αρνιο

The Lamb Of Zion
And the Fall Of Babylon

The Lamb Of Zion And the Fall Of Babylon

The inscription quotes:
'Then I looked, and there before me was the Lamb, standing on Mount Zion, and with him 144,000 (Revelation 14, 1).
In the angel's open book is written:
Fear God and give him glory, because the hour of his judgement has come (Revelation 14, 7).
Above the ruins, the inscription summarises the words of the other two angels:
If anyone worships the beast and its image and receives its mark on their forehead or on their hand, they, too, will drink the wine of God; Fallen! Fallen is Babylon the Great (Revelation . 14, 8-10).
It is clear that the painter addresses viewers who are already familiar with the text, since these quotes do not explain, but rather remind.

f2ab8037-46c8-41aa-b687-63bdad01ec07

The Two Beasts

The Two Beasts

The inscription describes the image:
'And I saw a beast coming out of the sea. It had ten horns and seven heads, with ten crowns on its horns (Revelation 13,1); then I saw a second beast, coming out of the earth. It had two horns like a lamb and made the earth and its inhabitants worship the first beast (Revelation 13, 11-12)'.

The woman and the dragon.

The Woman And
The Dragon

The Woman And The Dragon

'A great sign appeared in heaven: a woman clothed with the sun, with the moon under her feet and a crown of twelve stars on her head' (Revelation 12,1).
To the left, the woman, who is here identified as the Virgin, clothed in the sun and supported by the moon, does not seem to be truly threatened by a dragon with seven crowned heads, which is angry and is vomiting a river against her. In accordance with the account, the earth opens and drinks it to protect the woman, while two angels with a club and a sword are preparing to crush the dragon's heads. The image interprets in some parts John's vision:
The dragon stood in front of the woman who was about to give birth so that it might devour her child the moment he was born. She gave birth to a son, a male child [Christ], who will rule all the nations with an iron sceptre. And her child was snatched up to God and to his throne. (Revelation 12, 4-5).

The Canon of St. Savvas, codex 272, fº15r.

The Cannon

The Cannon

Since its establishment the monastery has preserved a copy of the canon of St. Savvas Monastery. It is clear that this text served as a model for the practical organization of the monastery of Pantokrator, as it is known for many other monasteries. It refers in every detail to the order of the every day ceremonies around the year and in various special events. Its good condition testifies to its regular use, in the course of the centuries.

66666

The Sixth Trumpet

The Sixth Trumpet

The inscription reads:
'The sixth angel sounded his trumpet, and said: Release the four angels who are bound at the great river Euphrates.
So that they kill a third of mankind. The number of the mounted troops was twice ten thousand times ten thousand.
Above the clouds and behind the heavenly altar, Christ is depicted in his attribution as The Ancient of Days, emphasizing his divine nature, which makes him older than the world. Below the clouds, the four angels tasked with the killing of a third of the people have been released. The cavalry is innumerable; the horses have lion heads that blow fire, smoke, and sulphur, and their tails are snakes. So they kill. These monstrous heads and tails have the power to torment a third of the people.

The fifth trumpet.

The Fifth Trumpet

The Fifth Trumpet

'The fifth angel sounded his trumpet, and I saw a star that had fallen from the sky to the earth and opened the shaft of the Abyss, and smoke rose from it like the smoke from a gigantic furnace. The sun and sky were darkened by the smoke from the Abyss. And out of the smoke locusts came down on the earth and were given power to harm the people who had not been sealed by God.
The well of the abyss is presented in the centre as a stone-built well; the smoke comes out of it, and the locusts that occupy the whole picture come out of it: Following the description in the Apocalypse, the locusts have a woman's head with long hair and a crown, nails of a lion (instead of teeth), and a scorpion's tail and sting.
The sound of their wings was like the thundering of many horses and chariots rushing into battle. They had tails with stingers, like scorpions, and in their tails they had power to torment people for five months. They had as king over them the angel of the Abyss, whose name in Hebrew is Abaddon and in Greek is Apollyon (that is, Destroyer). (Revelation 9, 1-11).'

Codex Dumbarton Oaks 3.

Dumbarton Oaks 3

Dumbarton Oaks 3

This codex of 1084 is a precious illustrated manuscript containing the Psalter and the New Testament. It belongs to the collection of the Dumbarton Oaks Byzantine Center in Washington, with the number 3, along with two other Pantocrator codexes.

The Psalter Pantokrator No. 61 of the 9the century.

Psalter No. 61

Psalter No. 61

The most important manuscript in the Pantokratoros Monastery is the 9th century parchment psalter with the number 61. It is one of the three surviving psalters which was made immediately after the end of the iconoclastic period and had the unique characteristic of being decorated in the margins of the text with small images. The subjects of these miniature images, which are painted in a relatively free style, are drawn from the psalms as an expression of active defiance to the constraints of the iconoclasts. The parchment sheet of codice 61 had been previously used in another book with capital letters, which was subsequently erased in order to write the psalter; parchment is an expensive material. This palimpsest manuscript, with its long history, is a priceless, living witness to the iconoclastic conflict.

Iron 19th century bookbinding press at the Holy Monastery of Pantokratoros.

Bibliographic Workshop

Bibliographic Workshop

Since the founding of the Pantokratoros Monastery, a bibliographic workshop has operated in the tower, in close collaboration with the library. The niches in the walls where the copiers worked still survive. From the end of the 14th century, we know the names of the monk-scribes Ignatios, Dionysios, Gerasimos and Theoliptos, while David Raidestinos, an important interpreter of music manuscripts, and Kallistos are known from the first decades of the 15th century. A second period of the systematic operation of the bibliographic workshop began in the 16th century, when the coders Neilos, Sabbas, Pafnoutios and Michael worked there, while during the same time in the Pantocratorian kalyvi of St Basileios in Kapsala, the heiromonk Theofilos the Myrovlytis continued his bibliographic work. Despite the invention and dissemination of typography, the bibliographic workshop continued to work into the 19th century.

Codex Pantokrator 2001, possibly of the 14th century., fº 261r.

Production Of Manuscripts

Production Of Manuscripts

In the beginning of the 9th century, when Theodoros the Stoudite reorganized the abandoned 4th century monastery in Konstantinople which would come to acquire the greatest reputation and influence not only in that city but also in the entire Christian world, he set the production of books at the centre of the monks’ activities. The τυπικό (book of rules) – which specifies the way the Monastery functions and organizes the daily life of the monks – created for the Stoudios Monastery at the time of its 9th century reorganization was later used as a prototype for the monasteries which were founded in Byzantium and elsewhere. In short, the operation of book production workshops and the books produced by the Stoudios and Pantokratoros monasteries has earned them a place in the international history of knowledge.