The Church of Panagia Ekatontapiliani (Our Lady of the Hundred Gates) is a beautiful Byzantine era structure located in Parikia on the island of Paros in Greece. The origins of this ancient church are said to date back to the year 328, thus falling in the period of the reign of the Emperor Constantine. As the legend goes, the church was founded by the mother of the Emperor Constantine, St. Helena, who is purported to have sought refuge on this island while en route to the Holy Land. Here she sought the intercession of the Blessed Virgin Mary and promised to erect a church on the island upon her return from pilgrimage -- which her son, Constantine, is said to have honoured with the erection of this exact church. Later, it is said that the Emperor Justinian enacted various repairs and renovations on the church, employing a student of the architect of Hagia Sophia for that very purpose.
All of this is greatly interesting of course, though how much is merely pious legend and how much actually true is difficult to say in the absence of a clear historical record. Regardless, what is of interest for our purposes is that this church was destined to become one of the most significant Marian shrines in the region and one of the most important and well preserved examples of early Christian architecture anywhere, presenting us with another example of early Eastern Roman -- or "Byzantine" if you prefer -- liturgical architecture; an architecture that showcases to us the relationship and commonalities that can be found between the ancient churches of both the Western and Eastern Romans -- a happier period of Christian history when it was less a case of East versus West and more a case of East and West.
So what are some of these elements? Well, for example, we have a long, central nave separated by columns and arcades to either side of which are two smaller side naves -- thus making it triple nave church like we seen in so many churches within Rome and the West as well.
We can also see that a stone balustrade separates the nave from the sanctuary -- though, as one might expect, it has been subject to some modifications over the years; modifications that have turned it into an iconostasis of the second millennium. But despite these later additions, one can still clearly see the 'bones' of the first millennium structure; a structure which would have, at one time, been more open, with a central gate and two side gates separated by columns and low walls. Prior to the installation of the icons between these columns, these would have either been open spaces allowing one to see into the sanctuary, or spaces veiled by curtains in imitation of the Temple.
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| The great cross above the screen, with icons of Our Lady and St. John to either side. |
Located behind this great balustrade is the main altar of the church. The altar is set on top of a predella, or platform, and covered by a ciborium magnum.
Located directly behind the altar and ciborium is one of the great features of Eastern Roman churches (found in simpler echoes within Rome proper) the synthronon; a series of (in this instance) eight rounded steps located within the apse. These steps leading up to the great throne and around this are two lesser thrones and next to these in turn are the spaces where the other clergy would have sat during the appropriate times within the course of the sacred liturgy.
As mentioned earlier, legend has it one of the students of the architect of Hagia Sophia in Constantinople was sent here by the Emperor Justinian; whether or not this is in fact the case, we can certainly find some clear echoes of Hagia Sophia, not only in terms of the general layout of the church, but also in the six-winged seraphim that are found on the pendentives beneath the great dome of the church -- just as they are in Constantinople. Whether by a student of the architect of Hagia Sophia or not, this was clearly an homage to the great mother church of Constantinople.
Also found within the church is a gallery or mezzanine level -- something we can once again find in many first millennium Byzantine churches, including Hagia Sophia. This is a feature which makes manifest sense when one understands that much of the ancient, historical liturgical rites took place, not only within the sanctuary, but also within the area of the nave -- with the position lay faithful being to the sides of the church. For this reason, the addition of a upper level then would have been as eminently practical as it was architecturally impressive.
We can also find an ambo of a type that will be very familiar to many Latin rite Christians. Many ancient Christian ambos are quite large of course, often having steps ascending and descending to either side. This particular ambo is of a much smaller, more compact variety, accessed by modern stairs. It is certainly not an unknown model, but my suspicion is that this particular ambo might have been a later one as I would expect the original ambo might be more in the vein of what would have been found in either Hagia Sophia or some of the great Roman basilicas. One thing is for certain, the medieval Byzantine iconography which now covers the exterior is certainly of later vintage.
The church also boasts an impressive ancient baptistery dating to the fourth century. The baptismal font itself is set into the shape of a Greek cross. In this sort of baptismal font, the neophyte and priest / deacon would step down by way of steps into the filled pool, where the baptism would be performed by full immersion.
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| The ancient baptistery |
All of this is of great interest of course and continues to show us the unified inheritance of the liturgical architecture of both Western and Eastern Rome, but to really bring this church to life, I thought I would share an image I came across of the Byzantine Divine Liturgy being offered here.
I cannot help but feel that images such of this can help bring to life for people a much better sense of great dignity and beautiful of Christian worship within the first millennium of the Church.
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