A visit to the six Meteora monasteries never disappoints. Apart from the visual impact of the monasteries perched on rock pillars, a visit to to Meteora monasteries caters to a broad range of interests. These include the monasteries’ Byzantine history and culture, and internal features including their architecture, museums, rich works of art and faith-related detail. A visit to the Varlaam Monastery and the Great Meteoron Monastery is particularly recommended.
The very improbability of the locations of the monasteries at Meteora at first sight is astonishing. Meteora’s forest of isolated pillars appears to stand as rocky sentinels over Thessaly. But there is much more to the Meteora monasteries than just their visual impact. The history of the monasteries informs us how monks rose to the challenges of constructing and maintaining functional, and later to become, beautifully decorated monasteries in an unforgiving landscape. As you walk through the six Meteora monasteries, consider the evidence of the simple but difficult lives and culture of the monks who occupied them. Be impressed by the skills of the artisans and craftsmen who have produced an array of art, paintings, frescoes, mosaics, iconography and wood engraving.
The Meteora Monasteries
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A Brief History of the Monasteries at Meteora
It was not uncommon during the medieval across Europe for hermits to seek isolation in caves. The first hermits to ascend the pillars at Meteora in search of caves for cover and protection were Varnavas, circa 950 to 965 AD, and Andronikos from Crete, in 1020 AD.
Throughout history the Meteora attracted persons of the same mind and monks from all over the Byzantine Empire converged onto the Meteoron. The number of monastic dwellings increased to 33. This community was well established by the end of the 12th Century.
The hermit monks accelerated the colonisation of the Meteora prior to the end of the Byzantine Empire in order to prepare for the threat of Ottoman invasion. The early history of the monasteries was therefore the period during which the monks constructed the monasteries for protection and refuge.
Athanasios introduced the term ‘meteoron’ in 1340 AD when he sought refuge (in what is now Meteora) from Ottoman raids on Athos in Macedonia . The ‘meteoron’ referred to a rock pillar on which Athanasios constructed the first monastery. The Great Meteoron Monastery developed from this monastery.
The term ‘meteoron’ was derived from a Greek word associated with meteors, and means ‘between earth and sky’. ‘Meteora’ is the plural form of ‘meteoron’ and was later used to identify the entire cluster of rocks upon which all the monasteries were constructed. The monasteries are therefore sometimes referred to as the Meteora Byzantine monasteries, or the Meteora Orthodox monasteries.
The Meteora Monasteries – Manuscripts, Art, Culture and Architecture
The social and cultural evidence that remains within the Meteora monasteries indicates the historical monastic life and culture of the monks. The monasteries in Greece flourished until the 17th Century when they became a repository for Hellenic art and literature as Greeks sought relief from Ottoman oppression. The monasteries have since been in decline.
Manuscripts
The monasteries at Meteora became important repositories for manuscripts, with many of the manuscripts secreted because of the threat of invasion or occupation. Manuscripts have also been retrieved from roof cavities, walls, and even under mattresses. They are now in the safer hands of the supervisors of the monastic libraries.
The manuscripts are broad in scope and include documents of religious, philosophical, scientific, literary and historical content. The core of manuscripts is, of course, primarily ecclesiastical and religious. The libraries are said to contain parchments that date from 9th to the 19th century. A very valued relic is the parchment Codex 591 (861-62 AD) which is the oldest manuscript in Greece. It consists of 423 sheets and interpretative discourses on the Gospel of Matthew.
Other documents in the museums include about 3000 gold-embossed pages of Byzantine emperors. However, it appears that the monks did not apply themselves to copying scripture which was a historical role adopted by many monasteries prior to the advent of the printing press.
Art
Art within the monasteries is almost exclusively descriptive of Orthodox beliefs. Each monastery features an ornately decorated centre of worship with varying displays of period religious art in the form of paintings, mosaics, frescoes and iconography. The monks used gold plate and gold tesserae in the artwork. Human figures were portrayed in the artwork two-dimensionally or in relief. This portrayal was chosen to avoid any drift towards idolatry which was considered to have occurred when the Greeks and Romans portrayed their subjects as three-dimensional, rounded figures. Museums within the monasteries include artefacts in the form of ecclesiastical robes, music codices and monastic histories. Look for the holy-image panel paintings which were painted on portable wooden panels.
The location of the Meteora monasteries in Greece promoted a reconciliation of Greece’s mythological past with the arrival of eastern Christianity. There is therefore much art in the form of images, frescoes and reliefs that portray both mythical and actual persons. This art indicates the absorption of myth into the religion of the monks at Meteora. For example, sinners are portrayed as being cast into the mouths of monsters at the Second Coming. Such a depiction may not only infer the incorporation of mythology into the doctrine of the monks, but also the influence such beliefs would probably have had on both the monks and the generally illiterate local population. The incorporation of myth into the monasteries is also exemplified by a relief in the Temple of John the Baptist that shows the goddess Venus standing before a horseman.
Culture
There are many displays and working remains within the monasteries that accurately portray how life was lived and how the monks interacted with their external environment. This is particularly displayed in our review of the Great Meteoron Monastery.
Architecture
The architecture of the monasteries at Meteora is derived from the monastic architecture of Mt Athos in Macedonia. Hence, the monasteries are symbols of Balkan orthodoxy. There is a consistency of architecture and style across the monasteries because it was not uncommon throughout the Balkan Peninsula for it to be the monks who emerged and constructed the monasteries for defence and protection. The monasteries at Meteora were all built in precipitous locations and whereas some are fortified with strong walls, others rely on the verticality of the pillar cliff faces for protection. A defensive tower in some monasteries was used for observation and refuge.
The architecture of the monasteries is discussed in further detail within the descriptions of the individual monasteries.
There are six Meteora Monasteries that can be visited. This post concentrates on the two most popular monasteries, the Varlaam Monastery and the Great Meteoron Monastery.
Meteora Monasteries – The Varlaam Monastery
The Exterior of the Varlaam Monastery
The Monastery of Varlaam (founded in1542 by Hosioi Theophanes and Nectarios the Apsarades) is the second largest monastery and is located across the valley from the Great Meteoron Monastery.
As you ascend the steps to the entrance of the Varlaam monastery you will see the sandstone and conglomerate rock that is ubiquitous across the landscape of the Meteoron. This is some of the evidence that the region was submergec by water borne sediments.
The monasteries typically have one point of entry with a fortified gate.
An enclosed, arched passageway then leads to an internal courtyard.
The courtyard provides separate access to the different areas of the monastery. The Katholikon is located at the centre of the monastery because it was the most important element within the monastery. The courtyard also led to chapels and private quarters for the monks and monastery superiors.
The image above shows the ornate external masonry which characterises the Byzantine influence on the architecture of the monasteries. Also apparent in the image is the external use of the Roman arch and dome, and internally, vaulted ceilings (image below). These features are fingerprints of both Roman architecture and Byzantine architecture, because the Byzantine style is a derivative of Roman architecture. The Byzantine dome above the Varlaam monastery has been segmented with recessed arches and this provides more space and light inside the church.
Take time to enjoy the views across the valley from the pagoda as well as the lovely rose garden that decorates the courtyard.
Entry into the Varlaam Monastery Using Rope Baskets and Windlass
The transportation of produce and personnel into the elevated entrances of the monasteries was always a challenge. The height of the Varlaam Monastery well illustrates the defensive design of the monasteries. They were constructed well above ground level but this meant they also required a mechanism to raise necessary loads, which included the monks themselves.
The Varlaam Monastery has preserved evidence of how the monks and their goods were lowered and raised to the ground. The methods included using both flying fox and windlasses, the latter relying on a simple crank handle to wind the rope. The historical technology to transport both persons and produce is still on display within the monastery, and can be seen in the following images.
Inside the Varlaam Monastery
The interior of the Varlaam monastery is beautifully decorated with religious art of the Early Modern. The monastery’s Katholikon (Catholicon), the centre of religion within a Meteora monastery, was built in 1541-42. It was decorated in 1548, including its celebrated wall-painting.
Gold mosaics that reflect the light off god figures feature across the monasteries. Art decorates beautiful timber panels above tiled floors. The Varlaam monastery’s refectory was converted to a museum to house religious art.
The museum’s ceiling is itself worth seeing as an example of Byzantine architecture – a rounded dome on pendentives supported by rounded arches mounted on pillars. The rounded arch is a fingerprint of both Roman and Byzantine architecture,
The Katholikon is the centre of worship within the monasteries and it is in this space that the most remarkable artistic decorations are found. The following images are of the Katholikon within the Varlaam monastery. The frescoes and associated art within a katholikon have been described later in for the Great Meteora Monastery.
Meteora Monasteries – The Great Meteoron Monastery
The Great Meteoron Monastery (c14th Century), the largest and oldest of the monasteries at Meteora, is considered by some visitors to be the main monastery. It is also known as the Holy Monastery of Grand Meteoron. The monastery rises to a height of 613 meters (2011 ft) above the Pineós river-bed. This monastery is important to the history of Greece because its occupation is considered to have marked the beginning of monasticism in the Meteora.
The monastery offers a comprehensive insight into all aspects of monastic culture and its small but adequate museum outlines its historical development. This includes the role of the monastery during Greece’s engagements in World War 2.
The Exterior of the Great Meteoron Monastery
Historical access to the Great Meteoron Monastery was also by windlass and basket. The vertical descent from the wooden platform can be seen to the right of the steps in the image below .
The monks thoughtfully hacked 146 steps out of the conglomerate in 1925 to remove the need to either clamber up wooden ladders that hung from the top of the cliffs, or be hauled up the cliff face in a net using a windlass. In either case, one had to rely on the engineering skills of the monks – and lots of faith.
Gardens complemented each monastery where space was available and each monastery has a range of ancillary rooms including a kitchen, carpentry, viniculture, bakery, hospital and library.
Inside the Great Meteoron Monastery
Art Inside the Katholikon
You should ensure you locate the Katholikon off the central courtyard and view the display of 16th century Byzantine frescoes.
At the top of the dome there is the flat, two-dimensional, conceptual mosaic portrayal of the god figure which is definitive of Byzantine art. Individual features were removed in this style and less natural, more remote portrayals were preferred. The emphasis was on a spiritual presence and not the physical. It is therefore not uncommon to see human figures in paintings appear to be almost suspended.
The god figure in this case is Christ the Almighty. He is surrounded by angels. The transfiguration is quite apparent in the image as is the enthroned Mary flanked by two angels.
The pendentives under the dome are decorated with portrayals of Matthew, Mark, Luke and John – the four evangelists. There are also figures of the saints on the walls. Should you visit you will be able to identify frescoes depicting many New Testament themes that were concurrent with the life of Christ. These include the resurrection of Lazarus in Bethany, Christ’s entry into Jerusalem on a donkey and the Last Supper in the upper room.
The left wall in the image is the iconostasis. It was constructed in 1617 AD and includes beautifully carved timber which has then been gilded. The iconostasis is said to contain icons that can perform miracles, but your eye is more likely to be taken bt the many exquisite timber carvings. The icons of the iconostasis have been contributed from different ages and so artistry can be mapped over time.
Architecture Inside the Katholikon
The architecture of the current katholikon followed the centralised cross-in-square Athonite plan. This was characteristic of eastern Byzantine religious architecture of the period. This plan allocated three separate areas inside the church – an entrance (narthex), central space for worship (nave), and the sanctuary (naos) with an altar (bema) where the monks could perform religious ceremonies. The two arms of the church, the nave and the transept, present as four intersecting vaults. The intersection of the four vaults resulted in a square floor space in the centre. The overhead dome crowned this space. The dome, as seen in the image, is supported by pendentives. The pendentives appear as triangular infills that sit above and between the arches. Four columns under the dome subdivided the sanctuary into nine supplementary spaces.
The symbolic application of the design was that the circular overhead dome represented God in the perfect heavens overseeing the imperfect earth presented as a square on the floor of the church. Byzantine domes were segmented and the increased light can be seen penetrating the dome and increasing the illumination.
These architectural principles were applied throughout the Balkans and can be explored in our posts about the architecture of St Luke’s Church in Kotor as well as other Serbo-Byzantine Christian churches in Kotor Old Town.
The Narthex of the Great Meteoron Monastery
The narthex is also heavily frescoed with many recognisable New Testament themes. It also displays the ‘martyrdom of the saints. Astoundingly, the painter of the frescoes in the narthex has not been identified, but it is again considered to be either Theophanes or Tzortzes or their students, or perhaps a painter of the monastery in Dousiko.
The Historical Development of the Katholicon Inside the Great Meteora Monastery
Athansios’ form of monasticism, ‘life in common’, included a third element – the importance of manual work. This element was a source of motivation for the construction of the earliest katholicon in 1348 AD.
The early katholikon was essentially little more than the sanctuary, that is, the space for the monk to perform the ritual of worship. It was extended in 1387-88 AD by Ioannis Uresis Paleolosos, a Greek-Serbian prince who denounced his titles and became a monk under the name loasaph. He extended the katholikon to a domed cross-in-square distyle church which gave it the recognisable features of a small church.
The katholikon was frescoed in 1483 in the style of the churches in Macedonia.
The current church was erected on 1544/45 AD with the addition of the nave and narthex. These were frescoed in 1552 and represent some of the most outstanding examples of post-Byzantine art in Greece. Disagreement persists as to whether the painters were students of Theophanos of Crete or Tzortzls of Constantinople.
Monastic Society and Culture in the Great Meteoron Monastery
The monasteries at Meteora did not have any spare land within their walls to cultivate crops and herd animals. The surrounding hills of Meteora and the fertile plain of Thessaly were the sites of agriculture. Crops and animal produce would then be winched up to the monasteries where the produce would be processed. Cooking, baking, dairying, wine making and a range of activities would have been supported carpentry, leather work and a range of other trades and skills.
Culinary Culture Inside the Great Meteoron Monastery
A walk through the Meteora monasteries reveals many of the facilities necessary for sustainable living, including those required for food preparation and cooking.
Viticulture Inside the Great Meteoron Monastery
The monks spent some pleasurable hours both producing and sampling the fruit of the vine. The image shows a basket press inside the Great Meteoron Monastery. The press was cylindrical in shape and made from vertically aligned timber staves. The timber staves were bound by metal rings. The grapes were loaded into the basket and when pressed, their juice trickled out from between the staves into a tray. The juice was then filtered into a suitable utensil placed under the basket.
The amount of pressure exerted on the grapes was variable. Sometimes the weight of the grapes was sufficient to extract some of the juices. On other occasions, a more significant force was used to crush the grapes. A hand crank which was mounted on a shaft screw was connected to a weighty disc. On cranking, the disc was driven down onto the grapes. The image shows the use of the science quite clearly.
The wine was stored in large barrels which were also constructed from metal-bound wooden staves.
The wine was stored, served and distributed in smaller units; usually bottles encased in wicker. Wicker was used to protect the bottles from any impact that may have occurred when they were transported. Wicker also reduced the difficulty of their storage. Many of the bottles were round-bottomed and the wicker stabilised them so they could be aligned vertically adjacent to each other on a shelf, as shown in the image.
Agriculture in the Great Meteoron Monastery
The monks who resided within the monasteries at Meteora had established truly sustainable practices. The animal yolks suspended on the wall indicate their use of working animals for agriculture, probably ploughing and crop collection. The different sizes of the yolks reveal consideration for the animals because the yolks have to be fitted to the physical characteristics of each bearer. Should animals be paired to pull a load it is important that the animals are the same size or the yolks are individually fitted to each animal.
An array of utensils was located nearby that were used to churn dairy products which would have included butter and cream.
Carpentry Workshop Inside the Meteora Monasteries – the Great Meteoron Monastery
There would have been a large dependence on skilled timber workers within the monasteries at Meteora. Some of the skill was directed towards the beautiful timber art and decoration found throughout the monasteries. But there were also practical needs, such as the production and maintenance of domestic equipment and furniture, wagons, barrels, farming utensils and winches – and so much more. A small sample of the necessary tools is displayed within the monastery. How many can you name?
The Ossuary Inside the Great Meteoron Monastery
An ossuary can be used to provide burial in locations where space is very much limited. And this was certainly the case in the Meteora.
The use of an ossuary within the monasteries of Meteora monasteries indicates that based on their beliefs the monks had deep respect for their departed. The deceased who was placed in an ossuary had first been interred for three years to isolate the skeletal remains. These remains were then cleaned and placed in the ossuary.
The images and descriptions above reinforce the conclusion that although the monks did not have and easy life, they were self-sufficient and resourceful.
Four Other Monasteries
There are four additional monasteries on the Meteoron. We have added here a brief description of each. Given the explanations of the Varlaam and Great Meteoron Monastery, we have added here only a brief description of each.
Holy Trinity Monastery
You access the Holy Trinity Monastery (c. 1362) by a short walk to the base of the monolith and then climb about 140 steps. It is not difficult to be impressed by the thought and effort that must have been required to install the monastery so precariously on top of a vertical pillar. It is also not difficult to be impressed by the panoramic view of the Meteora landscape that waits when you ascend the steps.
Once inside you will find frescoes decorating the cathedral and a small chapel hewn out of rock where paintings are displayed. The exhibits from both areas are from the Early Modern period.
The Roussanou Monastery
The Roussanou Monastery was founded during the 16th century and was possibly named the same name as the hermit who was first to inhabit the outcrop. It appears this is not unusual because in other European countries the location of a monastery is often on the site of a hermitage previously occupied by a recluse. The Roussanou Monastery is easy to access due to its lower elevation. It is noted for its fine Early Modern murals and until the end of the last century the only way to access it was by rope ladder. The Roussanou monastery now serves as a convent.
The St Nikolas Anapafsas Monastery
The Monastery of Saint Nicholas of Anapafsas dates to the end of the 14th century. It is now scarcely populated by monks.
The name of the monastery may be related to the Greek word ‘anapafsis’ which translates to ‘resting’. The Meteora landscape would have presented a challenge to visitors who wanted to make their way to the monasteries at higher elevations, particularly the Varlaam Monastery and the Great Meteoron Monastery. Consequently, The Monastery of Saint Nicholas of Anapafsas may have served to replenish and nourish visitors as they made their way to the higher reaches of the Meteoron.
The structure of this monastery differs from the others in that the level surface area on top of the monolith on which it has been built is comparatively narrow. This has prevented the St Nikolas Anapafsas Monastery from sprawling laterally and so it has been constructed instead with floor spaces situated under each other and connected by an internal staircase. As is the case with all the Meteora monasteries, religious art decorates the areas reserved for worship.
St Stephen’s Monastery
St Stephen’s Monastery is easily accessible and a small bridge will take you to its entrance. The history of St Stephen’s dates back to early 12th century. Among its founders are Hosios Antonios and Hosios Philotheos who completed important renovations in the 15th and 16th Centuries respectively.
The holy relics of St. Stephen’s Monastery are located in its main cathedral.
Final Thoughts on the Meteora Monasteries
The elevated position of the Meteora monasteries overlooks the Pineios River and the northern extremity of the Thessaly Plain, as well as the regional towns of Kalambaka and Kastraki, both of which are used by visitors to the monasteries for accommodation and meals. These towns are an approximate six-hour comfortable drive from Athens.
A day or two spent visiting the Meteora monasteries provides an opportunity to become familiar with the history of the monasteries, their construction and culture, their external and internal decoration and the landscape that surrounds them. It is time worth spending.
The area occupied by the monasteries at Meteora is composed, among other things, of sandstone and conglomerate. Conglomerate is used at the Meteora monasteries for the construction of pathways and weathered conglomerate can become quite slippery when wet.
Noone likes getting wet, so if the weather looks inclement on the day of your visit then bring protective clothing because there is little shelter apart from your vehicle and the monasteries themselves.
We wouldn’t recommend a visit to the Meteora monasteries as a day trip. The time that would be required to travel to the monasteries, enjoy a satisfying tour, and then return to Athens would be exhausting. Accommodation is plentiful in Kalambaka and its surrounds. See Airbnb or Booking.com for ideas on accommodation.
Tours through the monasteries can be booked online. They are quite expensive and frankly, most tourists find that the information that is available about each monastery at the site is sufficient.
If you are planning to drive to Delphi from Meteora, you may find our post relevant and informative.
The alternative is to continue towards Thessonaliki. If you haven’t been ‘chapeled out’ by the monasteries, then you will enjoy the 6th Century Byzantine Church of Agios Minas and the beautifully decorated Church of St Theotokos, both in the town of Velentos. Of course, there is also Mt Olympos, the vault of the twelve Greek gods, the muses and a host of walking trails.
Meteora Monasteries – Visiting Hours (Prior to Covid)
The Table below shows the Monasteries of Meteora opening times prior to the Covid pandemic. A renewed shedule for visiting the monasteries as well as a source of ideas for activities while in Meteora can be found at this useful link.
Summer (April 1st to October 31st) Schedule
| Meteora Monastery | Visiting Hours | Variation | Closed |
|---|---|---|---|
| Holy Trinity Monastery | 09:00 to 17:00 | n/a | Thursday |
| St. Nikolaos Anapafsas | 08:00 to 16:00 | n/a | Friday |
| Roussanou Monastery | 09:00 to 17:00 | Sundays: 09:30 – 17:00 | Wednesday |
| Varlaam Monastery | 09:00 to 16:00 | n/a | Friday |
| Great Meteoron Monastery | 09:00 to 15:00 | n/a | Tuesday |
| St. Stephen’s Nunnery | 9:00 to 13:30 and 15:30 to 17:30 | n/a | Monday |
Winter (November 1st to March 31st) Schedule
| Meteora Monastery | Visiting Hours | Variation | Closed |
|---|---|---|---|
| Holy Trinity Monastery | 10:00 to 16:00 | n/a | Thursday |
| St. Nikolaos Anapafsas | 09:00 to 16:00 | Sundays: 09:30 – 16:00 | Friday |
| Roussanou Monastery | 09:00 to 14:00 | Sundays: 09:30 – 17:00 | Wednesday |
| Varlaam Monastery | 09:00 to 15:00 | n/a | Thursday, Friday |
| Great Meteoron Monastery | 09:00 to 14:00 | n/a | Tuesday, Wednesday, Thursday |
| St. Stephen’s Nunnery | 9:00 to 13:30 and 15:00 to 17:00 | n/a | Tuesdays Wednesday, Thursday |
References
Site Information, Great Meteoron Monastery
Ministry of Culture and Sport
Athens
Meteora
Odysseas
Ministry of Culture and Sport
Athens
Geological Map of Greece,
Institue of Geology and Mineral Exploration
Division of General Geology and Economic Geology
Second Edition, Athens, 1983
