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When Christianity first grew its roots in Greece (before spreading in the world), many of the ancient cult sanctuaries were transformed into churches. At that time the temple was converted into an early Christian three-aisled basilica dedicated to Vergin Mary (Panagià, Παναγιά). The church is well known since for housing the icon of the Virgin of Filerimos. Attributed to St. Luke the Evangelist, the icon was brought in to Rhodes during the 13th century, probably from Jerusalem where it remained until 1523. Under the rule of the Knights of St. John a Monastery was built, surrounded by cloisters and cells and a number of chapels. When the island came into the possession of the Ottoman Turks, the icon was taken by the Knights to France and from there to Italy, then Malta and Russia, where it stayed until the 1917 revolution. Since 2002, it has been kept in the Blue Chapel of the National Museum of Montenegro.

The Monastery was destroyed by the Turks. In 1876, various excavations brought into light a Mycenaean pottery, a Doric foundation and the ruins of the Hellenistic temple of Athena Polias. In the ’20s, during the Italian occupation, in the effort to consolidate and justify the Italian presence on the island, a major reconstruction was carried out. They added a Via Crucis (Calvary), a pathway that leads from the monastery towards the south-western edge of the plateau, to a small square with a stunning view dominated by the Mt. Attavyros in the distance. Here an imposing iron Cross stood in the middle. Along the right side of the path, stone altars were built with embedded reliefs, depicting scenes of the Passions of Jesus. They even brought a congregation of Capuchin monks but no particular care was taken for the Hellenistic and Byzantine relics.

Today the Monastery remains almost unchanged. A long stair in the entrance leads up an avenue of cypresses and bougainvillea to the cloister and the foundations of the temple. The Early Christian basilica, and the small subterranean Byzantine church are open to the visitors. It is the preferred place by the Rhodians for wedding ceremonies. Stunted pastel cedars form now an archway in Via Crucis, leading to the belvedere where a few years ago an gigantesque Cross made of concrete was erected.

Reference: Gothic Mediterranean

Lonely Planet Rhodes & the Dodecanese (Lonely Planet Rhodes and the Dodecanses)

Paul Hellander. Lonely Planet Publications 2001, Paperback, 256 pages, $108.51

Situated on the left of the road heading up to the Acropolis at Lindos, just a couple of minutes of walk from the main square into the labyrinth of Lindos alleys, the church of Panagia (Our Lady)¹ is an enchanting sight and an obligatory stop for all visitors. Surrounded by high walls and a small courtyard, this old church was originally built in 1300 but has since been submitted to numerous reconstructions. The most important was ordered by the Grand Master Pierre d’Aubusson (1476 to 1503) of the Knights of Rhodes (Order of St. John) and the most recent is dated in 1927, during the Italian occupation.

Its most prominent external feature is the high-rise, stone built campanile tower, typical of the Rhodian (and Dodecanese) churches. The main building has a cross-shaped plan superimposed by an octagonal dome, whitewashed walls and red byzantine tiles roof.

In the interior the pavement is covered by a superbly executed pebble mosaic (hohlaki), popular in the Rhodian traditional architecture. In the front, there is a richly decorated and spectacularly carved wooden iconostasis² and a Bishop’s throne while large bronze layered candle chandelier are hanging from above. Visitors will be astounded by the quality of the 19th century wall frescoes, depicting biblical scenes. The barrel-vaulted roof and the dome there covered with more impressive frescoes the work of the famous Gregorios of Symi dating back in 1779, depicting icons of Mary, Jesus, and the saints. As the viewers turn to the back of the church and walk out, over the doorway, a huge colorful fresco bursts with the story of The Last Judgment. Pale twisting bodies writhe together in the orange and red flames of hell. A strong message for those who won’t follow the ways of the church.

A device of the Grand Master D’Aubusson can be seen on the western door of the church as well as an inscription bearing the dates 1489/90, dates of the additions made to the building.