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Home 21 November 2019
Culture Caves Eastern Macedonia and Thrace Prefecture of Evros Municipality of Alexandroupolis

Internal view of the Cave of St. Theodore
(Photo: Byzant. Forsch., pl. LXXIII)
Wall painting of Archangel Michael from the cave of st. Theodore
(Photo: Thrace. ETVA publications)
Wall painting of the Burial of the Virgin Mary from the CCave of st. Theodore
(Photo: Byzant. Forsch., pl. LXXV)
The temple of st. Theodore
(Photo: Pantsoglou Christos)

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Thracian Electronic Thesaurus
webpage regarding Thrace
Thracian Electronic Thesaurus
webpage regarding Thrace
Evros
Webpage on Evros
Touristic Union
Tourist agency Union of Macedonia and Thrace

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Topics
Archaeology
Architecture
History
Mythology
Religion
Folklore -Customs
Personas
Caves
Museums
LOCATION
Eastern Macedonia and Thrace
Municipality of Alexandroupolis
Municipality of Thasos
Municipality of Maronia
Municipality of Prosotsani
Municipality of Sapes
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02/12/2007
Cave of St Theodore

Aikaterinh Balla
Source: C.E.T.I.
© Region of Eastern Macedonia and Thrace
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The valley of the “Irinis Rema” river that flows from NW to SE and empties into the Aegean Sea is located north of Alexandroupolis and west of Avas in the area of Mount Zonaio.
The valley of “Irinis Rema” (In dere, in Turkish) is linked with a smaller sided valley leading to precipitous cliffs, most of them forming caves. In one of these caves, on the top of a large cavity, the rock-cut church of St Theodores was fashioned. The walls and the embedded into the rock iconostasis of the church are richly decorated with Byzantine wall paintings created in two phases. In the first phase of the late 11th century, the paintings were elaborated with the characteristic features of the so-called “monastic” tradition dominated by the intense linear forms, the schematic representations, the lack of volume, the frontality and the austere figures. The second phase dating to the end of the 12th and the beginning of the 13th centuries is characterized by the style of the so-called “transition period”, the linear “Comnenean” and the more idealistic, anthropocentric “Paleologian” painting. The small church with the built iconostasis and the wall paintings on the surface of the rocks resembles the cavernous churches of Cappadocia.