The Deir Al-Surian Monastery in Wadi Al-Natroun boasts some gems of holy architecture and design, with the Church of the Holy Virgin, the Gate of Prophecies and the uniquely detailed gypsum altar. It also contains the relics of Mary Magdalen, and the famous Monk in a White Robe. Yet the newly discovered painting of “Abraham, Isaac and Jacob in heaven with the souls of the blessed on their bosoms” — in its simple, comics-like style — is arguably the most striking object. It was uncovered in 2000, and even then it could be seen that the art continued to the left, together with Syriac inscriptions. Last month restorers were finally completing work on removing the 18th-century plaster concealing The Three Fathers under the management of the Netherlands-Flemish Institute in Cairo Professor Karel Innemée. Last week, in the company of Pawel Budzinski and Stanislaw Gulinski from the Polish Embassy, work on the southern khorus (chorus) had been completed and the scaffolding removed, but in the space of a month — unbeknown to anyone up to that point — a new painting had been uncovered on the same wall. A representation of Saint Macarius, as Innemée explained, the new painting was found in nearly perfect condition by a conservation mission led by the Polish archeologist Cristobal Calaforra. To its right there is a small figure of a monk standing on a grapevine, with the contour of a head suggesting a second monk behind him, possibly a reference to Saint Macarius of Alexandria, who is cited in Volume XXIX of the Historia Monachorum: he is said to have refused the gift of a bunch of grapes on falling ill out of humility. The painting to the left, however, suggests it might be a representation of Macarius the Great. It is a large cherubim with a human face and three other heads around his own: of a lion, a bird and a bull, a reference to the vision of Ezekiel. The cherubim has six green eye-covered wings, two of which cover his body: a possible reference to the Apocalypse of Sain John. With one hand he holds the arm of Macarius, perhaps guiding him to a new place to live in the Desert of Sketis. Left of the painting there are inscriptions in Syriac and Coptic. The Syriac text is well preserved and speaks of the death of Mar Maqari of Takri, Abbot of the monastery, in AD 888. It wishes that he will join Saint Macarius in heaven and rest in the lap of Abraham (a clear indication that the text is in reference to the painting to its right). Left of the inscription is a painting representing two saints on horseback killing small figures on the ground — one of whom is named Alexandros. In the absence of inscriptions, however, the saints themselves have not been identified. Asked whether there was a chance of further discoveries on this and/or the northern wall and ceiling — an image that evoked a kind of Egyptian Sistine — Innemée said there were probably more paintings on the lower part of the same wall and others on the wall between the nave and the khorus. As for the northern wall, he said, the humidity from a water wheel that was in operation just outside it until the 1970s has probably destroyed what paintings were there. The roof of the nave was built in the 16th century, a period when no murals were made, what is more. It is therefore unlikely to hold any hidden art.
