Location: Ermou and Kalamiotou, Monastiraki, Athens
Tel.
210 322 4462
Subway: Monastiraki
Open: 8am- 2pm Mon, Wed
8am- 12:30pm and 5-7pm Tue, Thu, Fri
8- 11:30am Sun
Closed: public holidays
The Church of Panagia Kapnikarea, located in the heart of Athens on Ermou Street, is one of the city’s oldest and most significant Byzantine monuments. Dedicated to the Virgin Mary (Panagia), it stands as a testament to Athens’ rich Christian heritage, blending historical resilience, distinctive architecture, and vibrant religious artistry.
The Church of Panagia Kapnikarea was constructed in the mid-11th
century, likely around 1050 AD, during the middle Byzantine period when
Athens was a significant city within the Byzantine Empire. It was built
on the ruins of an ancient Greek temple, possibly dedicated to Athena or
Demeter, a common practice for early Christian churches to symbolize the
triumph of Christianity over paganism. Some sources suggest it was
erected over an earlier 5th-century church commissioned by Aelia
Eudocia, the Athenian wife of Emperor Theodosius II, though evidence is
inconclusive. The church may have served as the katholikon (main church)
of a monastery, indicating its historical religious prominence.
Throughout its history, the church faced numerous threats:
Ottoman
Period: It was firebombed by the Turks in 1689, leaving visible fire
marks that may have inspired its name, derived from the Greek word
kapnismeni (“smoked”).
Greek War of Independence (1820s): The church
was badly damaged during the siege of Athens in 1826–1827 and was
restored by Ioannis Prentzas, earning it the temporary name “Church of
Prentzas.”
19th-Century Urban Planning: During the reign of King Otto
I (1832–1862), Bavarian architect Leo von Klenze proposed demolishing
the church as part of a new city plan for Athens, which prioritized
modernizing Ermou Street. King Ludwig I of Bavaria and Neofytos Metaxas,
Bishop of Talantio and Metropolitan of Athens, intervened to save it.
Another demolition plan in 1863 under Prime Minister Benizelos Roufos
was thwarted by Metropolitan Theophilos.
Since 1931, the church has
been owned by the National and Kapodistrian University of Athens, which
has overseen multiple restoration projects from the 1930s to 1986 to
preserve its structure and artworks. Today, it remains an active Greek
Orthodox church and a cherished historical landmark.
The name “Kapnikarea” is shrouded in mystery, with several theories:
Byzantine Tax: The most widely accepted theory links it to kapnikon,
a Byzantine tax on households emitting smoke from hearths, suggesting
the church’s benefactor was a tax collector (Kapnikares).
Fire Marks:
The Greek word kapnismeni (“smoked”) may refer to fire damage visible on
the building, particularly from the 1689 Ottoman attack.
Local
Industry: The name Kamoucharea (or Chrisokamouchariotissa), used
historically, may derive from kamouchas, a gold-woven fabric produced in
the area, indicating a connection to local silk workshops.
Other
Names: During the Ottoman period, it was called the “Church of the
Princess,” possibly reflecting its prominence or a legendary
association.
The church’s multifaceted naming reflects its deep
integration into Athens’ historical and cultural fabric.
The Church of Panagia Kapnikarea is a prime example of Byzantine
architecture, specifically the cross-in-square style prevalent in the
11th century. It is a complex structure composed of three distinct units
built in succession, showcasing a blend of functionality and aesthetic
sophistication:
Main Church (Southern Section)
Dedication:
Dedicated to the Presentation of the Virgin Mary to the Temple.
Structure: A cross-in-square plan with a central dome supported by four
Roman-era columns repurposed from the ancient temple beneath. The dome
is an eight-sided “Athenian Dome” with red tiles, a hallmark of Athenian
Byzantine churches.
Apse: Features three apses on the eastern side,
with the central apse housing the altar.
Masonry: Constructed in
cloisonné style, with limestone and marble blocks framed by thin red
bricks, creating a decorative pattern. Limited Cufic (pseudo-Arabic)
brick ornaments adorn the exterior, a Byzantine decorative motif.
Size: Compact, reflecting the modest scale of middle Byzantine churches,
yet intricately designed.
Chapel of Saint Barbara (Northern
Section)
Dedication: Dedicated to Agia Varvara (Saint Barbara).
Construction: Added later, likely during the Frankish or Ottoman period
(13th–15th centuries). It was nearly destroyed during the Greek
Revolution and subsequently rebuilt.
Structure: A smaller domed
chapel with a lower dome, mirroring the main church’s design but on a
reduced scale. Its integration creates an asymmetrical yet harmonious
complex.
Exonarthex and Portico (Western Section)
Construction: The exonarthex, a covered entrance hall, was added in the
early 12th century. Initially an open portico, it was later enclosed,
with a small porch supported by two columns at the southern end.
Mosaic: The entrance features a stunning mosaic of the Virgin Mary
holding Jesus Christ, created by Elli Voila in 1936, adding a modern yet
reverent touch to the exterior.
Propylon: A western gateway enhances
the church’s accessibility and prominence on Ermou Street.
Additional Features
Arabic Calligraphy: The smaller church (possibly
the Chapel of Saint Barbara) contains rare Arabic calligraphic
inscriptions, an unusual feature for a Greek Orthodox church, possibly
reflecting cultural exchanges during the Byzantine period.
Ground
Level: Over centuries, the surrounding ground level has risen, making
the church appear sunken compared to modern Ermou Street. A ramp
facilitates access to the lower churchyard.
Accessibility: The church
is not fully wheelchair-accessible due to steps (e.g., a 15 cm step at
the main entrance and a 9 cm step inside). A ramp leads to the
churchyard, but interior navigation remains challenging for those with
mobility issues.
The church’s compact size (approximately 12 meters
long and 9 meters wide) and intricate design make it a “small but
perfectly formed” gem of Byzantine architecture, contrasting sharply
with the modern commercial surroundings.
The interior of Panagia Kapnikarea is a treasure trove of religious
art, blending modern and historical elements due to damage sustained
over centuries:
Frescoes by Fotis Kontoglou
Artist: Fotis
Kontoglou, a renowned Greek painter and hagiographer, and his students
painted the church’s frescoes in the 1940s and 1950s, starting in 1942
and completing in 1955.
Style: Neo-Byzantine, inspired by Byzantine
and early post-Byzantine traditions, with influences from Kontoglou’s
studies on Mount Athos. The frescoes aim to replicate the solemnity and
spirituality of medieval Orthodox iconography.
Key Works:
Theotokos Platytera: A majestic depiction of the Virgin Mary enthroned
with Christ in the apse, painted by Kontoglou in 1942.
Dome and Apse:
Kontoglou personally painted the frescoes in these areas, emphasizing
divine figures and scenes from the life of Mary.
Other Areas: His
students decorated the walls with saints, biblical scenes, and
ornamental motifs, maintaining a cohesive style.
Significance: These
frescoes replaced originals destroyed during the Greek Revolution and
other incidents, revitalizing the church’s interior while preserving its
Byzantine character.
Historical Paintings
Narthex and
Exonarthex: The vaulted narthex and exonarthex feature paintings from
around 1900 by an unknown artist, showing Western influences in their
style. These survived earlier damages and add a layer of historical
depth.
Faux Marble Technique: Some murals employ a faux marble
technique, adapted from ancient Greek Macedonian art, enhancing the
interior’s elegance.
Mosaic
Exterior Mosaic: The 1936 mosaic
by Elli Voila, depicting the Virgin Mary and Child, is a focal point
above the entrance. Its vibrant colors and intricate design draw
visitors’ attention, blending modern artistry with Byzantine reverence.
Icons and Decor
Icon of Platytera: A rare icon of “Our Lady of
the Sign” (Virgin Mary with Christ as a child) is housed inside,
attributed to Kontoglou’s school, reinforcing the church’s dedication to
Mary.
Chandeliers: Distinctive chandeliers illuminate the interior,
reminiscent of those in Hagia Sophia, adding a warm, sacred ambiance.
Altar: The altar, adorned with religious icons and candles, remains a
focal point for worship, reflecting Greek Orthodox traditions.
The
combination of Kontoglou’s neo-Byzantine frescoes, historical paintings,
and the exterior mosaic creates a visually rich environment that bridges
centuries of artistic and religious expression.
The Church of Panagia Kapnikarea is more than a historical monument;
it is a living symbol of Athens’ Byzantine heritage and Greek Orthodox
faith:
Byzantine Legacy: As one of Athens’ oldest churches, it
represents the city’s role in the Byzantine Empire, particularly during
the 11th–12th centuries when the cross-in-square style and Athenian Dome
flourished. Its survival through Ottoman occupation, wars, and urban
reforms underscores the resilience of Greek Orthodoxy.
Religious
Role: Dedicated to the Virgin Mary, the church remains an active place
of worship, hosting Greek Orthodox liturgies (e.g., Sundays 7–10 AM) and
services during major Christian festivals, such as Greek Orthodox
Easter. Visitors can light candles, offer prayers, or attend services,
experiencing its spiritual vitality.
Cultural Landmark: Its location
on Ermou Street, Athens’ busiest commercial thoroughfare, creates a
striking contrast between the ancient and modern. The church serves as a
popular meeting point for locals and a must-visit for tourists,
symbolizing Athens’ layered history.
University Ownership: Since
1931, the University of Athens has maintained the church, ensuring its
preservation while integrating it into the city’s academic and cultural
life.
The church’s ability to endure centuries of turmoil—fire, war,
and urban planning—makes it a poignant reminder of Athens’ historical
continuity and spiritual endurance.
Location: Pl. Kapnikareas 3, Athens, on Ermou Street, connecting
Syntagma and Monastiraki Squares. It is 300 meters from Monastiraki
Square, 750 meters from Syntagma Square, and 800 meters north of the
Acropolis.
Access:
Metro: Monastiraki (Lines 1 and 3), 200 meters
away (4-minute walk).
Bus: Ermou Street stops for buses 025, 026, and
027.
Walking: Easily reachable from Plaka, Monastiraki, or Syntagma.
Private Transfers: Pre-booked taxis or drivers are available via
services like (0030) 18288 or (0030) 18222.
Hours: Generally open 11
AM–9 PM daily, with Greek Orthodox liturgy on Sundays 7–10 AM. Hours may
vary seasonally or during festivals; check locally.
Admission: Free
entry; donations for prayer candles are appreciated.
Dress Code:
Modest attire is required (no exposed knees or shoulders). Wraps may be
used to cover shorts or tank tops.
Photography: Prohibited inside to
protect the frescoes; signs indicate “no photos, no video, no touching
paintings.” Exterior photography is allowed.
Accessibility: Limited
due to steps and uneven surfaces. A ramp accesses the churchyard, but
the main entrance has a 15 cm step, and the interior has a 9 cm step.
Manual wheelchair users may face challenges.
Visiting Tips:
Visit early morning or late afternoon to avoid crowds and enjoy a
quieter experience.
Combine with nearby sites like the Metropolitan
Cathedral, Little Metropolis, or Ancient Agora for a broader historical
tour.
Respect the sacred space by maintaining silence and adhering to
dress and photography rules.
Greek Orthodox Easter or other festivals
offer a vibrant time to witness services, though the church may be
busier.
The Church of Panagia Kapnikarea faces ongoing challenges:
Environmental Wear: The sunken ground level and urban pollution threaten
the structure and frescoes, necessitating regular maintenance.
Tourism Pressure: Its central location attracts thousands daily,
increasing wear and requiring staff to monitor behavior (e.g., enforcing
photography bans).
Accessibility: The ancient design limits full
accessibility, posing challenges for visitors with mobility issues.
Restoration Needs: While the University of Athens has funded
restorations (1930s–1986), preserving the frescoes and masonry against
time and damage remains a priority.
Restoration efforts, particularly
in the 20th century, have stabilized the structure and revived its
interior through Kontoglou’s frescoes, ensuring its continued relevance
as a historical and religious site.