The Lamentation of Christ icon (Epitaphios) is used in a procession after the removal of Christ’s Body from the Cross (Apokathylosis Service) on Holy Friday and is placed inside a carved wooden or wrought metal canopy (kouvouklion). This canopy is also called “Epitaphios” (meaning “upon the tomb” [= επί του τάφου]). This particular one dates from the 18th century. The base, body, finial, and small dome feature carved linear and floral decorations. The surface where the Epitaphios is placed is entirely adorned with flowers. On each side of the small dome, there is an icon. A wooden cross is attached to the top of the small dome (which is preserved). The entire carved decoration is painted mainly in red, green, and gold.

It is usually a metal cross primarily used in holy water blessings and anointing services. Unlike the blessing cross, the holy water cross has a removable base so that it can stand upright on the Holy Altar or any other table. This particular one is made of gilded silver, wood, and semi-precious stones. It showcases filigree work, is hammered, and includes openwork wood carvings. It bears a geometric decoration on the base. Plant decoration on the body casing, semi-precious stones and coral. Inside the body, wood-carved images: 1. On obverse: a) Annunciation, b) Evangelist, c) Presentation at the Temple (Hypapante), d) (in the center) Baptism with a Russian (?) inscription: yyc “c (?), 2. On obverse: a) Doubting Thomas, b) Evangelist, c) Evangelist, d) Resurrection, e) (in the center) Crucifixion.

It is a metallic or wooden cross, used exclusively by bishops for blessing the congregation. This particular one is made of silver, wood with semi-precious stones. It dates from the 18th century. It uses the filigree technique. Hammered. It is wood-carved and perforated. It bears geometric decoration at the base. On the body, it has plant decoration and coral. Inside the body, there are wood-carved depictions: 1. on obverse: a) Evangelist b) Emperor Constantine the Great c) Saint Helena d) Evangelist e) (in the center) Crucifixion with the inscription [Η ΣΤΑΥΡΩΣ] ιΣ ΤΟΥ Χ(ΡΙΣΤ)ΟΥ 2. on reverse: a) Evangelist b) angel c) angel d) Evangelist e) (in the center) Baptism with the inscription Η ΒΑΠΤΙΣΙΣ ΤΟΥ Χ(ΡΙΣΤ)ΟΥ.

Description: It is usually a metal cross, primarily used in sanctification and unction (anointing of the sick). Unlike the cross of the blessing, the cross of sanctification has a detachable base so that it can stand upright on the Holy Altar or any other table. This particular one is wrought and wooden. It bears a geometric decoration at the base, the stem, and the body. There is vegetal decoration on the rays and on the ends of the arms. Inside the body, there are wooden carvings depicting: 1. on side a: a) Evangelist (?) b) Evangelist (?) c) Evangelist (?) d) (in the center) Baptism 2. on side b: a) Evangelist (?) b) Evangelist (?) c) Evangelist (?) d) (in the center) Crucifixion

The cross bears a depiction of the Crucified Christ. When not used in processions and entries, its place is behind the Holy Altar. This particular cross has decoration on both sides. In the center, there are wooden golden rays. On one side, the Crucified Christ is depicted (with the inscription MC XPC). On the upper arm, there is a painted scroll (with the inscription C/. H/ L//.). On the back side, with a Russian inscription, the standing Theotokos is depicted pleading God.

Large cross of the Iconostasis, with the ends of all four arms being trilobed (trefoil-shaped). In the center, the Crucified Christ is painted (with the inscription Ι[Η Σ Ο Υ ]Σ Χ [Ρ ΙΣ Τ Ο ]Σ . Η ΣΤΑ Υ Ρ Ω Σ ΙΣ Τ Ο Υ Χ Ρ ΙΣ Τ Ο Υ). At the end of the upper arm, there is an image of God having a triangular halo upon His Head (with the inscription Ο ΑΝΑΡΧΟΣ ΠΑΤΗΡ). At the end of the left arm, there is an image of the Theotokos (with the inscription Μ [Η Τ Η ]Ρ Θ Ε Ο Υ). At the end of the right arm, there is an image of John the Theologian (with the inscription Ο ΑΓΙΟΣ ΙΩ[ΑΝΝΗΣ] Ο ΘΕΟΛΟΓΟΣ). The cross is surrounded by a simple golden frame without decoration.

Lecterns refer to two specific ecclesiastical furniture items: One type of ecclesiastical furniture is used for placing the icon of the saint who is celebrated on that particular day and is set up at the entrance of the church for the faithful to venerate the icon. The other type, which is the most well known, consists of two parts: the base, where the liturgical books are stored in cabinets, and the “pyramid-shaped top,” on whose surfaces the books are placed open during sacred services for the chanters to read from. In every Christian church, there are two such lecterns, one for each choir of chanters (the right and the left). This specific lectern features geometric and floral inlays made of mother-of-pearl and tortoiseshell on all its sides (including the small door). The legs are triangular. At the bottom, between the legs, arches are formed. On one side of each lectern, there is an engraved likeness of a sailing ship and the inscription f ΤΖΑ Ν Η Σ Σ Κ Α /Ρ Δ Α Ν Α Σ 1798 on mother-of-pearl.

The term “analogion” refers to two specific ecclesiastical pieces of furniture: the first type is used for placing the icon of the saint being celebrated on a specific day and is set up at the entrance of the church for the congregation to venerate the icon. The second, and more well-known type, consists of two parts: the main body, where liturgical books are stored inside cabinets, and the “pyramidal top” on whose surfaces the books are placed open during sacred services so that the cantors can read them. In every Christian church, there are two such lecterns, one for each choir of cantors (the right and the left). This particular one features simple (linear and vegetal) carved decoration on the lower part of the legs. The decoration on the upper part of the legs is richer, carved, and perforated: vegetal motifs and, at the four upper ends, a dragon’s head. In the center of the upper back horizontal side, there is a carved shell. The entire carved decoration is colored in red, green, blue, and gold.

The Holy Table is a square-built table upon which the Mystery of the Holy Eucharist is performed, and it is also called the Holy Altar. The Holy Table is located inside the Holy Sanctuary and has a square shape to symbolize the transmission of the body and blood of Christ “throughout the world”. This particular table has four legs imitating the legs of an animal. Each side has rich carved plant decoration, while in the middle there is an empty medallion. In the middle of each side, a small wooden tassel hangs. The horizontal surface is unadorned but painted red. All the carved decorations are primarily colored in green, red, blue, and gold.

The lanterns of entrances and processions add brilliance to sacred ceremonies, symbolizing the light of Christ which dispels the perceived darkness of human errors and opens the way for salvation in Christ. This particular one is wooden with a golden color, featuring a rich embossed vegetal decoration on the body and the detachable carrying rod, with a griffin at each corner at the base of the body and between the windows, and, at the top, a decorative tip and an opening for smoke to escape.

A bench with a configuration suitable for church revenues. This particular piece is painted brown on all external surfaces, except for the base which is unpainted, the two legs (which are blue), and the front which features painted ornaments. The decoration includes a simple blue frame; the division of the entire surface into diamonds with embossed-painted intersecting lines; at the intersection points of the lines and in the center of each diamond, there are small protrusions made from an unknown substance (possibly paint); the inside of each diamond features embossed-painted horizontal lines. At the center of the front, there is an image of the prophet Elijah in a medallion, which is separated from the rest of the surface by small protrusions (“drops,” possibly from paint); the prophet Elijah is depicted on a blue background holding a scroll*, his halo bears embossed painted rays and small protrusions (“drops”). On the upper horizontal surface (cover), there is only a simple painted frame around the slot; on the two vertical side surfaces, there is a simple painted frame and a cross with rays in the center; on the rear vertical surface, there are traces of an image of the Theotokos holding the Infant; the two legs feature sculpted decoration (imitation of an animal’s foot).

Small box with a painted cross in the center of the top horizontal surface (lid) on a blue background and a lily flower in each corner; the four vertical surfaces are blue, unadorned; the base is unpainted with traces of glued paper; inside, all surfaces are orange, except for the lid where Archangel Michael is depicted in full form, with a sword in one hand and a shrouded corpse in the other; a gold background in which the sea is discernible.

Patriarchal synodal letter confirming the stavropegion of the Holy Monastery of Tourliani. Parchment. SIGNATURES: Patriarch of Constantinople Iakovos and ten bishops (synod). MATERIAL: Parchment DATE: November 1617 (1687?) SIGNATURES: Patriarch of Constantinople Iakovos and ten bishops (synod)

TITLE: Recommendation letter (“Apantachousa”) for the tour of the abbot of the Holy Monastery of Tourliani Ignatius with the miraculous icon of the Monastery for alms collection. DIMENSIONS: 75.5 × 51.7 cm MATERIAL: Paper affixed to leather DATE: In the upper margin, it is stated 1758–1775 SIGNATURES: Abbot of the Monastery of Tourliani Ignatius, Hieromonk Calliarchis, and my fellow brothers.

Black-and-white lithograph on paper depicting John the Baptist with scenes from his life. The skete of the Holy Monastery of Iveron on Mount Athos. MATERIAL: Paper; DATE: 19th century. Maybe in Venice, with “subscription” and expenses covered by the priest Parthenios and the monk Paisios from Zakynthos (the information comes from a related inscription at the base of the image, which, however, is not preserved in the copy of the Monastery of Tourliani). DESCRIPTION: a) In the central frame, the Baptist, full body with wings, standing in a landscape next to the Jordan River, blesses and holds a cross, from which a scroll hangs. Inscription: Ο ΑΓΙΟΣ ΙΩΑΝΝΗΣ Ο ΒΑΠΤΙΣΤΙΣ (sic) (SAINT JOHN THE BAPTIST), b) Above the image of the Baptist in a rectangular frame is depicted the banquet of Herod with the inscription: Το συμπόσιον του Ηρώδου (The banquet of Herod), c) Below the image of the Baptist is depicted the skete of the Holy Monastery of Iveron on Mount Athos with the inscription: Η Σκήτη του Προδρόμου επάνω του Ιβήρων (The Skete of the Baptist atop Mount Athos). To the left of the image of the Baptist (from top to bottom) are depicted, in small square frames, scenes from the life of the Baptist with the following inscriptions: a) Η σφαγή του Ζαχαρία (The slaughter of Zachariah), b) Ο Άγγελος Ευαγγελίζει τον Ζαχαρίαν (The Angel announces to Zachariah), c) Ο Ασπασμός της Ελισάβετ (The Visitation of the Blessed Virgin Mary to Elizabeth), d) Η Γέννησις του Προδρόμου (The Birth of the Baptist), e) Elizabeth flees to the desert (Η Ελισάβετ φεύγει εις την Έρημον), f) The Angel takes the Baptist to the desert (Ο Άγγελος όπου πέρνει (sic) τον πρόδρομον εις την έρημον). To the right of the image of the Baptist (from top to bottom) are depicted, also in small square frames, another six scenes with inscriptions: a) The finding of the Holy Baptist (Η εύρεσης (sic) του τιμίου Προδρόμου), b) A voice crying in the desert (Φωνή βοώντος εν τη ερήμω), c) The Baptism of Christ (Η Βάπτισις του Χριστού), d) Behold the Lamb of God (Ίδε ο Αμνός του Θεού), e) The Baptist reproves Herod (Ο Πρόδρομος ελέγχει τον Ηρώδην), f) The beheading of the Baptist (Η αποτομή του Προδρόμου).

MATERIAL Paper, Cardboard, Leather, Lamp Black Inks, Gold Blocking

MATERIAL: Paper, Fabric, Wood, Typographical design elements, Metal DATE: 1803 PRINTER: Nikolaos Glykys PLACE OF PUBLICATION: Venice

MATERIAL: Paper, Cardboard, Fabric, Printing, Metal DATE: 1836 PRINTER: Fragkiskos Andreolas PLACE OF PUBLICATION: Venice

MATERIAL: Paper, Cardboard, Leather, Fabric, Printing, Metal DATE: 18th century (1754) PRINTER: Nikolaos Sarros PUBLISHER: A. Vortolis PLACE OF PUBLICATION: Venice

It is a golden or silver cup with sculpted representations, resting on a wide base, used for the Divine Communion. Inside it, wine is mixed with water. It symbolizes the cup of the Mystical Supper. This particular one is made of gilded silver, enamel, and semi-precious stones, dating back to 1830. It has been constructed using techniques of embossing, hammering, and engraving. It features floral ornaments. At the upper part of the base, four square enamels with a serrated frame, depicting the Passion of Christ: a) the ascent to Golgotha b) the Entombment c) the prayer in the Garden of Gethsemane (?) d) the imprisonment of Jesus; in all four depictions, inscription: “bc. [c (= Jesus Christ). On the cup, four medallions (three are preserved) with a serrated frame, depicting: a) Christ with the inscription: “bc. [hc (= Jesus Christ) b) John the Baptist with the inscription: Tjfyy ghl (= John the Baptist) c) the Theotokos with the inscription: Μ {ΗΤΗ)Ρ Θ(ΕΟ)Υ (MOTHER OF GOD).

It is a small silver vessel consisting of two curved discs connected at the center and opening like a cross. They are placed on the paten, or diskos, so that the cover does not touch the bread. Symbolizing the bright star that led the three Magi to Bethlehem. This particular one is made of gilded silver, enamel, and semi-precious stones. It dates back to 1830 and is engraved. It features a Cherub at the end of each arm. Floral ornamentation. In the center of the asterisk, there is a medallion made of enamel in a toothed frame depicting a figure (God?) with a triangular halo and a Russian inscription.

It is a spoon with which the priest administers the Eucharist, or the Holy Communion, to the Christians. In the early Christian years, the Eucharist was distributed using the priest’s fingers, hence the Greek name λαβίδα which literally means tongs. The utensil appeared after the 8th century AD. It is said to symbolize the tongs with which the Angelic Emissary of the Christian God took a coal from the heavenly altar and touched it to the lips of the prophet Isaiah to cleanse him of his sins. This particular one is made of silver and dates back to the 19th century.

It is a small spear, resembling a knife, which ends in a cross at the back. With the spear, the priest cuts the Eucharist Bread during the prothesis. It symbolizes the spear of the Roman soldier, with which he pierced the side of the Crucified and blood and water flowed out. This particular one is gold-plated with silver on the handle. It has iron at the tip (point). It is engraved with a perforated cross. It bears a simple linear decoration on the handle.

It is a metal vessel used by the priest to warm the water poured into the Holy Chalice (Holy Communion Cup) during the service, symbolizing the warm faith of Christians. This particular one is from the 18th century, made of silver, hammered, and embossed. It features floral ornamentation.

The Dikirion and Trikirion are Christian ecclesiastical items used in liturgical services. They are compound words from κηρός (candle), δύο (two), and τρία (three), reflecting the number of candles they bear: “two+candles” and “three+candles” respectively. The formation of the two candles symbolizes the dual nature of Jesus Christ, both human and divine. The formation with the three candles pertains to the three persons of the Holy Trinity: the Father, the Son, and the Holy Spirit. With these, the bishop blesses (seals) the people during the archiepiscopal Divine Liturgy, standing on the highest point of the solea, before the Holy Doors, where he reverently raises them, holding the trikirion in his right hand and the dikirion in his left hand, after the penultimate Trisagion hymn. This particular item dates back to the 17th century and is made of silver. It is hammered and perforated. It features rich floral decoration on the arms. At the end of each arm, there is a dragon head. The candle holders are in the shape of a crown.

The Dikirion and Trikirion are Christian ecclesiastical items used in liturgical services. They are compound words from κηρός (candle), δύο (two), and τρία (three), reflecting the number of candles they bear: “two+candles” and “three+candles” respectively. The formation of the two candles symbolizes the dual nature of Jesus Christ, both human and divine. The formation with the three candles pertains to the three persons of the Holy Trinity: the Father, the Son, and the Holy Spirit. With these, the bishop blesses (seals) the people during the archiepiscopal Divine Liturgy, standing on the highest point of the solea, before the Holy Doors, where he reverently raises them, holding the trikirion in his right hand and the dikirion in his left hand, after the penultimate Trisagion hymn. This particular piece is from the 18th century, made of silver with the middle section silver-gilt. It is hammered, engraved, and perforated. It features three angels in full body which rotate in a radial arrangement.

These are metallic or wooden banners with depictions of angelic figures emitting rays. Among them is the Cross, featuring the Crucified Lord. When not in use for processions and entrances, their place is behind the Holy Altar. This particular one is crafted using an embossing technique, it is hammered, and engraved. It bears a central medallion depicting the Dormition of the Theotokos on the obverse. Within a wreath. Floral ornamentation in the rhombus. Angelic figures on the eight corners and crosses on the respective peaks, apart from the base where the handle is fixed. Medallion with a Seraph holding a diskos in one hand and a censer in the other on reverse. Perimeter decoration, similar to the first side.

Used in processions and entrances, its position is behind the Holy Altar. This particular one is silver and dates back to the 18th—19th century

It is a metal container, like a cup, with a conical and hemispherical cover, in which incense (frankincense) is burned and the priest censes with it the holy gifts, the icons, and the congregation. It is suspended from 3 chains, each of which has 4 small bells symbolizing the 12 apostles. The incense represents the prayer of the faithful rising to God. This specific one is made of copper and dates back to the 18th to 19th centuries. It has a hammered and perforated technique. It bears embossed plant decoration on the body and on the base plate.

A vessel holding Holy Myrrh, crafted from copper in 1800, featuring an embossed design and adorned with a plant motif at its base.

Candlesticks are metal bases used to support candles or lamps for illumination as well as for showing reverence. There are many types of candlesticks with more than one position for candles. There is usually one candlestick on the Prothesis and two on the Holy Table. This particular item, crafted from brass and silver-plated, originates from the late 19th century, featuring hammered details and adorned with a basic linear design.

It is the vessel where the blessing water and chrism are placed, shaped like a pear with a tall neck used for sprinkling. With this, the priest blesses the congregation. This particular one from the 19th century is made of brass, is crafted using an embossing technique, and features simple floral ornamentation (band) on the neck.

It is a small round silver plate on which the priest places the Eucharist Bread during the Divine Liturgy. It symbolizes the manger or the heavens. Together with the Holy Chalice, they form the Diskos-Chalice and are covered with the “aër.” This specific one is made of brass from the 19th century and features two engraved circles internally and externally.

It is a metal vessel in which the Eucharist Bread is kept, immersed in the Precious Blood of the Lord for the urgent needs of the Christians who are unable to attend the church. It is prepared on Holy Thursday and dried to be preserved, and when it is to be used, it is moistened with ordinary wine to soften it. The term “Αrtophorion” is also used for the additional box in which the Holy Gifts are stored and kept from the Sunday Liturgy until the day they are used for the Divine Liturgy of the Presanctified Gifts. The Large Αrtophorion is placed on the Holy Table. This specific one is made of brass and gilded silver, dating back to between the 19th and 20th centuries. It is intricately embossed in the feet, base, shoots, and Cherub, featuring wrought designs depicting the Theotokos, angels, and the Crucified. It bears floral ornamentation on the feet, single-sided forms of the Theotokos with angels on either side of the Crucified on the base, and a crown at the top of the feet. Two single-sided kneeling angel forms in the middle of the leg height, supporting two Cherubim figures with wires. Between the three feet, there are two blades in the shape of a shoot.

It is a vessel with support on a wide base. It fills with water, in order to immerse a baby in it. Symbolizes the River Jordan. This one is made of brass and iron and dates between the 19th and 20th centuries.

Candle holders known as candelabra feature many sockets for believers to light candles or lamps near shrines. This specific item, originating from the 19th century, is adorned with a brass lining and an iron frame. The construction involves forging within the frame and embossing in the lining. It is embellished with botanical motifs on the base lining, the stem, the base of the disc, and the disc’s rim.

A halo which adorned an icon. This particular silver one dates back from the 19th century, featuring an embossed technique and a plant motif.

A precious object dedicated after the fulfillment of a wish (sometimes even before). This specific one, in the form of a full-body male figure, is plated in gold, dates back from the 20th century featuring an embossed technique on an octagonal plate.

Men’s ring (apparently used as a votive offering). It is made of gold with a gray stone. It dates from the 20th century. The stone bears an engraved female figure (Athena?)

A small medallion (presumably an amulet used as a vow offering). It is gold and dates back to the 20th century. It bears an engraved image of Christ. It has a suspension ring and a gold chain.

Brooch in the shape of two parallel rods featuring 8 small diamonds between them (apparently used as a votive offering). It is made of gold and decorated with diamonds. It dates from the 20th century.

The belt with the priestly buckle is worn around the waist of the clergyman to secure the sticharion and the other vestments. This particular one is made of silver and gilded silver (at the fastening). Cardboard and leather (base for the embroidery). It is embossed (at the fastening) with embroidery. It has a simple ribbon at the fastening. It features embroidered floral and geometric designs with silver thread, small pearls, and semi-precious stones. The same motifs are present on both parts.