The Royal Chapel at Pyrga: Art, Agency, and Appropriation in Fourteenth-Century Cyprus

Scholars have traditionally dated the Royal Chapel at Pyrga, Cyprus to the year 1421 and attributed it to the patronage of the island’s Latin ruler Janus de Lusignan (r. 1398-1432). However, more recent stylistic, iconographic, and epigraphic analyses present a convincing argument for dating the chapel to the mid-fourteenth century. Ironically, though the chapel is most frequently associated with the death of Janus’s wife Queen Charlotte, the portraits of a Latin king and queen both appear as living, albeit anachronistic, attendants at Christ’s death in the chapel’s decoration. Their prayerful attitude at the base of the Cross on Golgotha, in conjunction with programmatic emphasis on sickness/death, salvation, and intercession, implies that the foundation was intended to be something other than a memorial funerary chapel for a specific royal person. This article, which supports a mid-fourteenth-century date, will argue that the chapel instead functioned as an ex-voto or visual prayer for the salvation of the Cypriot people from an outbreak of plague on the island. Evidence points to King Peter I de Lusignan (r. 1358-1369) and Queen Eleanora as likely patrons of the chapel and the role of St. Peter Thomas—monk, papal procurator, and bishop—as instigator of royal penitential display as a means of countering the spread of plague. Important to this revised date and context is the clear invocation of the True Cross—relic and palladium par excellence of the Crusades—that held special importance in the religious culture of Cyprus and for its royal dynasty.