Page 94 - Studia Universitatis Hereditati, vol 12(2) (2024)

29
ilar light conditions, vibrates with gold and photographs’ (Ferranti 2015, 95). The abbot,
26
bright colours the genealogy of Christ. perceiving Ferranti’s emotional response and
reticence, encourages him to take photographs,
Ferranti’s exploration begins with a detailed thereby fostering a new dimension of trust and
examination of the frescoes, which Mercier had acceptance between the photographer and the
previously described as embodying a ‘mystical Athonite monks. The abbot’s approval signifies
atrium’ within the ‘beautiful liti,’ a space defined a broader acceptance by the monastic communi-
27
by its ‘gentle forest of columns’ (Mercier 1933, ty, an affirmation of Ferranti’s presence among
355). This description draws a parallel to Span- them.
ish religious art while simultaneously inviting However, this moment of exchange, which
the reader to immerse themselves in the vibrant allows for participation in the various rites, is
atmosphere of Orthodox rituals, particularly not universally attainable. The experiences of
94 those distinctive to the monastic communities Claude Chevreuil, a former headmaster of a Pa-
of Mount Athos. risian high school (1937–2023), illustrate this dif-
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
ficulty. ‘Awakened by a chanted hammering’ of a
The clergy in festive attire enters the naos,
the ground of which is strewn with lau- simander during a liturgical service, he hesitates
rel branches. The abbot takes place on his to join the monk who, after calling for him, soon
enters the katholikon. He reflects on his uncer-
throne leaning against a pillar. He begins tainty, pondering, ‘Where to go?’ and remarks,
a long chant, lit by a thin candle held by a ‘Killing time is a murder I will often commit on
monk whose profile glowing red is silhou- Mount Athos’ (Chevreuil 2008, 48–49). This
30
etted, from where I am, against the bur- introspection reveals the challenges that visitors
28
nished gold of the iconostasis. [Ferranti may face in assimilating into the rhythm of mo-
2015, 94–95] nastic life, suggesting that such integration is not
Added to his description is the birth of a always straightforward.
closer relationship between Ferranti and the ab- That said, Ferranti vividly describes the
bot when the latter, ‘who senses his emotion and scene, striving to convey the captivating sen-
shyness, calls out to him and orders him to take sory experiences that arise from it: ‘The elders
come and go through the side doors of the holy
26 ‘Ma première vision est un grand crucifix de bois dressé à
l’entrée du narthex. Comme à Vatopédiou (Ferrante Fer- of holies, resembling actors in an ancient trage-
ranti décrit ce passage à Dochiariou durant la Pentecôte.), dy. The central door opens to reveal the golden
le Christ est couronné par la représentation de Dieu le Père
et de la colombe de l’Esprit Saint. Indifférents, les pèlerins disk of a paten, the Eucharistic saucer. The hegu-
affluent et baisent les icônes alignées le long des murs. men appears, adorned in a shimmering star-em-
Les premières lectures se font dans la liti à la lueur d’une broidered cape, bordered by a trellis of alter-
simple chandelle, qui irise l’icône de la Vierge et relègue
dans la pénombre les saints peints à fresque. (..) Placé en nating gold clusters and silver leaves. He kneels
face des ramifications ternies de l’arbre de Jessé, je mesure and reads before an assembly that is collectively
combien les sculpteurs du monde hispanique, galvanisés
par les édits de la Réforme catholique, surent exploiter le bent over, their foreheads touching the ground.
bois des retables pour que, dans des conditions de lumière Father Gabriel and then a priest chant in turn,
similaires, vibre d’ors et de couleurs vives la généalogie du
Christ.’ while none among us dares to move. Suddenly,
27 Mercier avait relevé ‘l’atrium mystique’ de la ‘belle liti’, the atmosphere becomes animated. The thurifer,
composée ‘de sa douce futaie de colonnes’ whose large, long-lashed eyes evoke an Egyp-
28 ‘Le clergé en habit de fête pénètre dans le naos, dont le sol
est jonché de branches de laurier. L’higoumène prend place 29 ‘qui devine son émotion et sa timidité, lui hèle et le somme
sur son trône appuyé contre un pilier. Il entame une longue de prendre des photographies.’
psalmodie, éclairé par une fine bougie tenue par un moine 30 ‘...réveillé par un martèlement scandé[...] Où aller? Tuer le
dont le profil rougeoyant se découpe, de l’endroit où je me temps, c’est un meurtre que je comttrai souvent au Mont
trouve, contre les ors brunis de l’iconostase.’ Athos’.