Page 93 - Studia Universitatis Hereditati, vol 12(2) (2024)

liturgical experience, during which the monks This intellectual and philosophical inquiry
of Vatopedi adapted their practices into ‘Agrip- into Byzantine spirituality is manifest in the do-
pnies or Pannikis (the whole night), which start mains of ‘photography, music, and liturgy.’ It
before sunset, and are not exhausted until well is pertinent to note that in various monaster-
after daybreak’ (Mercier 1933, 203): ies, liturgical services do not consistently occur

One could hear through the stone, like the within the central church. The fluctuating pres-
murmur of a river: it was a confused mass of ence of pilgrims, which swells during the sum-
sounds that the sacred melody rolled relent- mer months compared to the winter season, sig-
lessly. The ear sometimes thought it could nificantly influences the number of chapels used
guess that this sound flow was the majestic for these services. For instance, ethnologist Pa-
slide of free and easy water, sometimes that it nagopoulos (born in 1975) elucidates that ‘in the
broke among the returns and rocks of a tor- winter, because there were not many visitors, the 93
rential bed. The waves criss crossed each oth- liturgies took place in seven chapels. In the sum-
er in their agitated courses, were torn apart mer, they used nine chapels to accommodate
at times under the sudden thrust of a more the greater number of participants, as it was the
imperious stroke, sometimes even nour- tourist season’ (Paganopoulos 2012, 210). Thus,
ished a rumour which rose to the tumult, or the organisation of liturgical life within the
calmed down like a tired flood, until giving monastery is intricately linked to the volume of
25
the illusion of silence. pilgrims or visitors, whom this researcher char-
In his scholarly examination, Mercier dis- acterises as tourists. This observation punctuates
tances himself from the unfavourable evalua- the journey toward the Athos of Ferranti, who
tions articulated by his predecessors, while si- also experiences the captivating phenomenon of
multaneously acknowledging his familiarity agrypnia, to him, a ‘solemn celebration which
with their works. Notably, in a footnote accom- owes its name to the ‘standing’ position and lasts
panying the aforementioned passage, he refer- all night’ (Ferranti 2015, 94):
ences the organisational structure of ecclesiasti- My first vision is a large wooden crucifix Perceptions of a ‘Journey to the Past’ in Some Viatical Stories at Mount Athos
cal offices as detailed by Abbot Neyrat. Mercier’s standing at the entrance to the narthex. As
palpable enthusiasm for the auditory ambiance at Vatopedi (Ferrante Ferranti describes this
of Eastern liturgies serves as a cornerstone of his passage at Dochiariou during Pentecost.),
endeavour to explore the resurgence of Byzan- Christ is crowned by the representation of
tine philosophical thought within this sanctu- God the Father and the dove of the Holy
ary, which has perpetuated such traditions into Spirit. Indifferent, pilgrims flock and kiss
the twentieth century, primarily through the be-
nevolent stewardship of the monks residing in the icons lined up along the walls.
the monasteries of Mount Athos. The first readings are done in the liti by the
light of a simple candle, which irises the icon
25 ‘On entendait à travers la pierre, comme le murmure d’un
fleuve : c’était une masse confuse de sons que roulait sans of the Virgin and relegates the fresco-paint-
relâche la mélodie sacrée. L’oreille croyait tantôt deviner ed saints to the darkness. (..) Placed in front
que cet écoulement sonore était le glissement majestueux
d’une eau libre et facile, tantôt qu’il se brisait parmi les re- of the tarnished branches of the tree of Jes-
tours et les rocailles d’un lit torrentueux. Les ondes s’en- se, I measure how the sculptors of the His-
trecroisaient dans leurs cours agité, se déchiraient par in-
stants sous la poussée soudaine d’un trait plus impérieux, panic world, galvanised by the edicts of the
nourrissaient parfois même une rumeur qui s’élevait au tu- Catholic Reformation, knew how to exploit
multe, ou s’apaisaient comme un flot fatigué, jusqu’à don-
ner l’illusion du silence.’ the wood of the altarpieces so that, in sim-