Το παρεκκλήσιο του κοιμητηρίου.

The Chapels

The Chapels

There are two chapels in the cathedral at the St Pavlos Monastery: the north, dedicated to St Georgios the Trophybearer, and the south, dedicated to the Holy Pavlos, the founder of the Monastery, and to St Gerasimos Kefallonia. Within the Monastery perimeter, there are seven other chapels: St Georgios, St Anthimos Nikomedeias, St Gerasimos, St Nikolaos, St Nektarios Pentapoleos, St Gregorios the Theologian, and the Sts Konstantinos and Eleni.
In addition to the above, the Monastery also has six chapels outside of its perimeter: All Saints (in the cemetery), St Dimitrios (in the old cemetery), St Trifonos (in the garden), St Spyridonos (in the olive grove), St Dimitrios (at the harbour), St Andreas the First-Called (Πρωτοκλήτος) (in the Administration Building (κονάκι) at Karyes), the Transfiguration of the Saviour (at the forest service office on the mountain), and St Nikolaos (at the estate in Monoxuliti).
Southwest of the Monastery, in the cemetery, is the chapel of All Saints, built in 1795 in the type of a ‘compact’ cruciform-shaped church with a dome without a drum, and a narthex. On the southeast side of the Monastery, the old cemetery church of St Dimitrios, which ceased operation when the new chapel was built, still survives.

Ο τετράγωνος πύργος της Μονής.

The Towers

The Towers

There are two towers at the St Pavlos Monastery: One is a part of the building complex, and the other is at the beach, a little distance from the harbour of the Monastery.
The first of these was built in 1521/2 with funding from the leader of Vlachia Neagkoe Basarab and his son Theodosios, according to an inscription, but some evidence indicates that the structure was completed several years later. It is an impressive tower, which despite the simplicity of its form and its minimal surface decoration, evidences the detailed attention paid to its design. It has a simple, four-cornered plan, with wooden floors and a wooden roof, elements which were replaced about sixty years ago by tiles of reinforced concrete. However, the stairs leading to the floors are not wooden, but are instead built directly into the north wall, causing that wall to have a greater thickness than the other walls. At the entrance level, high in the four corners, triangular spheres which were used for the seating of semi-circular domes have survived. This feature indicates the possibility of an original intention for this storey to be covered with a dome, an idea which was likely abandoned during the construction. Apart from the usual narrow openings for lighting (i.e. ‘arrow slits’), there are quite large, arched windows allowing light to enter the space. On some floors of the tower, openings for the installation of cannons had also been built, a feature also found in other fortification works on Mt Athos during that period. The defensive strength of the tower is completed by some large machicolations, one of which is located above the entrance, protecting it.
The tower located at the coast is a part of a small barbicon which was renovated by the Monastery a few years ago. The small land area around the structure was completed in at least two construction phases in the 15th or 16th century, while the tower may be even older. In an older phase of the tower, there may have been a cannon installations below each of the two machicolations (of the north and south walls), which may remain buried today in the backfill of the monument.

Επιγραφή που περιγράφει τα περί της ανακαίνισης της Τράπεζας.

The Refectory

The Refectory

The refectory of the St Pavlos Monastery is located west of the cathedral, in the west wing of the new land area of the Monastery, an area which was created as part of the large expansion of the building complex during the second decade of the 19th century. According to a dedicatory inscription located above the lintel of the entrance, the building was inaugurated in 1820. The space was originally designed in the shape of the capital letter T, following the type of the Athonite refectory (which in older examples had been the result of adjustments and enlargements of available space).
Built before the expansion of the land area of the Monastery, the former refectory was located in the multi-storey building at the northwest corner of the old building complex, which had been built in the last years of the 17th century. The north wall of that refectory survives until today.
The 1820 refectory was renovated and modernized in 1890-1895, together with the upper floors of the west wing, and one other time soon afterwards in 1902, following the large fire that completely destroyed the southwest sector of the Monastery. The renovation of the interior of the refectory was completed in 1903, under the supervision of the ‘Architect Christodoulos Korfiatos of Skopelos’, as is known from the relevant ‘contract’ which is preserved today in the archives of the Monastery. The work completed in 1902-1903 must have included the metal constructions (i.e., columns, beams and dome supports) in the interior of the Refectory and the ground-level gallery outside (towards the cathedral). Elaborate iron columns with forms similar to the columns in the gallery were common in Europe at that time, and were used on Mt Athos by Russian monks.
The simple marble floor is also worth mentioning, along with the furnishings of the space, with the marble tables supported on marble columns, and the well-designed wooded chairs.

The exterior of the Cathedral.

The Cathedral

The Cathedral

The cathedral of the St Pavlos Monastery is dedicated to the Presentation of the Lord. It is one of the newer cathedrals on Mt Athos, since its construction, which had been begun in 1816, was interrupted by the dramatic events of the Greek Revolution, and was not completed until 1844. It represents an excellent example of the design and construction skills of architects and craftsmen who were active in the wider area of the eastern Mediterranean at the beginning of the 19th century, also illustrating in a dynamic way the era of reconstruction and the spiritual renewal of Hellenism.
This completely new church, set in a different location south of the demolished older cathedral, is part of the large-scale construction programme which transformed and extended the Monastery during the first decades of the 19th century. It is an excellent example of church construction projects both on Mt Athos and elsewhere: Ambitious designs by the architects of the period, who reinterpreted the traditional church plan types in the spirit of discovery. Basic elements of Byzantine architecture coexist in these churches with elements of types and forms of European and Ottoman Baroque, along with the emerging neoclassicism which – particularly for the Greeks – expresses the idea of national rebirth.
Typologically, the church is a variation of the Athonite model with many innovations. The most important of these is the integration of the area of the central nave with the narthex (or outer nave), thus eliminating the intervening wall which traditionally separated them. Through the repetition of the central nave’s typological characteristics in the narthex area, the two traditionally-distinct areas were transformed into one, continuous cruciform area with a dome of the same diameter in the centre. The western transept of the central nave and the corners of the space create at the same time the eastern transept of the cruciform-shaped domed narthex. This design creates a feeling of open space reinforced by the use of columns, five pairs of which are located along the length of the central nave.
Another innovation is the placement of a dome in the eastern arch in front of the central apse of the altar, a design first implemented in the cathedrals of the Xeropotamos and Xenofontos monasteries. This dome is seated directly on the arch in an innovative way, a construction technique unknown in the Byzantine and post-Byzantine periods. There are smaller domes above the altar area (πρόθεση) and the deacon’s area (διακονικό), at the west corner section of the (former) narthex.
The (former) narthex includes an open gallery (supported by columns) in the shape of the Greek letter Π, at the ends of which are two identical domed chapels. The apses of the chapels are incorporated into the walls of the apses on the sides of the central nave. Overall, the complex construction of the cathedral provides an impressive combination of vaulted constructions, consisting of nine domes. It is a particularly demanding design, which required a high degree of technological and engineering expertise to accomplish it.
Apart from the domes, all of the exterior surfaces of the Cathedral are faced with white stone, while the use of decorative elements of sculpted white marble which vitalize the building is particularly extensive. The doors and windows are marble-framed, as are the ceiling cornices, and a band of marble at the base of the walls circles the church, bordering the traditional type of base (κρηπίδα).
Marble is also prominently used in the interior of the cathedral, including the basic architectural sculpture of the columns and the capitals, as well as the large pieces created by sculptors from Tinos: The icon screen and the shrines are works of Io. Lyriti, and were completed in 1901. Both the design – a pioneering one for the period – and its expert execution places the cathedral of the Monastery among the most significant architectural creations of Hellenism in the first half of the 19th century.
The cathedral has remained without wall paintings, since after the construction was completed, the necessary conditions for painting it have not existed. An exception to this is the south chapel, in the dome of which there is a fresco depicting Christ, the Ruler of All (Χριστός Παντοκράτωρ) surrounded by a host of angels. This fresco, completed in the second half of the 19th century, is a significant work of an Athonite workshop. Its existence indicates that there was an intention to add frescoes to the cathedral but, for unknown reasons, it was never realized.

Στιγμιότυπο από τον εσωτερικό περίβολο της Μονής.

The Development Of The Monastery

The Development Of The Monastery

Throughout its early history and before its expansion, the Monastery occupied a very small area. Built upon and restricted by the series of three consecutive, equal-sized, upright rocks almost independent from each other which protruded from the side of the mountain, the Monastery gradually developed. The early design scheme was depicted in the 1744 drawing of the Russian monk-traveller Vasileios Barski, but can still be seen today from the exterior of the north wing, opposite from the deep, sheer-sided ravine. The great tower of the Monastery stands upon the third rock towards the east, while a fourth rock of similar dimensions is found a little further eastwards, outside of the Monastery’s perimeter.
The first installation of monks took place at the end of the 10th century, when the monastery was referred to as Xeropotamos, or as the St Pavlos’ Monastery of the Most Holy Virgin Mary. It seems that the original structure was located at the middle rock, which is the site today of the chapel of St Georgios, built in the 16th century.
The present-day size of the area of the St Pavlos Monastery is the result of a very large expansion, the buildings of which were completed in gradual stages throughout the decades of the 19th century and into the first years of the 20th. Since then, the building complex of the Monastery has been limited approximately to the area occupied by the north side of the contemporary perimeter, from the northwest corner to the tower.
As mentioned previously, the expansion began in 1816 under the aegis of the Archimandrite Anthimos of the Monastery with the construction of the wall and the large west wing (including a new refectory and chapel), and the wooden frames of its upper-floor gallery. In 1819-1820, the present-day bell tower was constructed. During the last decade of the 19th century, extensive renovations and additions were made to the northwest section of the Monastery, from the central area where the chapel of St George is located to the edge of the north wing, up to and beyond the middle of the west wing. Finally, the west and the north wings were destroyed by fire in 1902, and later reconstructed into the form they have today. This work was designed and completed with an academic architectural approach influenced by the eclectic style of the time, as was also true for all the Athonite monasteries. This is very much observable in the most recent work completed during the first years of the 20th century, where the style of the structures surrounding the plaza at the entrance to the Monastery has been designed with an emblematic but restrained, simple and heavily classical look, especially observable in the tower above the entrance.
At the end of the first half of the 15th century, a (then) new cathedral was built at the Monastery, which was decorated with frescoes in 1446/7 and dedicated to the Virgin Mary and to St Georgios. The central nave of the church was located at the upper level of a three-storey building, which had been extended outward from the south side of the pre-existing complex, the entrance to which was remodelled and became the entrance to the Monastery. The three-storey building with its 15th century cathedral survived until about the middle of the 19th century, and is depicted in two very valuable copper engravings from 1744 and 1835, which are discussed in a previous section. Recent excavations by the Archaeological Service have uncovered the northeast corner of the building in the courtyard of the Monastery, northwest of the present-day cathedral.
The great tower of the Monastery was built in 1521/2 and was completed later, in the 16th century. It is likely that the small barbicon (i.e. fortified defensive structure; μπαρμπακάς) located at the front and west of the entrance to the tower must have been built immediately after the tower was constructed. These fortifications seem to have been complete in Barski’s 1744 drawing, but only the north wall and some remnants of the south wall have survived until today.
Upon the top of the rock, the small, two-storey building with the chapel of St Georgios must have been built during this same period, just prior to the middle of the 16th century, with the surviving remnants of earlier constructions being incorporated into it.
Finally, the contemporary building of the Sacristy, which was added in 2015 to the northeast section of the courtyard between the cathedral and the tower, is also worth noting.
 

Περίτεχνη μεταλλική θύρα.

The Archives

The Archives

As do all the Athonite monasteries, the St Pavlo Monastery has a rich collection of archives, which are categorized on the basis of the language of each document. Thus, we refer to the Greek, Ottoman, and Romanian archives. In any case, documents in different languages have crept into each category through the centuries. Thus, in the Romanian and Ottoman archives, you will find a few Greek documents. The archives generally have gaps, despite no damage having been suffered from fires except for that of 1902, in which about 250 Slavic codices were known to have been destroyed.
The Greek archives
The Greek archives are divided into Byzantine, Post-Byzantine, and Recent. The Byzantine archives consist of about 58 folders, each of which contains one document. The 17 Serbian documents of the 15th century are included here, six of which are translations of the corresponding Greek documents. One Romanian and one Ottoman document are also included in this group. For the period from the beginnings of the Monastery until the end of the 15th century, 34 documents have survived – only four of which relate to the first phase of the history of the Monastery – while for the 16th and 17th centuries, there is only one surviving document.
The Post-Byzantine period is divided into twelve folders with a varied number of documents in each. The 18th century is represented by about 50 documents, the overwhelming majority of which are from the second half of that period. Among these are a few which relate to the metochia in Romania.
The Recent archives, which include documents of the 19th and 20th centuries, are organized in 196 large folders and another group of 41 small folders. The full classification of these documents has not yet been completed.
The Ottoman archives
The Ottoman archives contain twenty numbered folders, while five others include both Greek and Ottoman documents. In total, there are about 1,000 Ottoman documents, half of which date from the second half of the 19th century until 1912. It is worth noting that the oldest original Ottoman document within the Athonite peninsula and one of the oldest in the world – dated to 1386 – is included in the Monastery’s archives. There are around seventeen documents from the 15th century, while about 180 date from the 16th. About 200 documents come from the 17th, 18th, and the beginning of the 19th centuries, with the majority of the latter belonging to the last part of that century.
The Romanian archives
The Romanian archives consist of 994 documents, categorized into seven files. Chronologically, the documents are from the 15th-20th centuries, with the largest number – 525 documents – dating to the 19th century, while 100 come from the 17th century, and 357 from the 18th. Among these are a few documents in Greek.
Cataloguing the documents
The classification of the documents in the archives into files had originally been done by the monks and served the immediate needs of the Monastery. However, the reasons for the particular classifications, as well as the logic used for organizing the documents into files, are unknown to the contemporary researcher.
Based on the system of assigning numbers to each document, there is some support for the date of the first categorization of the documents to be set at the beginning of the 19th century, likely in the context of the general renovation of the Monastery by Anthimos Komninos.
A second categorization took place in the 1920s and 1930s when, because of the approproation of lands by the Greek government for distribution to refugees after the Asia Minor catastrophe, the Monastery had lost all its metochia and needed to have an overall picture of its documents.
Finally, in the 1960s, the (then) Librarian Theodosios the Elder organized the documents into folders for the first time, and tried to categorize them using a contemporary cataloguing system.
The cataloguing process for the Ottoman documents was completed in the 1970s by the National Research Institute for Byzantine and Post-Byzantine Documents of the University of Crete, while around the year 2000, a Romanian researcher at the National Research Institute categorized and published the Romanian documents.
There is a wide range of document types, which came from a variety of different sources: The Monastery itself, individual monks, Athonite administrative bodies (e.g. the Holy Community), other monasteries, state or local authorities (Byzantine, Ottoman, Romanian), and private individuals – all are known to have executed or been recipients of documents preserved in the archives. The documents are most concerned with issues of ownership and taxes and loans, while a lesser number are related to political or spiritual issues.
The documents provide insight into the world of the monks: Their daily lives, the problems regarding survival which they had to face, and how they resolved them. Despite the gaps, the long chronological extent of the archives from the 11th century to the early 20th century creates a feeling of continuity. While reflecting the changes in the conditions of the Monastery, the documents also bring the alternating phases of political control of the region of Macedonia during each era – and their consequences – back to life.


Entrace to the interior of the Monastery.

The Library

The Library

When Barski visited Mt Athos for the first time in 1725, he visited the St Pavlos Monastery and, as he wrote, he found that ‘reading and singing of hymns [was in Bulgarian], and all the officials [at the Monstery] were Bulgarian’, while 20 years later, on his second visit in 1744, he observed that ‘nothing of that remains, apart from the Slavic library, where a large variety of different books, both printed and handwritten, are found.’ Almost 100 years later in 1837, the British traveller Robert Curzon wrote that he found in a small, closed room about 250 Serbian and some Bulgarian manuscripts, and only one Greek codice of the 12th or 13th century. He states that the Abbot of the Monastery gave him three Slavic codices which contained copies of the gospels as a remembrance of his visit to St Pavlos.
According to an 1888 inventory (which was updated in 1894) by Professor Sp. Labrou, there were 1,500 books in the library, 94 of which were manuscripts. At the beginning of the 20th century, a critical study of the history of the Athonite peninsula, its monasteries, and its monks, was written by the monks themselves, and was published in 1903. The St Pavlos monk Kosmas Vlachos mentions that at that time, the library had 94 Greek manuscripts, five of which were parchment and dated from the 9th-13th centuries, while the remainder (from the 14th-18th centuries) were of paper.
According to the late scholar and Elder Theodosios of St Pavlos (1901-1987) who served as Librarian at the Monastery for many years, the Athonite historians, copying from one another, report that the library of St Pavlos was destroyed during the great fire of 1902, something which is not true. On the contrary, according to the late Theodosios, all the Serbian and Slavic documents in total had been saved, and are an important legacy of the Monastery. What is likely to have happened during the fire was the destruction of 250 manuscripts, mainly Serbian and a few Bulgarian codices, which the Monastery had had for a long time (perhaps they were the manuscripts which Curzon had seen), and which were not mentioned by Professor Sp. Labrou in his late 19th century inventories.
At present, the library of the St Pavlos Monastery is housed in the south wing of the Monastery and is very well organized. It includes 494 manuscripts and about 20,000 printed books. Of the latter, the oldest is the grammar book of Chrysolora (entitled Erotemata (Questions)), printed in Venice in 1483.
Among the manuscripts, the most important is the parchment codice with the Acts of the Apostles, with comments written in the margins, dated to the 10th or 11th century. The library’s collection of music manuscripts is one of the largest on Mt Athos with 177 manuscripts, including an important codice of 1758 containing the Akathistos Hymn and the Kratimatario, works of the composer Theodosios of Chios, the hierodeacon and First Chanter of Smyrni.


The heavy cross of brass worn by St Pavlos is kept in the Monastery.

Small Artefacts And Icons

Small Artefacts And Icons

The precious small works of art of the Monastery include a wooden diptych (from the end of the 13th century-beginning of the 14th) with 26 small portraits of the twelve Apostles, the four Evangelists, and other saints, and a portable wooden shrine icon, with a rare glass depiction of Christ Enthroned, together with the Prayer (i.e. the Δέηση, with the Virgin Mary, St John, and two archangels) set in a metal frame decorated with busts of the saints, a valuable work of a Venetian workshop dated to the end of the 13th century. Another small but impressive artefact is a wooden cross with carved depictions of the twelve Apostles, set in a brass base with Arabic inscriptions.
Apart from the sacred relics and the precious small artefacts, the St Pavlos Monastery has a very significant and valuable collection of Byzantine portable icons dating from the 12th century, and many to the later Byzantine-Palaiologian period. The oldest of these, a small icon of the Virgin Mary known as The Mirror («Καθρέφτης»), dates to the iconoclastic period. According to the Monastery tradition, it is said to have belonged to the Empress Theodora, the wife of Theofilos, who hid it behind the mirror in her bedroom, thereby giving that name to the icon. Its stylistic and iconographic details place it at the end of the 12th century.
Another icon, a double-sided one with the Virgin Mary, the Guide, bears the inscription ‘MOST BLESSED’ on the one side, and the Host of Archangels on the other, is dated to the end of the 13th century and attributed to an artistic workshop of Thessaloniki. It is considered an excellent example of the renascence of the Palaiologians.
Five icons survive from the second half of the 14th century: The icon of the Virgin Mary of the Sweet Kiss (Γλυκοφιλούσας, Glykofilousas), the so-called ‘Nisiotissa’ or ‘Mesonisiotissa’, the icon of St Georgios, The Virgin Mary, the Guide (known as «Φυλάττουσας» Filattousas, the Guardian), the two-sided icon with the Virgin Mary, the Guide on one side and the Crucifixion on the other, and the icon of the Virgin Mary the Merciful (Ελεούσας, Eleousas). All are works of high quality which were created in the workshops of artists in Konstantinople and Thessaloniki. In addition, the Monastery has a large number of icons (dated from the 15th-19th centuries) from icon screens and others used for veneration during religious events. All of these have very interesting stylistic and iconographic characteristics which reflect the influence of the Cretan style as it was interpreted by the artists in Moldovlachian workshops and by local artists.


Από τα δώρα των Μάγων στον γεννηθέντα Χριστό.

The Holy Cross,
The Gifts Of The Magi,
And The Relics Of The saints

The Holy Cross, The Gifts Of The Magi, And The Relics Of The saints

Without a doubt, the most significant artefact of the monastery is the piece of the Holy Cross which bears an impression of the nails from the Crucifixion of Christ. It is one of the largest surviving pieces of the Holy Cross, and was donated by the Emperor Romanos I Lekapinos to the founder of the Monastery, St Pavlos. In addition, the Monastery has ten magnificently-crafted chests which contain segments of the Holy Gifts (gold, frankincense and myrrh) brought by the Magi to the infant Christ. The Holy Gifts were donated to the Monastery by the venerable Queen Maro, the daughter of the Serbian ruler Branković (1428-1456), who greatly helped the Monastery.
Among the treasures of the Monastery are the large number of miraculous and myrrh-emitting sacred relics belonging to more than 100 saints of the Orthodox church. The relics are kept in exquisitely-crafted reliquaries in the holy altar of the cathedral and are exhibited for veneration by the public during the celebration of the respective feast day of each saint.


Ο ηγούμενος της Ιεράς Μονής Αγίου Παύλου, ιερομόναχος Παρθένιος, σε πρόσφατο κτητορικό μνημόσυνο.

Today’s Population

Today's Population

Today, the Monastery has a new and dynamic population which, under the spiritual guidance of the saintly leader Archimandrite Parthenios (Abbot since 1974), maintains its important presence in the Athonite and wider Orthodox circle. The presence of Romanian monks gave a new impetus to the brotherhood. The construction projects undertaken during recent years exemplify the vitality of the brotherhood and its love for the esteemed presence of the Monastery in the contemporary world, while at the same time paying respect to its history and the fathers who came before them.