). Despite its significance, and despite the fact that the academic world has for long been aware oft, the monument has nevertheless been in- adequately studied to date! This is owed partly to the fact that it was covered with rubble after being bombed in 1944 and partly to the ideological and political orientation that Enver Hoxha’s regime en- forced in Albania immediately following World War Tand for almost halfa century*, Systematic excava- tions have been carried out on the basilica’s site since 2003 by a team of experts from the Albanian Insti- tute of Archaeology in Tirana, headed by Professor Skénder Mugaj. The excavations have also been at. tended by the author ofthis paper, whose participa- tion is within the scope of a programme organised by the Research Centre for Byzantine and Post- Byzantine Art (KEVMT) of the Academy of Athens, ‘under the title “Monuments of Christian Worship in. Albania: A record of Wall Paintings in Southern Al- bana” ‘The archaeological data obtained from the ex- cavations testify to a series of building interven- * Greek version on page 522. 1 For ear literature on the Bosica ofthe Forty Marys, see. Pallas, Epiros,Realleston der byzantnischen Kunst, 7, Stuttgart 1971 AL pp, 303-304, 07-306 and J, Mitchel, The Archeology of Pilgrimage in Late Antique Albania: The Basi of the Forty Martyr, in: W. oven, L Lavan, C. Machado ed), Recent Research on the Late Antique Countryside, Bri, Leiden - Boston 200, p. 147, footnote 11 and ‘pp. 183-185. Note aso thatthe fist mentions ofthe monument by an archaeologist, albeit brit, are only found from the Balkan Wars and ‘World War {onwards (D. Bvanglides, Ai pavbcnre va ara wngela hs Bopeob Hrlpou, NéagELyopia 10, 1913, pp. 276-288, 457-469 and'H Bépe nepo, Atens 199, pp. 3940). Systematic academic references tothe bala only began inthe in fer petiod, suchas thote made bythe tlian Luigi Maria Uglini (Albania Antic, 1 Ricerche Archalogche, Rome &cMiln 1927) and the Dane Ear Dygave (Di Altchristchen Kultbauten an der Westiste der Balkanhalbinsel, Ati del IV Congress Internazionale di Arceol si Critana, 1, Vatican City, Rome 140, pp.391-41), Most importantly, the photographs accompanying the wo foreign archaeologist texts tere ofthe monument before it was bombed (see the republished photos in Mitchel op. cit, pp 154-155, igs. 3-4) References tothe Basit- feu ofthe Forty Martyrs are als to be found in alder texts written by Greek scholars, uch as Cosmas Thesprotos (C. Thesprots, A. Psli- has, Teuypapia'AlBavias wal Hnepou vero ypoypgou 00 Kooué Gcoxpae0 péronoypagind oeBiaypapsra ra! youypapinoi ‘xéprac 100 lou, ed. A. Papacharisis,oannina 1964, p. 63), Panagiotis Aravantinos (Xpovoypata nf Hinu/ov z0y re udpwy éLaqvy al Dupo yep, Becplyovon na cep bv aac ope dé x08 ewypou tous uly ro 1854, Athens 1856, 2 pp. 3-4) and Evangelos Demetrion (0 adc al xrtaxdas roy Aly Teaaapaxovra Mapripar, epic vbr 198, 1913, pp. 10) 2. For example at est inthe ater years ofthe Communist regime, the basilica was aresrcted military zone andthe crypt wat used by soldier. 43. L would lke to thank my colleagues atthe Insitute of Archaeology in Trena and fst and foremost Profesor. Mugs who asked me to participate in the reearch team and entrusted me with the sudy of the murals inthe Basica ofthe Forty Martyrs and inthe other mon: ‘uments being excavated and researched, aswell a his asociate, Assistant Professor K,Lako and the architect E,Hobdari, Twoald also like to thank the Aademy of Athens and especialy Profesor PL. Voctopouos, member ofthe Academy of Athens, an the Research Cire’ i rector, Ms. Bitha, both of whom supported my collaboration wih the Instite of Archaeology and st to i that it was inched in one of ‘he Academy’ research programmes. 403404 ROUTES OF FATHIN THEMEDEVAL MEDITERRANEAN. | INTERNATIONAL SHPOSLM | SSSON X A A2 A18-2 A19-2 A20-2 c2 A5-2 Fig, 1. Ground plan of the Basilica of the Forty Martyrs, Saranda, Albania (drawing: architect Elio Hobdari). tions made to the basilican complex during its rel- atively short life ~ probably around 100 years and Spanning the entire 6" century. Although the sources remain silent on this matter, both the po- sition and morphology of the monument lead to the distinct conclusion that it is an Early Christian martyrium associated with the cult of the Forty Martyrs ‘The cult ofthe Forty Martyrs, who during Licinius’ reign were tortured to death in the icy lake of Sebastea in Pontus, is known to have spread far and wide from as early as the 4" century, along with the great disper- c3 A3B A a A19-3 A20-3 A AG-2 AS-1 sion of the martyrs relics, and even more so in the 5 century when the relics reached Constantinople (where atleast eight churches were built to honour their mem- ‘ory, the first ~ according to Sozomen ~ dating from the patriarchate of Proclus between 436 and 446°), Relics of the Forty Martyrs were sent to the West for the first time in the late 4 century® ‘The role of the Basilica of the Forty Martyrs as a pilgrimage monument must first and foremost be associated with the site on which it was built: It stands on a tall, steep hill overlooking coastal Onch- esmos, the Early Byzantine Anchiasmos, which was “4 For general information onthe forty marys of Sebastes, se Lexikon der OristichenTkonogap 8, RomeFribour/Bese/Vienns 1976, pp 550-55, for information on the spread oftheir cule. Marval, Le premiers dévloppements du cle des XL Martyr Sebsté dans POrientbyzsntn ten Oceient, Vatara Christianorun: 36,19, pp. 183-208, ‘5. The Paschal Chvonicle provides alter date (451) forthe same event. For more information on this, see R Jani, La glgraphie e- tise de empire beat. Le sige de Constantinople et le patient cuménique, Les lies els monasteres, Pacis 196, p. AB, arava, Le premiers développement, op cit p. 202 6 Marval, Le premiers développements op. cit pp. 207-208TOANNS WTALIONS, | THEBASLICA OF THE FORTY MARTYRS ALBANIA 405 Fig. 2, Basilica of the Forty Martyrs. Partial view of the excavation site. situated precisely where the modern-day town of Saranda is found? (Fig. 3, 4). The monument was built beyond the walls of the city, from where it could be reached by following a road up the rocky hillside, and was also situated close tothe only thor- oughfare joining (even today) Anchiasmos with the valley of Dryinoupolis (modern-day Dropolis) and the rest of the Epirot hinterland. Quite clearly, the ‘monument's site was chosen for the very good visi- bility it afforded of the port and the sea and for its proximity to the city (a 15 to 20 minute walk). The founders did not seem to be deterred by the site’s lack of a water source: in fact, the basilican com- plex’s sole source of water was the rainwater col- lected in cisterns, This water was also used for the baptistery, which was excavated north-west of the basilica ‘As regards the basilice’s architectural morphol- ogy, there are two points worth noting in support of the view that the monument was a martyrium®. The first is the rather remarkable form ofthe main build- ing: an oblong heptaconch structure about 43 me- tres long and 23 metres wide, with three semicircu- lar conches on either side along the length of the building (Figs. 1, 3,4). This is undoubtedly an ar- chitectural peculiarity, most likely borrowed ftom central plans, and indicates the founders’ intention, to create an exceptional, monumental piece of ar- 17. For more information on Onchesmas/Anchiesmar, see K.Lako, Keshtell e Orbe li, 1984, pp. 153-205; dem, Dinamika € alii té Onhezmit ris, 1986, pp 273-28; ier, Baza e Onhezmit, Tria, 191, pp. 123-186; idem, Ené bale nga qytt i Onhexém ‘Ankisamit (Sand) Ha, 2001-2002, p, 283-316. "There iss substantial wealth ofltertare on martyria and the cul of matty in general rom the Exly Christian period inthe ast and ‘Weal Besides the now clas study by A. Graber, Marr, 3, Pais 1946, se also R.Krautheime, Mens, coemeterium, martyr, Cahiers archélogiques 1, 1960, p. 15-10, 3. Kotting, Die fachrstliche Require wd ae Bestatung im Kirchengebaud, Cologne 1965, F. De- fhmann, Martyrerbaska, Martyrion, Memoria and Altargrab, Mitelurgen des deutschen achaeolgischen Institut, ROmische Abtllung, 177,197, pp. 144-69, P. Brown, The Cut af Saints, London 1981 and, more recently, J Crook, The Archlectral Sting ofthe Cul of Saints in the Early Christian West 300-1200, Oxford 2000 (eeprinted: 2003) forthe relevant literature, Fora general look a the development of the ent of martyrs in the Early Chistian perio, sce Lacy Gri. Making Martyrs in Late Antiquity, Landon 2006. For more on Eastern pit. trimage centres of the period and the practices of pilgrims, see the fundamental work by P. Marval, Lieux saints et plerinages Oren. His- tae et géographie, De orpnes a conguéte arabe, Pars 2008406 ROUTES OF FNTHIN THE MEDIEVAL MEDTERUNEAN. | INTERNATIONAL StrOSKY. | SESSONX Fig. 3. Basilica of the Forty Martyrs. ‘The western conch of the northern flank. In the back- ground, the town of SarandJOANN VITALIOTE | THEBASUCA OFTHE FORTY MARTYRS, BANA 407 chitecture’, "The second point linked to the basilica’s existence as a pilgrimage site concerns both the actual exis- tence ofan extensive crypt and the curious layout of, this crypt, which consists of a number of compart- ‘ments!® and chambers allocated for various uses (Fig, 5). The core ofthe crypt comprises two parallel rows of barrel-vaulted compartments extending under the ‘western section of the naos (Fig, 6). The two rows of ‘compartments are linked by a corridor with exits on the north and south sides (Fig. 7). Even though all the compartments are oriented from west to east, only two of them have a conch on the eastern wall and ‘were evidently used as chapels (figs. 8, 18). tis not however certain to what use the other compartments ‘were put, but the low benches built along their walls, a feature also found in other Barly Christian places cof worship, especially in Syria", suggest that they ‘were used in gatherings of worshippers. There are one or two openings in the ceiling of each compart- ment to provide ventilation. No tombs or traces thereof have been found inside the crypt. ‘The crypt complex contains another spacious, practically unified barrel-vaulted chamber beneath, the narthex, as well as a chamber under the (subse- ‘quent) ambulatory (the section beneath the ambula- tory's northern portico is wide open today since the ambulatory has collapsed there). ‘The oblong chamber under the ambulatory’s southern portico is particularly interesting in terms of the roleit played in the crypts function. There are two rectangular fenestllae in the eastern wal of this cham- ber (B7) that lead to two very low barrel-vaulted com- partments, each of which communicates with a tiny chamber (Fig. 9). Each fenestella is about 90 cm tll and around 55 cm wide. Other such openings are also to be found in other Barly Christian pilgrimage church- esand were used for keeping and worshiping the relics cof martyrs!2, We are certain that the two small cham- bers (B32 and B33) to which the openings in chamber Bs eastern wall lead, were used to keep reliquaries, quite possibly containing parts ofthe relics ofthe Forty ‘Martyrs, Pilgrims were able to see the relic through the aforementioned fenestellae, while the position of these chambers in relation to chamber B7 ensured thatasafe distance was kept between the faithful and the reli- ‘quaties (for obvious reasons). Given the data we have up to now, it appears that compartment B7 and the adjacent small chambers (four in all) to the east of B7 (northern B5-B32 and southern B6-B33) are part of the original core of the complex, an assumption that seems to be corroborated by the sole trace of a wall painting from the 1* phase that has survived there, ‘The fragments of painted decoration existing in the crypt, particularly in the chambers in the crypts, core, are an important source of information on Ear- ly Christian wall paintings!®, We have detected three painting phases in the crypt. Brom the 1* phase 5, For information on theerchteturl morphology of mary, see Buterpe Mail, © avdoc oraupici vac mad Ayiow Anarepo ‘ax Oesoahoviey. H Ocaadovin 1, 1985, pp. 166-177, which contains an extensive review ofthe entire issue 10 We believe that, in thiscase, the term “compartments” more correc than the term “chapels” that]. Mitchell uss in his article (The “Archaeology of Pligeimage, op. cit), because “chapel” implies tht liturgy is conducted there (se I. Vitalis, Quelqus remarques sur la fonction des compartiments dts ‘chapels’ des gies byzantines, Proceedings ofthe 21" International Congress of Byzantine Studies, London 21-26 August 2006, I, Abstracts of Communications, pp. 256-257, 11, Grbar, Maryrium, op it I p- 347 12 See Crook, The Architectural Sting, op. ci, pp. 4-43, fg. 6 (Rome, subterranean basilica consecrated in honour of Saint Alexander [san Alesndso, with a aquace opening on the font side ofthe altar that communicated wih the tomb ofthe two martyrsburied below) and pp. 1547, ig 8 (Rome, basa consecrated in honour of Saints John and Paul (Ss. Giovanni e Paco), witha fenestella communicating with that that led to the chamber where the martyr John an Paul were buried), The opening in theater church especialy similar tothe cor. ‘espoingfenesee in chamber B7 ofthe Basa ofthe Forty Martyrs 13, There are no publications onthe crypts punted decoration, withthe exception ofthe article by J. Mitchel, The Archeology of Pil- rimageop cpp. 145-186. However, the article was writen before the recent work cried out by conservators from the Ist of Mon- {iment to secure and clean the murals which led to the disclosure of mara that hd not been visible at al before 2006 Following the recent “Conservation work. an initial presentation of the murals was made by the author ofthis paper atthe annual Symposium ofthe Christian Ar ‘haclogicl Scie Athens, 11-13 May 2007 (Vitti, xpi mye xahatoypuoevaci Bacay Te yay Teooopxovea oovs Aion, “Sapdvea tg ANBavias, 27 Zope Barr kau Meropulavic Apynuohopin nat Ten, Mpdypaua Ka nepye avexantiocey, ‘Athens 2007, pp.26-27) A photograph of mara from compartment BIB was recently published in leyman’s archaeological guide in Saran 4b (R Hodges, Saranda, Ancient Onchesmos. A short History and Guide, Tiana a1, p47). The guide arbiter places the crypts murals in the 9 century.408 ROUTES OFFATHIN THEMEDEVAL MEDITERRANEAN | NTERNATIONALSYHPOSKH | SESSION X B16 ens) c smmicomeee7etee-- =o, B27 28 B2 Za a B19 Oo B20—J Bu B18 Sy BH B23 B24 B17. B25 26 1 B Fig. 5. Basilica ofthe Forty Martyrs. Ground plan of the crypt (@rawing: architect Elio Hobder) (which must coincide with the basilica’s first build- ing phase) there is only one small fragment contain- ing red painton the eastern wall of compartment B7. Fig, 7. Basilica ofthe Forty Martyrs. Northern entrance tothe crypt (lft) and view of the corridor in the crypt’s interior (right) Fig. 6, Basilica ofthe Forty Martyrs, crypt. Compart- ment B16. ‘The 1* phase was most likely limited to this cham- ber, which was quite possibly part ofthe original pil- ‘grimage building. The 2" phase of the painted dec- oration, of which quite a number of fragments have survived, must have taken place at the same time as the larger basilica was builtin the 6* century. This, phase appears to have been limited only to the east- ‘ern wall of the barrel-vaulted compartments located in the crypt’s core (where it forms the earliest layer of wall paintings) and to the chambers (includingTOANNS TALIS | THE BASLICA OFTHE FORTY HARTYS, ALBANIA 409 Fig, 8, Basilica of the Forty Martyrs, crypt. Compart- ment B24 (western chapel B7) under the ambulatory that was built subse- ‘quently. The basic theme is the Latin cross inscribed in the arch; its arms are splayed at the ends"* and it ‘has been painted together with the letter P, which is crook-shaped (Fig. 10). This is a combination of the cross and the monogram of Christ (Chi-Ro), a vari- ation of the typical Christogram (chrismna) that is of- ten encountered in Early Christian art, and particu- larly in the eastern Mediterranean, from the middle of the 5t century onwards (brick Chi-Ro mono- grams also accompany the founders’ inscriptions on the basilica’s western wall)!*, Depending on the ‘width ofthe wall, the arch surrounding the cross may be flanked by two smaller arches that do not enclose a cross. The themes of the 2% phase have been ren- dered in two colours (red and black). ‘The 3% painting phase must coincide with the basilic’s 3" building phase and dates to the late 6 century, in other words a relatively short while before the monument was abandoned. This phase covered the 2° phase's painted layer and extended to all the ‘walls of the compartments, It comprises figural scenes that are colourfully decorated with plants and flowers (Fig. 11). Some examples of the topics depicted in- Fig. 9. Basilica of the Forty Martyrs, erypt. Compart- ‘ment B7 and openings (fenestella) leading to cham- bers BS and BG. Fig, 10. Basilica ofthe Forty Martyrs, crypt. Compartment BBI7. Arches and cross from the 2™ wall painting phase. clude: an extensive scene portraying two young men, ‘one beardless and the other bearded, on a ship from ‘which nets are cast into a lake (Fig, 12) and an im- posing, beardless male figure on the shore that is iden: tified as Christ (Fig. 13) (this obviously refers to the call of James and John, from the Gospel according to ‘Mark, 1.19); a scene probably only encountered once in iconography and which we assume narrates the call, of Matthew (Fig. 14) (the two aforementioned scenes 14 See for example, similar crosses inthe Barly Christan panel found inthe Church of San Francisco in Ravenna (ctly 6c). where ech eros is Nanked by two colonnetes supporting « clam-shaped conch (FW. Deichmann, Ravenna, Geschichte und Monument, Wies bade 196, p. 75 and figs 116, 168), 15 Bor this asain on the chrisma, ee M,Sulzberge, Syabole dela Croix eles Monogrammes de ss chez les prémiers Chrétien, ‘Byzanion 2 1925, pp. 401, 427,448, enzy "Christogramme”; Leto der Crlich Ikaograph, op. ci, 1, 1968, L456, entry "Kreua" op. ‘&t,2, 1970, 1 569570, 45 well asN Laskar, Monument funéaires palaces [tbyzanting] de Gre, ens 2000p. 453, footnote 4, The ‘ross with a crook is another atation of he Chi-Ro monogram and appears to have emerged in the Sc (Laskars, op pp. 544-445)410 ROUTES OF FMTHINTHEMEDEVAL MEDITERRANEAN | INTERNATIONAL SHHPOSKEY. | SESSION X Fig. 11. Basilica ofthe Forty Martyrs, crypt. Compart- ‘ment B15 (eastern chapel), entrance. Vestiges from the 34 wall painting phase (plant ornament) Fig. 13. Basilica ofthe Forty Martyrs, crypt. Compart- ‘ment B18, northern wal. Beardless figure (Christ) (de- tail from the Call of James and John, 3° wall painting phase). are found in compartment B18); portrayals of martyrs in the Orans position in front of an architectural back- ground (conches and buildings, from which veils hang), these portrayals resembling similar mosaic scenes found in the Rotunda’® and Aghios Demetrios in Thessaloniki (in compartment B17) (Fig. 15); a ‘group of women who were part of no longer extant composition (in compartment B15 ~ east chapel) (Fig. 16) and a scene of a procession or supplication (Dei- Fig, 12. Basilica ofthe Forty Martyrs, crypt. Compart- ‘ment B18, northern wal. Ship on a lake (detail from the Call of James and John, 3* wall painting phase). Fig. 14. Basilica ofthe Forty Martyrs, crypt. Compart- ‘ment B18, southern wall, Seated beardless man with halo pulling the beard of bearded man also with halo (Call of Matthew {¢], 3" wall painting phase). sis, in compartment B26). There are also traces or ves- tiges of other scenes which are ~ atleast for the time being ~ difficult to interpret, since the murals have not yet been cleaned in their entirety By summarising the data gathered to date from archaeological research, we will attempt to present an outline of the pilgrimage monument’s history up un- til its abandonment in the late 6* century. It is assumed that the bishop of Anchiasmos 16, See the mostc depicting chiren being dedicated to Saint Demetrios (Ch Baits, H Barto cov you Snunrpioy, Thessaloniki 1986, ig 2) and the few portraying martyrs on the Rotunds’s dome (J-M.Spieser,Thessloniqu et ss monument di IV au Vest Contribution étude une vile palochrtienne, acs 1984, pp. 125-164, pats XXIILL, XXV., KAW and, Pazaras H Porévra row pou Feapyiov 74 Sco0ahovte, Thessaloniki 1985 plate LV).roars vrauons | 1 Fig, 15, Basilica of the Forty Martyrs, crypt. Compart- ment BI7, Martyr in the Orans position with halo be- fore an architectural background (3% wall painting phase). brought part of the relics of the Forty Martyrs of Se- bastea to the area and this evidently occasioned the creation of local pilgrimage centre, which included a cxypt in which the relics were placed. This most likely ‘occurred in the late 5 century or, at the very latest, in the early years of the 6! century, perhaps in tandem. with the building policy of Anastasius I (491-518). ‘We cannot say what the exact form of the origi- nal building was. However, it seems that the crypt initially consisted of the eastern section of its “core”, comprising six compartments in all and chamber B7 together with the small compartments adjoining the chamber to the east, where it appears that the mar- tyrs relics were kept. Chamber B7 thus seems to have been particularly important as an area of worship from the complex’s very beginnings. Note that the chamber was not located underneath the first church, which was evidently positioned over the “core” of the crypt, but was rather adjacent to the “core’s southern wall, as was the custom in the Bast: name- ly, that the martyrium (ie. the chamber housing a tomb or holy relics) adjoin the naos"”, We assume that the original church's sanctuary may have been located directly above the eastern section of the cxypt’s “core”, 17. See Grabar, Maryriun, opt L pp 335956 E BASLICA OF THEFORTY MARTYRS, ALBANIA all Fig. 16. Basilica ofthe Forty Martyrs, crypt. Compart- ment BIS (eastern chapel), northern wall. Group of ‘women (3° wall painting phase). ‘Weedo not know if the first church over the crypt had been completed when the 2" building phase be- gan, What is certain is that in the 6" century, possi- bly during the reign of Justinian 1 (527-565), it was decided to build an impressive heptaconch martyri- um. The reasons behind this decision probably have to do with an increase in the number of worshippers, and, consequently, in revenues, There were quite a number of lay benefactors who contributed not only to the new church's decoration, but also to its con- struction; their names were commemorated in in- scriptions made up of brick on the basilica’s outer walls ~ an exceptionally unusual occurrence in the Early Christian period. Of these names, Paregorios hhas been preserved on the northern wall, and Kyri- akos (Fig. 17) and Theodore on the western walls in another inscription on the northern wall the name is, no longer visible", The spolia from the basilice’s screen, which were found in situ, ate examples of re- fined artistry and were evidently the work of a team. from a major city. During the 2" building phase, the original “core” of the crypt was extended to the west since the rocky ground in the east made it impossible to extend the building in that direction. Two chapels were created in the new extended crypt, which proves that Divine 16, North elevation, on the westside ofthe cryptentrace: Klip Bot x@ Bot oon... Nort elevation, onthe west of the previous inscription: Hapnyopioo Op edie, West elevation on the north side: [K(ipe Blof 79 Bok oov @robliply. West elecation, ‘on the north ide: [Kp Box Bothy cov Kopiax,412 OUTES OF FATHIN THEMEDIEVAL MEDITERRANEAN | INTERNATIONAL STHPOSLM. | SESSION X Fig. 17. Basilica of the Forty Martyrs, west facade. Beginning of brick founders’ inscription commemo- rating donor Kyriakos. Liturgies were held there. Note that chamber B15, ive. the “eastern chapel” (Fig, 18), did not have a conch in its initial phase, The current conch was constructed at the time when the pillar was added in the chamber’s northwestern section during the sec- ond building phase and this is why the conch is sit- uated on the axis of the compartment’s entrance ~ which was formed in the 2™ building phase when the pillar was added in the compartment’s north- western section ~ rather than on the chamber’s lengthwise axis, During the same building phase chamber B7 was extended to the west and its eastern ‘wall was covered with new murals depicting the same themes (arches and crosses) found in the crypt's oth- cer compartments, Some years later an ambulatory was added on three sides of the basilica, which covered the in- scriptions containing the names of the previous building phase's benefactors ~ which clearly means that they were no longer alive. This leads us to place the 3" building phase towards the end of the 6" cen- tury. That the building was extended suggests an in- creased number of worshippers, which is confirmed by the fact that the large semi-subterranean chamber beneath the narthex~ up until then a part ofthe crypt = was closed off during the 3" building phase and ment BIS (eastern chapel). converted into a cistern. Regarding the painted dec- oration, biblical and ecclesiastical figural scenes were chosen to be painted in the compartments, on their whole surface this time, complementing the scenes, with plant and flower decorations. The 3° phase’s paintings reveal a distinctly different aesthetic point of view to those of the preceding phase. ‘The Basilica of the Forty Martyrs was abandoned in the late 6 century or circa 600, proof of which was found in the ceramics brought to light during the ex- cavation. The site's abandonment coincides with the raids by Avars and Slavs, who caused widespread damage to a very large part of the Ilyrian peninsula, reaching Salonica in 609. The episcopal basilica of Anchiasmos, located near the port, was also de- stroyed during this time, Ata provincial synod held by the bishops of the Old Epirus (Epirus Vetus) a short while later, in 625, no mention was made of the 19. Pethaps the absence of conch shows that Divine Litarges were not hel in the original cept, and thatthe crypt was simpy used to worship the relics and to have gatherings that were devotional in nature rther thn itagial in the strict sense ofthe erm, 20, See Lako, Balika ¢ Onheamt, op. ctJOANNS VITALIOTIS | THE BASLICA OF THE FORTY MARTYRS, ALBANIA bishop of Anchiasmos, who had previously been mentioned without fail from the 5 century right up to the provincial synod of 516. Despite the pilgrimage site's desertion, the cult of the Forty Martyrs was a constant presence in the area and in the wider region, to which the impressive ru- ins of the basilica ~ as shown in the photographs tak- en in the interwar period - undoubtedly contributed. Evidence testifying to the cult’s continuation is not only to be found in the traditions recorded by vari- ous scholars and history researchers, but also in the 413 fact that later on, probably in the Middle Byzantine period, the eastern section of the ambulatory's south- cern portico was used as a site for worship. The sur- vival of the cult of the Forty Martyrs was further con- firmed by the discovery, in 2004, of a 13-century ‘mural depicting their martyrdom in the narthex of a ‘crumbling basilica in Peshlcépi, in neighbouring Nivi- ca®, and by the wall paintings ~ created by Michael of Zerma in 1672 ~ narrating the same martyrdoms in the cathoticon of the Post-Byzantine monastery in Kakome, situated near the aforementioned village. 21. B, Chysos, “Boy ory wropia a Hrpou xan xy npofifavci eno ineperitt Xpowed 23, 1981, pp. 7980, 101, 22.See, for example, F Beonomou, # Exxhala mc Bopetov Halpow. And mn npn BuaSocue row zpurrawique ply ay Ra ud, pray, Athens 1969, p. 78 (erezaapéxovea rapenela eg THY HOY Tay teoaepEKOVCR ppTEpLV). 23.8. Moga Hobdari, ¥. Vitali, "Kieha mesjetare e Peshleps®(Nivct,Sarende”(Raport paraprak mbiglemimet 2003-200), Can- ayia 2, 2005, pp 789-201 (French text pp. 302-305) and ig 2.