The Byzantine-style frescoes and icons in the parish church in Georgioupoli

Analipsi Church in Georgioupoli stands in its own gardens off the main square and behind the seafront (Photograph: Patrick Comerford, 2018)

Patrick Comerford

The most photographed landmark in Georgioupoli is the tiny white chapel dedicated to Aghios Nikolaos at the end of a rocky artificial breakwater that juts out into the bay between the harbour and the beach.

It is popular with tourists who are encouraged to make their way out to the chapel and to light a candle there, and sometimes it is a popular venue for weddings, although it is difficult to imagine how a bride could make here way there in a full wedding dress, even if she used a boat and the waves were calm.

But tourists who spend most of their time at the seafront are unlikely to notice the tiny chapel of Saint Barbara, hidden in quiet corner, tucked away beside the harbour.

The principal church in this resort, however, is Analipsi Church (Εκκλησία Ανάληψη) or the Church of the Ascension.

Analipsi Church is large and confident church (Photograph: Patrick Comerford, 2018)

This church is back from the seafront, away from the main square and shops, and set in its own gardens.

On the outside, it looks like a confident statement of Greek and Orthodox identity in this town, built with a greater capacity that the needs of a small resident community.

The church is cruciform in shape, has two tall bell towers, and porches on three sides.

Inside Analipsi Church in Georgioupoli (Photograph: Patrick Comerford, 2018)

But inside, the dome and the frescoes covering the walls are an almost-overpowering example of contemporary Greek iconography at its best – modern in style and approach, yet maintaining a clear continuity with the Byzantine traditions.

Christ in the Dome of Analipsi Church in Georgioupoli (Photograph: Patrick Comerford, 2018)

At the base of the dome, the four spandrels between the arches and the dome are filled with triangular images of the four evangelists:

Saint Matthew in a spandrel beneath the dome (Photograph: Patrick Comerford, 2018)

Saint Mark in a spandrel beneath the dome (Photograph: Patrick Comerford, 2018)

Saint Luke in a spandrel beneath the dome (Photograph: Patrick Comerford, 2018)

Saint John in a spandrel beneath the dome (Photograph: Patrick Comerford, 2018)

One section of the north wall in the nave has four panels depicting scenes from the Passion of Christ: Christ’s Agony in Gethsemane (top left); his arrest in the Garden (top right); his trial before Pilate (bottom left); his humiliation by the soldiers (bottom right).

Four panels depicting scenes from the Passion of Christ (Photograph: Patrick Comerford, 2018)

In the panel depicting Christ’s Agony in Gethsemane, note how the eleven disciples have fallen asleep in various postures and poses, while the presence of God the Father is indicated in the top right corner (Photograph: Patrick Comerford, 2018)

In the panel depicting the arrest in the Garden, Judas betrays Christ with a kiss; the arresting party carry torches, swords and clubs, while Peter is trying to cut off the ear of one of the men (Photograph: Patrick Comerford, 2018)

In the panel depicting Christ’s trial, Pilate is crowned and washing his hands; above them and outside the courtyard, the veil of the Temple is ready to be torn in two (Photograph: Patrick Comerford, 2018)

In the panel depicting Christ’s humiliation by the soldiers, they are mocking him not only with words but by blowing trumpets, and banging cymbals and drums (Photograph: Patrick Comerford, 2018)

A number of frescoes in the church depict the scenes of well-known miracles:

The miracle of the loaves and fishes; note there are only two fish, but the loaves of bread have already been multiplied (Photograph: Patrick Comerford, 2018)

The healing of the paralytic man; you can see the ropes his friends have used to lower him down through the roof of the house (Photograph: Patrick Comerford, 2018)

The healing of the young blind man … those looking on can hardly believe what they see (Photograph: Patrick Comerford, 2018)

The raising of Lazarus from the dead (Photograph: Patrick Comerford, 2018)

Two linked scenes tell the story of the execution of Saint John the Baptist:

Salome asks for the head of Saint John the Baptist (Photograph: Patrick Comerford, 2018)

The beheading of Saint John the Baptist (Photograph: Patrick Comerford, 2018)

Of course, there are many scenes from the life of Christ:

The Presentation in the Temple (Photograph: Patrick Comerford, 2018)

The Transfiguration (Photograph: Patrick Comerford, 2018)

The entry into Jerusalem on Palm Sunday (Photograph: Patrick Comerford, 2018)

The Last Supper (Photograph: Patrick Comerford, 2018)

Christ washes the feet of the Disciples on Maundy Thursday (Photograph: Patrick Comerford, 2018)

The Deposition from the Cross (Photograph: Patrick Comerford, 2018)

The Resurrection (Photograph: Patrick Comerford, 2018)

The Great Commission … an unusual post-Resurrection scene for a fresco in a Greek Church (Photograph: Patrick Comerford, 2018)

Among the saints seen on the wall of the church are the Emperor Constantine and his mother, Saint Helen, discovering the True Cross:

The Emperor Constantine and his mother, Saint Helen, with the True Cross (Photograph: Patrick Comerford, 2018)

Often the west walls of Greek churches traditionally depicted a judgment scene. The doors out of the Church are guarded by two archangels:

The Archangel Michael (Photograph: Patrick Comerford, 2018)

The Archangel Gabriel (Photograph: Patrick Comerford, 2018)

Above them is a scene depicting the Dormition of the Virgin Mary:

The Dormition of the Virgin Mary (Photograph: Patrick Comerford, 2018)

The discovery of the True Cross … an image above the door into the funeral chapel (Photograph: Patrick Comerford, 2018)

Columns in a side porch of the church (Photograph: Patrick Comerford, 2018)

A week in the village that never became the ‘Brighton of Crete’

The chapel of Aghios Nikolaos has become a symbol of Georgioupolis (Photograph: Patrick Comerford, 2018)

Patrick Comerford

After a week in Rethymnon, where I stayed at the Varvara’s Diamond Hotel in Platanes, I have moved on to Georgioupolis (Γεωργιούπολη), where I am spending the second week of this holiday in Crete.

It was a 27 km journey by road late this morning from Platanes to Georgioupolis, which is about 22 km west of Rethymnon and 43 km east of Chania. It faces Almyros Bay, with Cape Drapano and its rocky coast to the north and the long sandy beaches towards Rethymnon to the east.

The town was once known as Almyroupolis but takes its present name from Prince George of Greece, who was High Commissioner of Crete in the last years of Ottoman rule.

Archaeological evidence points to Georgioupolis as the site of ancient Amphimalla, the port of Lappa, a classical city at modern Argyroupoli.

This was once a small fishing village. When Prince George was appointed High Commissioner of Crete in 1898, he changed the name of the village to the Greek equivalent of Georgetown, built a shooting lodge here, and had a vision of creating a Brighton of Crete in this place.

However, his time on the island was shortlived. An autonomous island government was established, but Crete still technically remained under Turkish sovereignty. A revolt led by Eleftherios Venizelos forced the unpopular Prince George to resign in 1905 and Crete was united with the modern Greek state in 1913.

Prince George’s vision for Georgioupolis never developed, and it was not until the boom in modern tourism that this became a popular resort, with many cafés, tavernas and small hotels.

The broad main square with its eucalyptus trees is one of the most attractive in a resort in Crete.

There is 9 km beach and a small harbour at the mouth of the River Almyros is used by small fishing boats and tourist boats. Just before the town, the river forms a small lake that is home to many birds and animals. At the end of the harbour, a small, decorative lighthouse is painted in the Greek colours of white and blue.

The most popular sight in the harbour, however, is the tiny white-washed chapel of Aghios Nikolaos, which stands on a tiny islet at the end of rocky, artificial breakwater.

It is said the chapel was built about 100 years ago by an anonymous sailor to give thanks for his rescue. Today, it is a much-photographed landmark that has become a symbol of Crete in the way that the Vlacherna Monastery close to the southern tip of the Kanoni peninsula has become an image of Corfu.

I am staying at the Corissia Princess Hotel facing the sea and the fine sandy beach, and just a few steps away from the town square.

This is a family-run hotel with 63 rooms spread over four floors. The roof terrace with offers 180 degree panoramic views over the bay of Georgioupolis, and the facilities nearby include a garden area with a swimming pool.

Nearby attractions include Lake Kournas, local traditional villages and the White Mountains. But I may also take a day trip into Chania to wander around its narrow streets and alleys, or a boat trip into Soudha Bay.

Boats at the mouth of the River Almyros in Georgioupolis (Photograph: Patrick Comerford, 2018)