The Monastery has proudly stood at the top of the rocky overhang for centuries.

Consecration

Consecration

The cathedral was consecrated in 1362/3 by the Patriarch Kallisto I, who also designated the Monastery as the Patriarchial Seat. During this period, the frescoes were created by a leading Byzantine artist, whose name has unfortunately not survived. Two portable icons of Christ Pantocratoras also date from this same period, one of which is in the sacristy of the Monastery, and the other in the Hermitage Museum in St Petersburg. In the border of the latter, at the lower right, the figure of the founder Ioannis the Primikerios is still preserved. The founders endowed the Monastery with many other works of art, objects and relics, some of which are still safeguarded with special care in the Monastery today.

Η Μεταμόρφωση του Σωτήρος. Φορητή εικόνα στο μουσείο της Μονής.

The light of the
Transfiguration

The light of the Transfiguration

The dedication of the Monastery to the Transfiguration (Μεταμόρφωση) of Christ the Saviour has special meaning within the historical context in which it occurred. At that time in particular, Mt Athos strictly followed the ascetic system of hesychasm, or silent prayer. St Grigorios Palamas (who died in 1359), the most important defender of hesychasm, attached great significance to the event of the Transfiguration on Mt Tabor, where Christ revealed his divine nature to a select group of disciples. The goal of a hesychastic life is the union of man with the Holy Trinity, i.e., a union with the divine essence, the divine light and beauty of Christ, as witnessed by his disciples during the Transfiguration. (See also the surprising history of the Monastery’s artwork below.)

The founders' tomb.

A Personal Declaration

A personal declaration

In the Will written by Ioannis in 1384, he states the following:
'Many years ago, while my late brother the renowned Commander of the Army was still alive, we built a Monastery together at the illustrious and brilliant Mt Athos, and we dedicated it to Christ the Almighty. Since he left this life, I have assumed the responsibility for the completion of the remaining work and, after having acquired for the Monastery many beautiful pieces of land and buildings in different areas as well as on Mt Athos, I continue to work even until now, albeit exclusively at my own expense, as much as my desire and my abilities permit…'
It is likely that he died prior to May 1387, and he was buried in the Monastery, next to his brother.

Two Byzantine Officers

Two Byzantine Officers

The Monastery of Pantokratoros (‘Christ, the Almighty Ruler’) was founded by two brothers, both high-ranking officers of Byzantium, at the difficult time when the Empire was in a state of decline. Alexis held the title of Great Primikerios (Μέγας Πριμικήριος; the 11th level of authority in the imperial hierarchy), and Ioannis held the title of Πρωτοσέβαστος (‘The First Respected’) in honour of his conquest of the Serbs in the lower valley of the Strymona River including Chrysoupolis, and his annexation of 15 kilometres of coastline west of today’s Kabalas from the Ottomans of Anaktoropolis, thereby also securing the island of Thasos.
In March 1357, the Emperor Ioannis V granted the brothers’ request: He transferred the administration of the areas they had conquered to them, including the taxes derived from them, which in effect marked the beginning of the founding of the Monastery. Between April and June of the same year, both brothers were promoted by the Emperor: Alexios to the position of Commander of the Military (μέγας στρατοπεδάρχης), while Ioannis was awarded the former rank of his brother and became Great Primikerios. The local inhabitants referred to the brothers as ‘our own true saints’.
Alexis, who was probably unmarried, died between March 1368 and February 1369, and was buried on the grounds of the Monastery. Ioannis, who was married to Anna Asanina, a close relative of the Emperor, continued to support the Monastery on his own and in 1384, obviously after the death of his wife, he took up residence there as a monk.

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ΕΚΛΕΚΤΙΚΑ ΣΤΟΙΧΕΙΑ

Η τεχνοτροπία του σπουδαίου καλλιτέχνη είναι ιδιαίτερη, γιατί ενώ είναι σαφέστατα ενήμερος για τα χαρακτηριστικά και των δύο καλλιτενικών τάσεων της εποχής, της λεγόμενης Κρητικής σχολής και της γνωστής ως σχολής της βορειοδυτικής Ελλάδος, διατηρεί ανεξάρτητη στάση. Χρησιμοποιεί εκλεκτικά στοιχεία των δύο ρευμάτων και τα συνδυάζει δίνοντας έμφαση στη ζωηρή αντίθεση φωτός και σκιάς, που ίσως είναι προσωπικό του χαρακτηριστικό, ίσως όμως εγγράφεται σε κάποιο τρίτο ρεύμα. Από παλιά συσχετίζεται με τον ζωγράφο Αντώνιο του παλιού καθολικού της Ιεράς Μονής Ξενοφώντος.

The embracing of St Peter and Pavlos at the west wall.

Eclectic Elements

Eclectic Elements

The style expressed by the painter is quite unique because, while he is clearly aware of the typical features of both the artistic trends of the time – i.e. the so-called Cretan school and the one known as the school of northwest Greece – he keeps an independent attitude. He uses selective elements of the two trends, and combines them with an emphasis on the lively contrast of light and shadow, which may be his personal hallmark, or it may be ascribed to a third trend. He has long been associated with the painter Antonios of the old cathedral of the Xenofontos monastery (in fact, E. Tsigaridas claims that it is the same person).

The west wall with the inscription.

Inscription

Inscription

The frescoes were painted in the middle of the 16th century, probably in 1552, by a fine artist. However, the dedicatory inscription above the entrance was skilfully altered in the 18th century by the famous forger Simonides, and therefore the information it contains is of another type of interest.
Above the inscription, on the western wall in its usual position, the Dormition of the Virgin Mary creates a sense of monumentality, despite the small dimensions of the space and the surfaces. On the northern side of the western wall, the depiction of the embrace of the apostles Peter and Pavlos usually represents the affection between the western and eastern churches.

Η είσοδος από τον μικρό νάρθηκα.

The Narthex

The Narthex

The narthex (or central nave) of the chapel is quite small; one enters from the south. The themes that decorate it are typical of this space. What makes these frescoes exceptional are the fine skills of the painter.