In the early days, Communion
or the Divine Liturgy as it is called here took place in private homes because
the basic requirements are not at all complicated: an indoor space, a congregation, a prescribed
ritual, a table to serve as the altar, bread, and wine. And no matter how grand or complex churches
have become since then, the basics remain the same. A visit to any small country church in Greece
will reveal the essential geography which I have depicted below at its most
basic.
The Narthex on the
western side of the church acts as a pro-hall to the Nave and even that is optional
in small churches or represented simply by an open porch called an Exonarthex.
A central door on the west
side of the church opens to the Nave (Nαός)
which is the largest space in any church and
the place where worshippers congregate and stand during the liturgy.
At the eastern end of the nave is
the Bema (βέμα), pronounced Vema, demarcated by one, or more steps, raising it from the floor of the Nave.
Beyond the Solea is the second part
of the Bema: the Sanctuary or Hieron ( Ιερόν) hidden
behind a wide vertical screen stretching from wall to wall, - high but never reaching
to the ceiling. This screen is the Iconostasis or templo (τέμπλο). It can be of wood, marble, or
bricks and plaster and is often elaborately decorated with icons, hence its
name which means icon station.
An Iconostasis may have as many as three doors leading
from it into the Sanctuary. But the important door and the only one in smaller
churches, is the central one, the Royal
Door behind which is the altar.
The Three doors with the Royal Door in the center
The Greek word for altar translates as Holy
Table; it is covered with elaborately embroidered cloths, and hidden from
view by a hanging curtains or, quite often as above, by waist high saloon-type
swinging doors.
The Altar in the apse behind
the Royal Door
The areas to the left and right of the altar and behind the
Iconostasis have specific functions. To the right is the Diaconion where priests and deacons robe themselves in preparation
for the liturgy. To the left is the Prothesis
where the bread and wine for communion are prepared and blessed by the priest
before they are brought into the nave, then to the altar and thence to the
waiting congregation.
Often the priest's vestments are hung in the Diaconion between services
A cloth covers the utensils in the Prothesis when not in use
The concave semi-circular hollow on
the eastern end of the building directly behind the altar is the semi-domed Apse. It
generally protrudes beyond the back wall of the church and is the most
noticeable architectural feature of small country churches, even at a distance.
One of my favorites in Lousi
In some churches, there are three apses, the central and larger one
being joined by on either side by smaller ones behind the Diaconion and Prosthesis.
In others, as in the pictures above, the
Diaconion and Prosthesis might just have niches in the back wall with robes
hanging on pegs in one, and the utensils needed for preparing the Eucharist in
the other.
There
is a Progression Towards Sanctity from West to East.
The idea that the worshipper as he/she enters
the church is moving east towards sanctity and away from
the sinful world is graphically illustrated by this orientation with the
baptized worshipper facing east towards the altar and the large cross which is always
a feature over the Royal Door leading to the Sanctuary.
There
are levels of sanctity among the celebrants too because only deacons and
priests and bishops can enter the sanctuary. In early Christian
churches, where the view was unimpeded by the Iconostasis, this idea was
carried even further. There was a Synthronon, tiered stone benches set along the back of the
apse behind the altar with a higher and more elaborate seat - a throne really - for the bishop, the celebrant who was literally closest to God. Since there is a dearth of intact early Christian churches in Greece try synthronon in Google
images. The image below is an effort to replicate the synthronon in a modern church:
In Xilocastro
The development of the Iconostasis put
paid to that elaborate symbolism. Bishops
and Archbishops now sit in the Solea
(where there is one – in the south eastern part of the nave where there is not)
where they can be seen.
In keeping with the east-west hierarchy, the as yet unbaptized worshippers (catechumens) were expected to follow the service from the narthex (or from side aisles if they existed), or at least to be separate from the baptized in the nave during communion.
Women may be excused for being a little less lyrical about this Divine symmetry since their place was in an upper gallery if there was one or on the left side of the nave as opposed to the right, a custom still adhered to today although sometimes ignored.
In keeping with the east-west hierarchy, the as yet unbaptized worshippers (catechumens) were expected to follow the service from the narthex (or from side aisles if they existed), or at least to be separate from the baptized in the nave during communion.
Women may be excused for being a little less lyrical about this Divine symmetry since their place was in an upper gallery if there was one or on the left side of the nave as opposed to the right, a custom still adhered to today although sometimes ignored.
Why was
east the holiest? A good question. It
has been written that it was so that the churches orientation would be to
Jerusalem somewhat like the Mihrab pointing to Mecca in Islam. This seems
unlikely and the theory loses credence because Orthodox world-wide prefer the
same eastern orientation. More likely it is to face the rising sun, an apt
symbol in many pagan religions and one that could adopt itself very easily to
the idea of a rising Christ, Light of the World.
The Vertical Hierarchy
The North and South of a church
pretty well take care of themselves but a
vertical hierarchy (hardly surprising given heaven’s location) became
important, especially as mosaics and frescoes became de rigeur
No religious figures may appear on
the floor inside the church although
it may be tiled elaborately. (Animals are allowed and floral patterns.) Even the most icon decorated church leaves a
skirting of about 60 to 90 cms high up
from the floor bare of religious decoration although this area can be painted
to imitate marble, curtains, or contain wonderful floral or geometric patterns.
The skirting is always worth a look
Slightly elevated from the
congregation, because of the decorative skirting, the walls in churches where
wall paintings exist are covered with row upon row of standing saints and martyrs, each recognizable
by his or her traditional garb, demeanor, and symbol, but named in writing just
in case.
Their status higher than the
congregation is literal as well as figurative. And the priest acknowledges them
as participants during the service. Above the saints and in the lower part of
the curve of the vault if the church is vaulted, are scenes from the Twelve Great Feasts of the Orthodox Calendar,
and other tableaux from the Bible, almost all, in one way or another,
reflecting the Incarnation – Christ
becoming human. This aspect of Christ’s story, that each Christian has a spark
of the divine within him or herself, is given great emphasis in Orthodoxy. In the Conch
of the Apse, high above the Iconostasis and therefore usually visible to
the congregation, is Mary. In her role as Christ’s mother, she is the link
between the congregation and God, hence her position.
The top of the central dome,
if there is a dome, is reserved for
Christ Pantocrator, Christ the ruler of all, supported figuratively and visually where
possible by angels and the apostles. In this, the highest position possible, he
views the congregation.
Not always easy to see Him in old churches...
As time passed, the inside of the dome came to be
regarded as the dome of heaven and the church an image of the earthly Christian
cosmos. That explains the increasing presence of painted stars on a blue
background on ceilings and glittering chandeliers as time passed, -all appropriate celestial backdrops in this
contained Divine Universe.
Even in the tiniest country church
which makes do with a few icons here and there on the walls somehow manages the
chandelier
The historical development of such elaborate
and increasingly detailed symbolism has made the domed church with an interior
cross design the most symbolically satisfying of all church designs although
not actually necessary to the church’s primary function. Early Christian churches had timbered roofs,
hardly conducive to mosaic or frescoed decoration and even when domed and
vaulted roofs first appeared, the placement of icons therein developed over
time.
A final observation on geography: Greek churches do not aspire to ascend to the heavens. On the
contrary, many are sturdy and seem to hug the earth. At the sight of a small white church firmly
nestled in the trees, the image of a brooding hen or dove flashes to mind. Even
domed churches are low-slung. Although the object of each worshipper in
anagogic – to reach up to Christ, hence
the proclivity for hilltops and domes - the church structure itself seems to stress the Incarnation, the fact that Christ came down
to earth bringing the Divine spark to mankind. For me, at any rate, this makes Greek
churches very accessible, and very much a part of the geography of everyday of
life.
Inside Essentials
Even in the simplest church there will be some
kind of iconic representation albeit it
just a series of faded framed photographs of saints placed haphazardly around
the walls. Mary is always present in the apse in her position of honour even if
only a small painting or photograph is employed.
Upon entering the nave, expect to
find almost immediately a stand with an icon of the saint or saints to whom the
church is dedicated, an icon that is generally kissed and venerated by each
worshipper upon entering the church.
This church is dedicated to Constantine and Eleni.
If the
church’s icon has miracle working properties, or is locally venerated, expect
to see circular prayer knots, tamata, and even jewelry placed in front.
Nearby, if not in a Narthex, are candles, candle
holders, and an offering box so that a candle can be lit for the saint or
saints.
Stand with an oil lamp (kandyli) in center for easy lighting
Sometimes
there are chairs in the nave, sometimes not. Early crusaders were astounded at
the stamina of Byzantine worshippers who sometimes stood as long as eight hours
at a time. You might find rows of tall standing seats along the north and south
walls of the Nave where the elder parishioners can lean and partially sit. In
the Solea area of the Bema in a larger church, there will be lecterns left and
right for cantors and sometimes a table in front of the Royal Door. The
bishop’s chair is on the right side of the Solea.
Small churches get crowded
On even the simplest Iconostasis four
portrait sized icons will likely be present. Christ is depicted to the right of
the Royal Door and Mary to the left. To Christ’s left is, John the Baptist. As
the forerunner of Christ he has pride of place. He is easily recognized because
of his ragged clothing and unkempt hair – all befitting a desert prophet. On Mary’s left, is an icon depicting the figure
or figures to whom the church is dedicated, a good thing to know since
churches in Greece do not advertise their patron saint on outdoor signs.
In
this bare bones description, the other feature of note in large naves is the pulpit (ambo) from which the sermon is read. In
big churches it is a tulip like structure attached to a pillar or pier on the
left side, higher than the congregation and reached by ladder-like stairs. In
country churches the priest does without, instead, standing in front of the
Iconostasis, the Bible resting on a lectern.
The
Atmosphere
That only leaves the amazing Atmosphere of this created cosmos when
a divine liturgy takes place: the elaborate
regalia of the clergy, and the chanting, the glittering gold and silver of the oil lamps, the eyes of the saints fixed on the congregation,
and the air redolent of candle wax and incense; it is a sensual as well as a
spiritual landscape. I had an English
friend, a stage manager, who bought a house in a mountain village and attended
every single Sunday service in his village simply because he was awed by the perfection
of the “performance”. As he put it: It’s great theatre!
Now
That You Know…
Even the most complex, multi-domed
church with side chapels, aisles and more aisles cannot intimidate if you are
aware of the basics. And many Greek churches are very complex indeed. Some
started out that way; others had renovations, often a multitude of renovations
over time. Chapels (pareklesia) are in effect small churches built inside or
beside bigger ones. When the former the
effect is like so many Russian dollies, when side by side as happens in many
island churches, they remind me of defenders in a football match during a
penalty shot! But each will have the
same basic geography as the main church. Galleries with various functions abound
and attached Bell towers can appear just
about anywhere. Many a small Byzantine church has been enlarged by the simple
expedient of knocking out the west wall, using the original structure as the Sanctuary,
and adding a new and bigger nave.
The
quirks, the exceptions, and add-ons become interesting and then downright
fascinating. Is that church is skewed the “wrong” way because of a geographical
obstruction? Why is the door to the nave on the north or south wall? What is
supporting that dome? If there are two
doors in the templo, how did the icon painter manage the four icons? If the
church is tiny, did he leave them out of get inventive? Why are there three
altars in this particular small church? The badly designed elephants in Mani churches
(who knew) do not detract from the essential meaning of the painting, the crazy
Mycenaean like filler decorations between icons and in the doorways in old churches in no way detract from the
icons’ sanctity. These details make every church just that little bit different.
And once you know what to look for, you
also notice also what is missing. I remember a barrel-vaulted church near
Eghion in the Peloponnese where the icon painter was not at all fazed by the
lack of a central dome. He simply painted Christ Pantocrator on the ceiling
like a decal on an egg. A discovery like
that is just lovely on a totally secular level – the level, after all, on which
most tourists do enter Greek churches.
The joy is in the details. The essential sameness of Greek churches
makes their infinite variety both amazing and delightful.
No comments:
Post a Comment