05 — Protector of the City

Demetrios as the heavenly defender of Thessaloniki: the apparitions on the walls and in the camp that the Miracula credit with saving the city through the great Avar and Slav sieges of the late sixth and seventh centuries; and the monument of the cult on the ground — the great fifth-century basilica of Hagios Demetrios, with its celebrated votive mosaics and the silver ciborium that marked the saint’s shrine. These files turn from the martyr to the patron, from the tomb to the city it protected.

Tradition: Pan-Orthodox (Great Martyr; the Myrrh-Streamer)

What made Demetrios the saint he became was not chiefly his death but his defense of his city. This section presents the heart of that cult: the Miracula‘s narratives of the saint appearing on the walls in the Avar-Slav sieges (the great siege of c. 586, the later seventh-century attacks), which transformed a local martyr into the poliouchos, the city’s holding patron; and the basilica that housed and broadcast the cult — the five-aisled church of Hagios Demetrios, its mosaics depicting the saint with the founders and children of the city, and the silver ciborium over the shrine.

Files in This Section

File Description
The Defender Against the Sieges The apparitions of Demetrios in the Avar/Slav sieges of the late 6th–7th centuries as the Miracula narrate them; the great siege of c. 586; the saint as poliouchos; how the defense-narratives made the civic patron.
The Basilica of Hagios Demetrios The great five-aisled basilica (5th century, rebuilt after the 7th-century fire); the votive mosaics (the saint with the eparch and the bishop; the children); the silver ciborium; the 1917 fire and the modern restoration.

See Also

References

  • Miracula Sancti Demetrii, Books I–II. Ed. Paul Lemerle. 2 vols. Paris: CNRS, 1979–1981.
  • Skedros, James C. Saint Demetrios of Thessaloniki: Civic Patron and Divine Protector. Harrisburg: Trinity Press International, 1999.
  • Cormack, Robin. Writing in Gold: Byzantine Society and Its Icons. London: George Philip, 1985.