Antimins
These printed works, which were very widespread in the Romanian Principalities and feature a rich iconography in our country, are little known to researchers, having been overlooked by the history of Romanian printing and by catalogues of Romanian engravings (old books).
Single-sheet prints are known to exist in the case of priestly sheets and those granting absolution, which were printed in large numbers here; these are, in fact, the only ones that have been studied and, in part, included in the Bibliografia Românească Veche. This oversight in the study of antimensions has obscured the works of the master printers and engravers who contributed to their production.
Antimins are portable altars. Printed on linen or, more rarely, on silk, they allow the Divine Liturgy to be celebrated in any place. A specially tailored pocket at the top of the antimension holds fragments of holy relics exclusively from martyrs, recalling the liturgies celebrated at the graves of martyrs who were sacrificed for their faith. The antimension is kept on the altar table, the base of which contains fragments of the relics of martyrs. However, today the Divine Liturgy is not celebrated without an antimension anywhere, not even on the fixed table within the church’s sanctuary. The antimension represents a canonical bond of communion between the priest and his hierarch. Without the antimension, no priest or bishop can celebrate the most important service: the Liturgy, that is, the Sacrament of the Eucharist. The removal of the antimension by a bishop from a parish signifies the severing of communion with that community or with its priest. The antimension is signed and dated by the bishop and must specify the parish to which it is entrusted. For this reason, antimensions are not only monuments to Romanian graphic and typographic art, but also important historical sources. It should be noted that antimensions were originally painted or drawn in ink on canvas; the advent of printing made it possible to reproduce them rapidly and meet the demand for them across vast territories, although both types of antimins—drawn and printed—were used in parallel.
In what follows, we shall present, in chronological order, the oldest known printed Romanian antimensions to date, although this list may be supplemented at any time. Information about these antimensions has been gathered in the field, from various diocesan and monastic archives during expeditions we undertook for scientific purposes, as well as from studies published over the years. It should be noted that in Romanian parishes (particularly in Transylvania and Moldavia), antimensions printed outside the Romanian Principalities – specifically in Greater and Lesser Russia and Vienna – were sometimes used. These are not the subject of our study as they are not Romanian printed works.
I. The oldest antimension printed on linen known today comes from Wallachia and dates from the mid-17th century. It is attributed to the industrious Metropolitan Stephen I of Ungrovlahia (1648–1653; 1655–1668), who, amongst other things, developed the printing activities at the Metropolitan See in Târgoviște.
The antimension, now preserved at the Museum of the Holy Synod in Sofia 1, bears the date 7158 (1650) ghen(arie) 21 (the thousands and hundreds are printed, whilst the tens and units are handwritten, as are the month and day) and mentions Metropolitan Stephen and Prince Matei as ruler of the whole of Ungrovlahia. The text of the antimension is in Church Slavonic, and it is important to note that the names of the two authorities—the ecclesiastical and the secular—are printed on the antimension, which indicates that the printing plate was specifically made during their reigns. This antimis from the first half of the 17th century features iconography that differs from what we are familiar with from the second half of the 17th century onwards.
At the centre of the antimension is depicted the Descent of the Saviour from the Cross, which is portrayed in a rather unusual manner: the Lord is carried by two angels holding him by the arms and placed in a chalice situated at the base of the Cross. The base of the chalice is incensed by two other angels. At the foot of the Cross and the chalice lies a skull, that of Adam. We can see the connection between the Saviour’s bloody sacrifice and the bloodless, Eucharistic sacrifice. Christ is the performer of both sacrifices. The instruments of torture are, of course, also present. The Saviour is flanked on the right by the Mother of God and on the left by Saint John the Theologian. In the four corners of the antimension, the symbols of the Holy Evangelists are depicted in medallions. The antimension has a double border adorned with flowers. Measuring 57 cm by 47 cm, the antimension bears the following Slavonic inscription, which we render here in English:
‘Divine altar for the celebration of the divine, bloodless, sanctified service. It was blessed and consecrated by the hand of His Eminence Metropolitan Kir Stephen during the reign of Lord Matei, Voivode of the whole Land of Ungrovlahia, in the year(arie) 21, year 7158” (1650).
Until now, the oldest antimension in Wallachia was considered to be the one dated 1604, belonging to Metropolitan Luca, discovered by N. Iorga at a church in Argeș County, in the village of Brădet 2. This antimension, which is unfortunately lost today, was drawn in ink, not printed. However, the oldest printed antimis is that of Metropolitan Ștefan, dating from 1650. This could have been printed between 1648 – the year in which Metropolitan Ștefan took the helm of the metropolis – and 1650, the year in which he gave it to Father Nicolae.
The antimension may have been printed at Dealu Monastery in the second half of 1648, although, having only been installed as metropolitan in May, it is hard to believe that Stephen I had time to attend to antimensions, even though replacing them when a new metropolitan (bishop) takes up a see is a matter of priority. In this context, we can date the printing of the antimension to 1649 or 1650, in Târgoviște, where Metropolitan Ștefan had moved the printing press, which began its work with the monumental Triod-Penticostar published in 1649.
The oldest antimensions known today, after that of Stephen I, and which are preserved in Romania, belong to another pioneer of printing – this time in Bucharest – Metropolitan Varlaam of Wallachia (1672–1679).
Epitaph printed on cloth, Râmnic, 1786
From Filaret (who became Bishop of Râmnic in 1780 after serving as Metropolitan of Mirela, and Metropolitan of Wallachia between 1792 and 1793; d. 1794), we present a unique typographical initiative. It is a large-scale epitaph (112 cm × 73 cm), printed in Râmnic using a woodcut plate on linen cloth, in the same manner as the ‘3’ antimensions. The engraving was produced by Dimitrie Mihailovici Tip(ograful) Râm(niceanul) and dated 1786. The epitaph is used during the Matins service for the Prohod or Burial of the Lord on Saturday, which is celebrated on the evening of Good Friday. It is then carried in a procession, which is why it needs to be of a larger size. The central scene depicted on the epitaph is the Entombment of the Lord. The Saviour is flanked by Joseph and Nicodemus at his head and feet, whilst the Virgin Mary stands amongst the myrrh-bearing women. The depiction of the Mother of God with a sword at her heart (of Slavic influence) recalls the prophecy of the righteous Simeon, who foretold the Crucifixion (death) of her son (Luke 2:35).
In the background stands the cross, upon which rest the sponge and the spear. Also depicted there are several winged angels and seraphim. At the top edge of the epitaph is a depiction of the Holy Trinity (of Western influence), whilst in the four corners are depicted the four Evangelists seated at their writing desks, each accompanied by their respective symbol. On the two vertical sides of the epitaph, on the right, within a panel, is the scene of the Lord’s scourging at the pillar, and on the left, the Lord’s emergence from the tomb (a Western-style depiction of the Resurrection).
The entire composition is surrounded by a text (set within a border) written in Romanian, in capital letters, as is typical of such a religious artefact:
“Joseph, of noble countenance, took Your most pure body from the cross, wrapped it in a clean shroud and anointed it with spices, and laid it to rest in a new tomb: on the third day you rose again, O Lord, bestowing great mercy upon the world”.
In a cartouche situated beneath the Lord’s tomb, the following was inscribed in Romanian:
“1786. With the blessing of His Grace, Father Kiriu Kir Filaret, Bishop of Râmnic. Dimitrie Mihailovici, the printer of Râmnic.”
The repertoire of the renowned engraver Dimitrie Mihailovici is now enriched by yet another beautiful, large-scale work, hitherto unknown to the history of printing in Râmnic. It should be noted that Dimitrie Mihailovici belongs to a family of artists, engravers and printers, notable members of which include his father, the priest Mihai Athanasievici, his son Gheorghe and his uncle, Constantin 4.
The engraver’s source of inspiration can be traced to earlier prints on cloth, such as, for example, the antimension of Metropolitan Gavriil Callimachi of Moldavia (1760–1786). Copies dated 1760 and 1761 feature the same iconography as that of the Râmnic epitaph, which appeared two decades later, but in a larger format.
I have identified three copies of this 1786 epitaph in the storeroom at Polovragi Monastery, measuring: 83 cm × 58 cm (inv. no. 1175), 85 cm × 68 cm (inv. nos. 1151 and 1199). Two further examples, preserved in the collection at Jitianu Monastery, measure 105 cm × 72 cm and 104 cm × 85 cm. These epitaphs were used in churches in Gorj County5).
It appears that this printed epitaph was widely circulated, at least in Oltenia where the copies are preserved, the linen cloth having proved durable. Pending further discoveries, we maintain the view that the initiative to have an epitaph printed in a printing house belonged to Bishop Filaret of Râmnic. We have not yet come across this type of printed epitaph in use in other Orthodox Churches.
Epitaph printed on linen, Bucharest – 1789
The Râmnic initiative, which was much cheaper in terms of production costs than a painted or embroidered epitaph, was also adopted in Bucharest, at the printing house of the metropolitan see headed by Metropolitan Cosma Popescu (1787–1792). Under the patronage of the hierarch, a prolific printer and engraver, Stanciu Tomovici6, carried out his work. He printed on canvas, in 1789, in Bucharest, a large-scale epitaph (117 cm × 92 cm), the white margins of which were intentionally left wider to enhance its grandeur and also to make the canvas easier to handle.
The print was produced using a woodcut block specially made for the epitaph, a new, large-scale work, complex in terms of composition, which adds to the repertoire of Stanciu Tomovici, the engraver and printer.
At the centre of the epitaph is the scene of ‘The Entombment of the Lord’, flanked by Joseph and Nicodemus at the head and foot, whilst the Mother of God is depicted amidst the myrrh-bearing women. In the background stands the cross, against which the sponge and the spear are leaning. Angels are present both in the background and at the base of the Lord’s tomb. In the four corners of the scene, within medallions, are the icons of the four Evangelists. The entire scene is in turn surrounded by 22 sequences depicting, starting from the top left corner:
1. The head of a winged
angel 2. Pilate washing his hands7
3. Anna and Caiaphas
4. Before Pilate
5. (Jesus) on the dais
6. Judas’s
kiss 7. Jesus’s prayer (in the Garden of Gethsemane)
8. A winged angel’s head (top right-hand corner)
9. When Christ appeared in the garden (right-hand side of the epitaph)
10. The
Last Supper 11. The washing of the disciples’ feet (by Jesus)
12. Angel’s head (bottom right-hand corner)
13. When He was flogged against the pillar (left-hand side of the epitaph)
14. The mockery
15. When they carried Christ’s
cross 16. Angel’s head (bottom left-hand corner)
17. Nailing to the Cross (bottom edge of the epitaph)
18. The crucifixion of Christ
19. The descent (from the Cross)
20. The Resurrection (emergence from the tomb)
21. The removal of Adam (Descent into Hell)
22. In Simon’s house.
The entire iconographic composition is surrounded by the following text, written in large letters:
‘Joseph, of fair countenance, took Thy most pure Body from the wood, wrapped it in a clean shroud and fragrant spices, and laid it to rest in a new tomb. When You descended into death, You who are the Life without end, You then destroyed Hades with the radiance of Your divinity; and when You raised the dead from the depths, all the heavenly powers cried out, ‘Giver of life, H(ri)s(toas)e, our God, glory to You.’ 3 December, and the year 1789 began: 7297.
The first troparion: ‘Joseph the Fair-Faced’ is specific to the service of the Lord’s Burial, whilst the other is the troparion of the Resurrection in the second tone.
The lower margin of the epitaph bears, above the text of the troparion, a note printed in smaller type:
“This holy icon was made during the time when His Eminence Metropolitan Kir Cosma was in office, alongside Bishops Filaret and Dositei. It was made by Stanciu Tomovici the Printer”.
It is interesting to note that, alongside Metropolitan Cosma of Wallachia (1787–1792), his contemporary suffragan bishops are also mentioned: the Bishop of Râmnic, Filaret (1780–1792) and the Bishop of Buzău, Dositei (1787–1793). These references clearly indicate, once again, that we are dealing with an epitaph, not an antimension. Owing to wear and the delicate nature of the material on which the epitaph was printed (fine cotton cloth), the survival of any copies to this day is nothing short of a miracle. We do not know the print run for this type of printed matter.
Upon examining the other (signed) engravings by Stanciu Tomovici, scattered throughout the books he printed over many years, we found that this rich iconographic collection was not reproduced on other occasions. Until further discoveries are made, this epitaph from 1789, preserved at Dintr-un Lemn Monastery in Vâlcea County, is a unique specimen.
- 1
I would like to express my special thanks to Father Kiril Sinev for his assistance in obtaining the photographs of the antimis shown here. This antimension was noted by Prot. Ivan Goshev in his work in Bulgarian, Antimensions, Sofia, 1925, p. 101.
- 2
Nicolae Iorga, ‘An Antimis by Metropolitan Luca (1604)’, in The Romanian Orthodox Church, vol. LIII (1935), no. 11–12, pp. 484–487.
- 3
The engraving on the epitaph is approximately 30 cm larger than that on an antimension. The dimensions also vary because the original engraved cloth was subsequently mounted onto various backing fabrics to reinforce it.
- 4
For more on their work, see Daniela Lupu, Printing and Books in Wallachia during the Phanariot Rulers’ Era, published by the Bucharest Municipal Museum, Bucharest, 2014, pp. 236–238.
- 5
Al. Bădăuță, Fr. D. Bălașa, ‘Museum and Scholarly Treasures from the Archdiocese of Craiova’, in Mitropolia Olteniei, vol. XXII (1970), nos. 5–6, pp. 458–459.
- 6
Researchers associate him with Stanciu Popovici and Stanciu the printer, names found on books printed at the Metropolitan See of Bucharest. We express our reservations regarding this assumption. See Repertory of Romanian Book Printers, Engravers, Publishers and Editors (1508–1830), 2nd ed., ed. Eva Mârza and Florin Bogdan, Astra Museum and Techno Media, Sibiu, 2013, p. 255; Cornel Tatay-Baltă, Woodcuts in Early Romanian Books Printed in Bucharest (1582–1830), Mega, 2015, p. 53; Daniela Lupu, Printing and the Book…, p. 229.
- 7
The titles of these passages have been transcribed from the epitaph. Our additions appear in round brackets.