Built in the sixth century in Wadi al-Natrun as a result of a schism caused by Theodosian monks, wholeft the neighboring Monastery of St. Pshoi. By the second half ofthe ninth century, the monastery was simultaneously inhabited both by Syrian monks and Coptic monks. One of its most important abbots was Moses of Nisibis (ca. 907-943), who originated from NorthSyria. He brought 250 Syriac manuscripts from Mesopotamia andNorth Syria to the monastery in 932.
He constructed the woodendoors of the sanctuary of the Church of the Holy Virgin Mary andvery probably the entire sanctuary, which is decorated with stuccoornaments that are reminiscent of the earlier decoration of Samara.The khurus of this church is the oldest of its kind in Egypt.
Beginning in 1991 several segments of wall paintings layered on top of each other were uncovered there, together with Coptic andSyriac inscriptions. These murals range in date from the 7th or 8thcentury to the 13th century. The majority represents scenes fromthe Old and the New Testaments, Apostles, saints, patriarchs, andbishops.
Some of them provide very interesting iconographies thatdo not occur frequently in Egypt, such as the scene of the Annunciation with the Prophets Isaiah, Ezekiel, Moses, and Daniel flankingthe Virgin and the Angel Gabriel; the scene of Abraham, Isaac, andJacob in Paradise; the scene of Abgar of Edessa holding the mandylion (a holy relic of a piece of cloth. It is believed that an image of theface of Jesus was imprinted upon it, perhaps similar to the Shroud of Turin); and the conversion of the eunuch of Candace.
A Dormitionscene is indeed unique. It shows the Virgin lying in bed surrounded by the 12 Apostles and six women, three on each side, swinging censers. The Coptic text describes these women as “virgins.” It iswell known, however, that handling of censers is confined to men in the Orthodox churches.
In 1088, there were 60 monks in the monastery. In 1515-1516, 43 monks inhabited the monastery, 18 of whom were Syrians. The newongoing projects to discover and conserve more significant muralsand Syriac manuscripts makes this monastery one of the most important Christian monuments. See also MONASTICISM, EGYPTIAN.
The Monastery of the Syrians from the northeast.
The Monastery of the Syrians from the northeast.
Moses ofNisibis's doors to the central altar room. The panels are inlaid ivith ivory (first half of the tenth century).
Moses ofNisibis's doors to the central altar room. The panels are inlaid ivith ivory (first half of the tenth century).
Panels from the doors to the khurus (top left) and to the central altar room (right and bottom) with the Virgin Mary on the latter panel.
Panels from the doors to the khurus (top left) and to the central altar room (right and bottom) with the Virgin Mary on the latter panel.
Khurus, the entrance to the southern altar room. Above the entrance are two equestrian saints; on the half-column, the Virgin enthroned -with Child (eighth century).
Khurus, the entrance to the southern altar room. Above the entrance are two equestrian saints; on the half-column, the Virgin enthroned -with Child (eighth century).
The northern part of the khurus, with the two sets of doors. The painting in the half-dome represents the Dormition of the Virgin (thirteenth century). At present, this painting has been taken down, revealing an Adoration of the Virgin and Child by the Magi and shepherds. Standing saints (eighth century) were discovered on the walls.
The northern part of the khurus, with the two sets of doors. The painting in the half-dome represents the Dormition of the Virgin (thirteenth century). At present, this painting has been taken down, revealing an Adoration of the Virgin and Child by the Magi and shepherds. Standing saints (eighth century) were discovered on the walls.
The central altar room with stucco decoration.
The central altar room with stucco decoration.
The western part of the nave, with, in the half-dome, the painting of the Annunciation with four prophets, each holding a scroll with an appropriate citation from his prophecy (eighth century)
The western part of the nave, with, in the half-dome, the painting of the Annunciation with four prophets, each holding a scroll with an appropriate citation from his prophecy (eighth century)
Nave, south wall: The three patriarchs Abraham, Isaac, and Jacob in Paradise (ca. 1000). The small naked figures in their laps and climbing trees represent the souls of the blessed, eating fruit from the trees of paradise.
Nave, south wall: The three patriarchs Abraham, Isaac, and Jacob in Paradise (ca. 1000). The small naked figures in their laps and climbing trees represent the souls of the blessed, eating fruit from the trees of paradise.