Sacred Divide: Byzantine Art Repatriation After the 1974 Conflict in Cyprus 

Apse Conch, 6th Century, Tesserae mosaic, Church of Panagia Kanakaria, Lynthrankomi, Cyprus. Image from Dumbarton Oaks Research Library and Collection.

This paper examines two significant cases of Byzantine art looted from Cyprus after the conflict in 1974: the thirteenth-century Lysi frescoes from the Church of Saint Euphemianos and the sixth-century Kanakaria mosaics from the Church of the Panagia Kanakaria. Both thefts, orchestrated by Turkish art dealer Aydin Dikmen, represent the systematic plundering of religious artifacts during political instability. However, their eventual repatriation followed distinctly different paths. The Lysi frescoes, featuring Christ Pantokrator in the dome and the Virgin Mary in the apse, were purchased by the Menil Foundation, which negotiated directly with Cypriot authorities. The Foundation agreed to temporary stewardship, restoration, and eventual return to Cyprus. In contrast, the Kanakaria mosaics—depicting the enthroned Virgin Mary with Christ Child and surrounded by apostle medallions—were purchased by Indiana art dealer Peg Goldberg without appropriate due diligence, leading to litigation and court-ordered repatriation. These parallel cases illuminate how the theft of religious artifacts constitutes not merely a physical loss but a profound assault on cultural identity and spiritual heritage. The emotional and spiritual significance of these works intensified Greek Cypriots' sense of violation, as the frescoes and mosaics served as bridges between worshippers and the divine within their Byzantine churches. This comparison reveals the importance of responsible stewardship and negotiation in cultural heritage disputes. While both cases ultimately resulted in repatriation, the Menil Foundation's approach—marked by research, collaboration with Cypriot authorities, and recognition of the works' spiritual significance—established a positive precedent for museums and collectors. This contrasts sharply with Goldberg's failure to investigate the suspicious provenance of the mosaics, highlighting how context, communication, and respect for cultural origins are essential when acquiring art, particularly from conflict zones. Through examining these cases, this paper contributes to broader discussions about repatriation practices, the protection of cultural heritage during conflict, and the profound connections between religious art and cultural identity.