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.

The Library

The Library

In the Middle Ages, books were precious, hard-to-find objects. An individual had access to books only if he were wealthy. The monks in a large monastery, in contrast, constantly had a complete library at their disposal, with works by the Church fathers, lives of the saints, and various works of both ancient and synchronous authors. The library of the Pantokratoros Monastery, which after its restoration is housed again on the second floor of the tower, contains 450 manuscripts and more than 3,500 printed books.
Over time, the library suffered serious losses and catastrophes, such as after the Revolution of 1821, but also through the seizure of many important manuscripts, some of which are found today in libraries abroad. A characteristic example is that involving Arsenios Souchanof who, while on a mission to Mt Athos in the 17th century for the Tsar and the Patriarch of Moscow, removed hundreds of books from the libraries of virtually all of the Athonite monasteries, including 31 manuscripts belonging to the Pantocratoros Monastery. These manuscripts can be found today in the collection of the Synodic Library of Moscow (now called the Historical Museum) numbered 30, 84, 90, 97, 106, 122, 130, 132, 135, 171, 176, 189, 191, 197, 207, 241, 280, 306, 307, 326, 341, 344, 348, 350, 354, 364, 369, 371, 410, 421, 464, in the catalogue of Vladimir, with the designation ‘Books of the Christos Pantokratoros [Monastery]’, or simply ‘from Pantokratoros’

Ανάγνωση.

Reading Privately

Reading Privately

The monks of Mt Athos were a very representative sample of the Byzantine community. Among them were illiterate farmers, educated aristocrats, and of course scholars, who read privately in their cells or in the library, but who also wrote letters, comments, or factual notes in the margins of books, or authored works of their own. The library of the Monastery was constantly enriched with works which interested this scholarly group of readers, including synchronous and ancient authors, which did not have the necessary religious content. St Theodoros, the renowned Prior of the Stadios Monastery in Konstantinople in the 9th century, writes that on the days when there was no important manual work to be done, he struck the semantron to call the monks to the library to select books to read. In more recent times, the continuously higher level of education of the monks made private study a common practice, which each monk fits into his daily programme along with his other duties.

Reading Publicly

Reading Publicly

It is natural, therefore, that the few who were able to read well would read to others. Besides being an act of solidarity, reading in Byzantium is believed to have been regularly done aloud and clearly, even if the reader was alone. In contrast to the practice of today, reading stimulated more senses in those days: Either using his finger or a thin rod, the reader’s pointer slowly wandered along the lines of the manuscript, helping him to maintain his focus. Competitions of public reading of texts were organized in amphitheatres by communities, while in churches and monasteries, various liturgical texts were read aloud. The Book of the Gospels, a liturgical book usually bound with an ornate outer cover used for reading to the public, contains segments from the gospels appropriate for each day of the year, organized sequentially. Finally, during the course of meals in the refectory of the monasteries, a monk reads from a portable lectern – or on feast days, from the pulpit, if there is one – the words of the Church fathers, teachings of elders, or lives of saints, so that all who are silently eating can hear.

First Writing, Then Reading

First Writing, Then Reading

In the Middle Ages, the relationship of society with books was very different. The ability to read, on the one hand, and access to books, on the other, were rigidly limited compared to today, and concerned only a small part of society. As was the case in ancient times, so it was in Byzantium: Those who had access to education first learned to write – with capital letters – and only in the next stage to read – again, only with capital letters – first the letters one by one, later in syllables, then words, and finally sentences. Thus, the majority of those who were educated could gradually write one word, such as their name; only a small number were able to read inscriptions written in capital letters, on icons, on coins, or in the streets, and even fewer could read texts. Only the most highly educated were able to read text written in small letters at a normal rate of speech. The book which they used as a primer was usually a Psalter.

Saint John, fresco of the Pantokratoros Monastery, ca. 1372/3

Religious Books

Religious Books

The new milestone in the history of books occurred perhaps during the first years of Christianity, during the circulation of information about the new religion, i.e., with the appearance of religious books. The need for the reproduction and widespread use of the Gospels as a reference book both intensified the demand for the production of manuscripts, and advanced production technologies so as to make the books easier to use and more durable: Their form was changed from rolled parchments to bound codices. With its emphasis on the practice of reading, the stature of Christianity as a main characteristic of Byzantine society is supported by the fact that about nine out of ten Byzantine manuscripts which have survived are religious in nature. Therefore, it seems inevitable that Byzantine monasteries would not only make use of a wide variety of books, but would also produce them. Was that the case?

A copy icon of the Virgin Πυροσώτειρα (‘The Saviour from fire’), the Αγιοσορίτισσα ('A sacred relic of the Virgin'), Santa Maria del Rosario, Rome, perhaps 7th or 8th century.

Η Αγιοσορίτισσα
(‘A sacred relic of the Virgin’)

Η Αγιοσορίτισσα ('A sacred relic of the Virgin')

Even the icon of the Prioress is a copy of an older and especially well-known icon of the Virgin, the Αγιοσορίτισσα, which depicts the Virgin as reaching out to her son. This icon is today found in Konstantinople, in the great 5th century church of the Virgin in Chalkoprateia, only 100 metres west of Agia Sofia. A chapel in the church is dedicated exclusively to a precious relic: the belt of the Virgin, which is safeguarded in a priceless chest known as the Αγία Σορό, which lends its name to the chapel and to the icon. Thus, the name of the icon does not refer to a characteristic or role of the Virgin, but rather to one of her relics.
Other copies of the Αγιοσορίτισσα have also survived. Among the oldest, perhaps dating to the 7th or 8th century, and possibly the closest to the original, is the icon safeguarded in Rome, in the church of Santa Maria del Rosario.
These iconographical relationships contribute to the confirmation of the tradition that the Prioress was originally brought from the centre of the empire by the two founders.