Институт живописи, скульптуры и 

архитектуры имени И. Е. Репина

при Российской академии художеств
При поддержке Министерства культуры
Российской Федерации

Афон – Светоч Православия: 

взаимодействие культур
Материалы Международной конференции
5–7 октября 2016 г.

St Petersburg Repin State Academic Institute of Painting,

Sculpture and Architecture of Russian Academy of Arts
By financial support of Ministry of Culture
of the Russian Federation

Mount Athos – the Light 

of the Orthodox Christianity: 
Interaction of Cultures
International Conference. Post Prints
5–7 October 2016

Санкт-Петербург, 2017
St Petersburg, 2017
 О. В. Силина. «Служба святых отец» в стенописи Дионисия 1502 г. и ее связь с литургической практикой
8. Роспись Благовещенского собора. Публикация одного памятника. Л. : Аврора, Georgios Tsimpoukis
1969.
9. Рыбаков А. А. О датировке фресок Дионисия в соборе Рождества Богородицы Фера-
понтова монастыря // Памятники культуры. Новые открытия. Ежегодник / Под ред. Д. С. Ли-
хачева. Л. : Наука, 1986. С. 283–289.
10. Сергий Булгаков, прот. Православие : Очерки учения Православной Церкви. М.
: Терра, 1991.
11. Турилов А. А. К истории великоморавского наследия в литературах южных и вос-
точных славян: Слово «О похвале Богородицы Кирилла Философа» в рукописной тради-
ции XV–XVII вв. // Великая Моравия, ее историческое и культурное значение / Под ред.
Г. Э. Санчук, Й. Поулик. М. : Наука. 1985. С. 253–269. The Influence of the Hermēneia of Dionysius of Fourna
12. Успенский Ф. И. Очерки по истории византийской образованности. СПб., 1892. on the Revelation Wall-paintings of Mount Athos
13. Ульяновський В. Митрополит Киїивський Спиридон. Київ, 2004.
14. Babić G. Les chapelles annexes des églises byzantines. Fonction liturgique et programmes I owe many thanks to the Hellenic Minis-
iconographiques. Paris, 1969. try of Culture and Sports, especially to the
Ephorate of Antiquities of Chalkidiki and to
the Ephorate of Antiquities of Karditsa, for
granting me the license to study the Revela-
tion wall-paintings presented. Special thanks
owe to the Ministry of Culture of the Russian
Federation and the Repin Art Institute of the
Russian Academy of Arts, as well, for invit-
ing me to present my paper.
The spread of the Revelation in the
Orthodox East is inextricably linked to the
historical conditions that emerged after the
fall of Constantinople (1453) and the rapid
spread of the Ottoman Empire into Balkan
territory. This development, namely the en-
slavement of Christians by non-Christians
conquerors, certainly hampered their living
conditions, fostering feelings of frustration,
fear and insecurity [11, p. 15–33; 19, p. 33–
37]. Moreover, fertile ground was created
for the enslaved to come into contact with
the Revelation, the redemptive character
of which might have boosted their morale.
However, in the first years after the fall of
Constantinople, the Revelation was not ac-
cessible to the whole of Ottoman-conquered
Hellenism. Its language was not easy to un-
derstand, and there were no relevant illus-
trations available to allow illiterate people
to fully perceive its content.
In the monumental painting of the Or-
thodox East, the Revelation was depicted
for the first time shortly after 1553 in the
Dionysiou Monastery on Mount Athos [21,
p. 57, n. 135]. Although this cycle was based
on the works of Western engravers of the
Reformation [7], its creation played a signif-
icant role in the subsequent development of
the subject in monumental painting. Nearly
a century later, the cycle of Xenophōntos
Monastery (1632–1654) was created; it was
followed by the creation of the cycle in the
Docheiariou Monastery (1676–1700). In the
18th century, cycles of Revelation decorated
the chapel of Koukouzelissa in the Monas-
tery of the Great Lavra (1715) and the exon-
arthex of the katholikon in the monasteries
of Philotheou (1765), Karakallou (1767),
Xēropotamou (1783) and Ivērōn (1795), and
in the 19th century, the exonarthex of the
katholikon in the monasteries of Zōgraphou
(1817) and the Great Lavra (1852).
The spread of the iconographic theme
of Revelation on Mount Athos [21] should
certainly be related to the Hermēneia [1; 2,
p. 2–7; 3, p. 30–34 and 42; 4, p. 73–82; 8,
283
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
1. Philotheou Monastery. 1765. The opening of the sixth seal (Rev 6:12–17)
p. 1–60; 9; 10, p. 205–206; 13, p. 385–386;
15, p. 228–229; 16, p. 300–305; 25, p. 106
and 276], a guidebook for painters written
by Dionysius of Fourna [2, p.  17–18; 8,
p. 245–266; 13, p. 380–381; 14, p. 227–240;
15, p. 227–228; 16, p. 292–296; 17, p. 273–
279; 20, p.  201–202; 25, p.  105–106 and
276–277], between the years 1729–1732, in
order to help artists in their work. Regard-
less of the sources used by Dionysius [2,
p. 48–53; 6, p. 1–4 and 36–37; 21, p. 286–
289], the existence of a specific chapter on
how Revelation should be illustrated was
of great importance. In this special chapter
[5, p. 46–49; 18, p. 129–139, § 44–67], the
reader can find detailed instructions on how
each of the twenty-four scenes, in which the
book of Revelation is divided by Dionysius,
should be depicted; moreover, characteristic
lines of the text of Revelation are cited, so
that painters can use them in their scenes. In
284
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
this paper, an effort to determine the effect of
the Hermēneia on the six cycles of the Rev-
elation, created after the mid-18th century on
Mount Athos, is made, so that the importance
of the Hermēneia can be assessed.
The first cycle of the Revelation cre-
ated after the writing of the Hermēneia is
now preserved in the Philotheou Monas-
tery (1765). The effect of the Hermēneia
is already evident from the opening of the
sixth seal (Rev 6:12–17), where, for the first
time, the sky is depicted as a scroll (ill. 1),
following the relevant guideline [5, p. 46;
18, p. 130–131, § 48]. A similar manner of
depiction is later found in the monasteries
of Karakallou (1767), Xēropotamou (1783)
and the Great Lavra (1852).
A discernible impact of the Hermēneia
can also be seen at the illustration of the sixth
2. Philotheou Monastery (1765). The seventh trumpeting (Rev 11:15–19)
trumpeting (Rev 9:13–21), in which people
are depicted trying to escape, looking back
285
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
3. Karakallou Monastery. 1767. Christ appears to John,
assigning him the writing of the Revelation (Rev 1:9–20)
with fear, according to the relevant recom-
mendation [5, p. 47; 18, p. 133, § 53]. Sev-
eral years later (1852) the painter Zacharias
Chrēstou in the cycle of the Great Lavra
depicted people in a similar way.
The effect of the Hermēneia on re-
counting the seventh trumpeting (Rev
11:  15–19) – a scene for the first time
depicted in the Philotheou Monastery
(1765) (ill.  2) and later in the monaster-
ies of Xēropotamou (1783) and the Great
Lavra (1852), based on the guidelines of
Dionysius [5, p. 47; 18, p. 134, § 56] – is
undoubted. Moreover, the depiction of the
seven-headed dragon, which is spewing
286
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
water out of its mouth “like a river” to-
wards the woman (Rev 12:15), first found
in the Philotheou Monastery, later in the
Xēropotamou Monastery (1783), is also
related to the description of Dionysius [5,
p. 47; 18, p. 134–135, § 57].
An impact of the Hermēneia can also
be found in the depiction of the harvest
of the land and the harvest of the vine
(Rev 14:14–20). Both the general arrange-
ment of the iconographic elements, and
some specific details (Temple of God, text
on Angel’s scroll) make it clear that the
painter of the Philotheou Monastery knew
the relevant paragraph [5, p. 48; 18, p. 136, 4. Karakallou Monastery. 1767. The fifth trumpeting (Rev 9:1–12)
287
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
5. Xēropotamou Monastery. 1783. The opening of the first three seals (Rev 6:1–6)
§ 60]. The same can be seen in the depic-
tion of the fall of Babylon (Rev 18:1–24).
The accompanying inscription, on the upper
part, and the angel holding the scroll, on the
top left, have been drawn from the relevant
paragraph [5, p. 48; 18, p. 137–138, § 63].
The iconographic cycle of the
Karakallou Monastery was painted two
years later, in 1767. The influence of the
Hermēneia is quite apparent, although
fewer scenes seem to have been inspired
by its guidelines. The depiction of the cave
of Patmos island (Rev 1:9), where John
was when the Revelation took place, is de-
picted for the first time in the cycle of the
Karakallou Monastery (ill. 3), following the
relevant suggestion of Dionysius [5, p. 46;
18, p. 129, § 44]. Similar depictions of the
cave can also be found, several decades lat-
er, in the monasteries of Zōgraphou (1817)
and the Great Lavra (1852).
288
In the scene of the fifth trumpeting
(Rev 9:1–12), the painter Seraphim faith-
fully follows the description of the relevant
paragraph of the Hermēneia [5, p. 47; 18,
p.  132–133, §  52]. He depicts the key of
the abyss as transferred not by a demonic
star, as it is cited in the text of John (Rev 9:
1), but by the angel of the fifth trumpeting
(ill. 4). Moreover, due to the influence of
Dionysius’ text, people are depicted hidden
in caves, safe and sound, contrary to the text
of John (Rev 9:5–6), in which people are
described as trying to defend themselves
from the locusts’ attack.
The depiction of Christ, “The Word of
God” (Rev 19:13), who is not wearing many
diadems, as John describes (Rev 19:12), but
only one crown, as Dionysius advises [5,
p. 48–49; 18, p. 138–139, § 64], could also
be enumerated in the few, but characteristic,
effects of the Hermēneia. Furthermore, in the
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
6. Xēropotamou Monastery. 1783. The pouring of the first six bowls
of God’s anger (Rev 16:1–16)
same scene, the vultures in the sky do not fly
over the defeated army (Rev 19:17–18), as
in all previous depictions on Mount Athos,
but eat the flesh of the enemy troops, as in-
dicated in the Hermēneia. A few years later,
a similar depiction of Christ and the vultures
would be found in the Xēropotamou Mon-
astery (1783).
The Hermēneia seems to have been
a necessary tool for the three painters
from Korça  – Constantine, Athanasius
and Naoum  – who painted the cycle of
the Xēropotamou Monastery in 1783. This
is already evident in the first scenes of the
iconographic cycle. For instance, at the de-
piction of the opening of the first seal (Rev
6: 1–2), the horse-rider is attacking peo-
ple (ill. 5) , according to the Hermēneia’s
description [5, p.  46; 18, p.  130, §  46],
although John does not mention this detail.
Moreover, the accompanying inscription
in Greek (ΕΡΧΟΥ ΚΑΙ ΒΛΕΠΕ), above
the four “Living Creatures”, the symbols
of the four evangelists, also derives from
the Hermēneia. The same inscription will
later be written nearby the four “Living
Creatures” in the monasteries of Ivērōn
(1795) and Zōgraphou (1817). Moreover,
in the scene depicting the opening of the
fifth seal (Rev 6:9–11), the souls of the
martyrs are shown as living people who
pray to God, just in the way described
in the guidebook of Dionysius [5, p. 46;
18, p. 130, § 47]. Similar depictions can
also be found in the monasteries of Ivērōn
(1795), Zōgraphou (1817) and the Great
Lavra (1852).
Obviously under the influence of the
Hermēneia [5, p. 47; 18, p. 134, § 55], the
three painters depict, for the first time on
289
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos

7. Ivērōn Monastery. 1795. The Lamb on Mount Zion and the 144,000 chosen ones
(Rev. 14:1–13); the harvest of the land and the harvest of the vine (Rev 14:14–20)
8. Zōgraphou Monastery. 1817. The opening of the fifth seal (Rev 6:9–11)

Mount Athos, the assumption of the two
witnesses in the sky (Rev 11:12). In the next
scene, the seventh trumpeting (Rev 11:15–
19), the representation of the people who
try to be protected just below the Temple
of God is characteristic, as such a detail
derives from the text of the Hermēneia [5,
p. 47; 18, p. 134, § 56].
In the scene of the pouring of the
seven bowls of God’s anger (ill.  6), the
conversion of the sea and rivers into blood
(Rev 16:3–4) and the Euphrates’ drying
(Rev 16:12) are of special interest, since
these details are apparently depicted – for
the first time on Mount Athos – under the
influence of the Hermēneia [5, p. 48; 18,
p.  136, §  61]. Moreover, the depiction
of the seven angels (Rev 15:6), as well
as that of the sun (Rev 16:8), which is
painted “with great rays reaching down
to the men”, are iconographic details re-
vealing that the three painters from Korça
knew the relevant paragraph of Dionysius’
guidebook.

290 291
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
9. The Great Lavra Monastery. 1852. The glorification of God and the Lamb of Zion
(Rev 7:9–17)
The scene depicting the fall of Baby­
lon (Rev 18:1–24) is yet another piece of
evidence that the three painters had the
Hermēneia in mind. According to the
description of Dionysius [5, p.  48; 18,
p.  137  138, §  63], the angel announcing
the fall of Babylon (Rev 18: 1–3) is de-
picted “surrounded by a circle of dazzling
light” and holding an inscribed scroll. The
decision of the three painters to depict the
glorification of God (Rev 19:1–10) might
also be related to the Hermēneia. Dionysius
devotes a separate paragraph [5, p. 48; 18,
p. 137–138, § 63] to describing this scene,
which had never before been represented by
previous painters on Mount Athos.
The impact of the Hermēneia [5,
p. 49; 18, p. 139, § 67] can also be found
292
in the last scene of the cycle, in which the
New Jerusalem is seen (Rev 21: 1–27).
The presence of God and the nine angelic
hosts, as well as the inscription on the top,
above the angels, the text of which refers
to the new holy city (Rev 21:3), are icono-
graphic details definitely proving that the
three painters from Korça were aware of
Dionysius’ guidebook.
Unlike the aforementioned monaste­
ries, where the influence of the Hermēneia
is evident to a lesser or greater extent, in the
monasteries of Ivērōn (1795) and Zōgraphou
(1817), the work of the painters Nikēphoros
and his son Mētrophanēs, respectively, the
extent of the Hermēneia’s influence is dif-
ficult to determine. The main difficulty is
that although Dionysius mentions in his
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
10. The Great Lavra Monastery. 1852. The opening of the seventh seal (Rev 8:1–13)
guidebook some of the iconographic details
found in these two monasteries, they might
already have been known to Nikēphoros and
Mētrophanēs through earlier representations
on Mount Athos, in which these details ap-
peared for the first time. Moreover, as has
already been pointed out [21, p. 269–270],
Nikēphoros drew numerous iconographic
details from the cycle of the Xēropotamou
Monastery, painted twelve years earlier.
Despite the aforementioned difficul-
ties, it should be considered quite likely that
the painters Nikēphoros and Mētrophanēs
had taken the Hermēneia into account. For
example, in the scene of the 144,000 chosen
ones (Rev 7:1–8), the two painters, proba-
bly under the influence of the Hermēneia [5,
p. 46; 18, p. 131, § 49], depict one (Ivērōn)
or two (Zōgraphou) angels putting the
cross-sign onto the foreheads of the chosen
ones. Moreover, in the scene of the Lamb on
Mount Zion and the 144,000 chosen ones
(Rev 14:1–13), the angel prompting the in-
habitants of the earth to “fear the Lord and
give him glory” (Rev 14: 6–7) is placed
below the chosen ones (ill. 7) , exactly as
in the Hermēneia [5, p. 47–48; 18, p. 135,
§ 59]. Finally, in the image of the opening of
the fifth seal (Rev 6: 9–11) in the Zōgraphou
monastery (1817), Mētrophanēs illustrates
another angel conversing with the martyrs
(ill. 8) , according to Dionysius’s guidelines
[5, p. 46; 18, p. 130, § 47].
In 1852, when the exonarthex of the
katholikon of the Great Lavra Monastery
was decorated with scenes of the Revela-
tion, the guidebook of Dionysius was already
in circulation for more than a century and,
apparently, continued to be a useful tool for
painters. The painter Zacharias Chrēstou
systematically refers to the pages of the
Hermēneia, applying its recommendations
in practice, often with remarkable precision.
The scene of the glorification of God
and the Lamb of Zion (Rev 7:9–17) is a
characteristic example (ill.  9). Following
the description in the Hermēneia accurate-
ly [5, p.  46; 18, p.  131, §  50], Zacharias
Chrēstou depicts God, surrounded by many
angels, having the sealed book on his knees
and the crowd of the martyrs beneath his
throne; moreover, the conversation between
John and one of the twenty-four “Elders”
(Rev 7:13–16) is depicted for the first time
in this cycle, since Dionysius mentions this
iconographic detail.
293
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
The next scene (ill. 10), describing the
opening of the seventh seal (Rev 8:1–13),
is also depicted according to the guidelines
of Dionysius. Following the description in
the Hermēneia [5, p. 46–47; 18, p. 131–132,
§  51] faithfully, God is shown seated on
a throne and surrounded by seven worship-
ping angels, not trumpeting as in all previ-
ous Revelation wall-paintings on Mount
Athos. The fact that Zacharias Chrēstou
depends on the Hermēneia is testified by the
addition of four more trumpeting angels, as
well as by the way the star “Wormwood” is
depicted, since it is not encircled by flames,
as in all previous representations of Mount
Athos, but it emits rays of light. Finally, the
golden altar, a detail mentioned by John
(Rev 8:3), is not depicted in the representa-
tion of the Great Lavra Monastery, contrary
to all earlier corresponding representations
on Mount Athos, because Dionysius sup-
presses the detail.
From the aforementioned examples, it
can safely be deduced that the Hermēneia,
the guidebook written by Dionysius of
Fourna (1729–1732), was a useful tool for
painters, which greatly enriched the Rev-
elation iconography on Mount Athos. This
iconographic enrichment is evident firstly
in the cycle of the Philotheou Monastery
(1765), later at the Karakallou Monastery
(1767), as well. Especially, with respect to
the Karakallou Monastery, it is reasonable
to assume that Dionysius himself would
have given a copy of the Hermēneia to the
leaders of the monastery. Having painted
several portable icons in the monastery
in 1722 [2, p. 27–28; 8, p. 261–265; 13,
p. 383; 14, p. 233; 20, p. 199–240], Dio-
nysius probably maintained contact with
its monks.
294
But, the greatest impact of the Hermē­
neia on the cycles of the 18th century can
undoubtedly be found in the cycle of the
Xēropotamou Monastery. The three painters
from Korça quite often refer to the guidebook
of Dionysius, searching for ideas to enrich
the Revelation iconography — an effort that
proved successful. The depiction of the glori-
fication of God (Rev 19:1–10) is a character-
istic example of this successful effort, since,
as has been pointed out above, this representa-
tion – painted according to Dionysius’s guide-
lines [5, p. 48–49; 18, p. 137–138, § 63] – had
never before been recounted by the previous
painters on Mount Athos.
The influence of the Hermēneia on
the iconographic cycles of the Ivērōn and
Zōgraphou monasteries is quite small, in spite
of the fact that in the beginning of the 19th cen-
tury the guidebook of Dionysius reached the
peak of its popularity [9, p. 76]. The painter
Nikēphoros, who created the cycle of Ivērōn
Monastery (1795), and his son Mētrophanēs,
who painted the Zōgraphou cycle (1817), are
likely to have had a copy of the Hermēneia at
their disposal, but its instructions are followed
only occasionally.
In contrast, in the Great Lavra Monas-
tery (1852) the Hermēneia appears to have
been an indispensable tool for the painter
Zacharias Chrēstou. Despite the fact that
until the mid-19th century a long icono-
graphic tradition in depicting the book of
Revelation existed on Mount Athos (there
were nine other cycles), Zacharias Chrēstou
systematically refers to the pages of the
Hermēneia. He quite faithfully follows the
instructions of Dionysius for the illustration
of each and every scene.
Zacharias Chrēstou proved to be so
dedicated to the Hermēneia that he refuses
G. Tsimpoukis. The Influence of the Hermēneia of Dionysius of Fourna on the Revelation Wall-paintings of Mount Athos
to depict even the details mentioned by the monasteries in the Agrafa region, namely the
Revelation text, when Dionysius omits these Spēlia Monastery near Koumpouriana vil-
details. For instance, at the opening of the lage (after 1737) [22, p. 65–84; 24, p. 48–49
fourth seal (Rev 6:7–8), the painter does not and 366–371] and the Petra Monastery near
depict Hades, because Dionysius [5, p. 46; Katafygio village (1789) [12, p. 33–39; 23,
18, p. 130, § 46] suppresses this element, p. 97–112; 24, p. 44–46 and 353–357], I at-
although previous painters on Mount Athos tempted to establish a connection between
had depicted that iconographic detail in their their Revelation wall-paintings and the
Revelation cycles. A similar choice is seen Hermēneia, given that Dionysius came from
in the representation of the opening of the the Agrafa region. However, such a possibi­
sixth seal (Rev 6:12–17), where the painter lity seems unlikely, as the influence of the
Zacharias Chrēstou refuses to depict the con- Hermēneia both on the Spēlia (after 1737)
sequences of the great earthquake, although and the Petra (1789) monasteries is, unfor-
previous painters included this detail, due to tunately, very limited.
the fact that Dionysius does not include this Regardless of the influence of the
iconographic element in his guidelines [5, Hermēneia on Revelation iconography – an
p. 46; 18, p. 130–131, § 48]. issue always open to further research – it
One arguably wonders if the influence is certain that the guidebook of Dionysius,
of the Hermēneia can only be found in the at least on Mount Athos, where the writer
aforementioned cycles or if this guidebook lived and worked for many years, gave a
went beyond the borders of Mount Athos. strong boost to the illustration of the Rev-
Did Dionysius inspire other painters to in- elation, greatly enriching the iconography.
clude the Revelation in their iconographic The effect of the guidebook, to a greater or
agendas? However, these questions are not lesser extent, is detected in the Revelation
easy to answer because the cycles that have cycles of all the painters of Mount Athos,
survived outside Mount Athos, in other areas from the second half of the 18th century
of Ottoman-conquered Greece, are very few until the mid-19th century, making it a use-
and have not been systematically studied ful – at the theoretical level – iconographic
[21, p. 51–56]. During a recent study of two version at the disposal of painters.
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