June's Recipe: Dákos
(Barley biscuits, tomatoes and
sheep's milk cheese)


 

• 1 lb / 500 g tomatoes, skinned, very finely chopped
• 2 cloves of garlic, crushed
• 1/2 tsp dried oregano
• Greek extra virgin olive oil
• 8 paximádia biscuits
• 1 cup / 100 g crumbled sheep's milk cheese
• salt

Preparation:

Combine the tomatoes with the garlic, oregano and a little olive oil in a bowl, and season to taste with salt.

Spread over the biscuits, scatter with the crumbled sheep's milk cheese, and drizzle with olive oil.

Leave to stand for the flavors to permeate.

Tomato and sheep's milk cheese biscuits are also good broiled or baked until brown on top.

Excerpts and Photography from: Culinaria Greece
by Milona, Marianthi

A Dinner Dance in Los Angeles
on June 14th 2009
click here for more info
 

Upon entering the sacred space of an Orthodox church, one's attention is immediately drawn to the Iconostasis or icon screen with its colorful and distinctive figures or to the somewhat surrealistic images on the surrounding wails. Orthodox churches, whether vast or small, whether traditional or modern, whether richly appointed or modestly furnished, all share the rich heritage of the iconography of Orthodox Christianity. Integral to the Church since the early centuries, the icon and its role in Orthodox life is much broader than the visual portrayal of religious subjects. Icons have been described as “theology in color.” Transcending the written word, they visually transmit the teachings of the Gospels, the writings of the Church Fathers and the hymnology of the Church to theologians, laity of the Church, and visitors, regardless of language.

In the eighth century the Church Fathers of the Seventh Ecumenical Council ruled to restore the use of icons in Orthodox worship after a century of turmoil and bloodshed following their ban and destruction by the Iconoclasts (literally, “breakers of icons”). The Iconoclasts believed icons promoted idol worship. The Church Fathers differentiated between veneration (proskynesis= bowing before) and worship (latreia). Worship is reserved for God only while veneration is due the Saints. Veneration is an act of honor and not worship. When an Orthodox Christian venerates the icons by making the sign of the cross and kissing them, he or she understands that the icon is wood and paint, but the honor offered is passed through to the Saints. Described as Windows to Heaven,” icons function for Orthodox faithful as a path for dynamic interaction with the holy personages depicted by the icon. One not only learns from the icon but is surrounded by the presence of the personages portrayed. Prayers are offered and in return the spiritual blessings and help of the venerated are received. Therefore, more than sacred art, icons are a means to grow closer to God and considered holy objects. The “window'' offers a place within the secular reality of hectic, daily routines to contemplate the spiritual reality of God's word and its role in life. The role of the icon can be summarized as:

- Portraying and maintaining the truths of Orthodox Christianity;
- Teaching the precepts of the Orthodox Faith;
- Depicting the symbolism of the Liturgical Services;
- Being a guide for Christian living through the virtues of those portrayed; and
- Providing a catalyst to worship God and venerate His saints.

The sacred art of the early church was symbolic and allegorical, i.e. Jesus was shown as a shepherd or a lamb following the Judaic tradition banning images of God. Reflecting the theological truth of the Incarnation, that Christ became man and could thus be seen and portrayed, images began to be used.

Tradition states that the first image of Christ was the Mandylion of Edessa and became the prototype (archetypos = canonically correct example) for future depictions of Jesus. Tradition tells of the King of Edessa, suffering from leprosy, being healed when his emissaries returned with a cloth imprinted with Jesus' image after He had wiped His face on it. Because of this, it is also known as the “icon not made by human hands.” The Mandylion was hung on the gate to the city and was the site of many miracles.

The prototype for the icon of the Virgin and Child, according to tradition, was painted by St. Luke the Apostle who was an artist. The pose ascribed to St. Luke is still seen in truth Eastern and Western sacred art.

By the fourth century, prototypes of each icon were developed, recorded and passed down from master to pupil, both always acutely aware that the accuracy of the theological truths portrayed must be maintained. The prototypes guard against inadvertent inclusion of theologically incorrect material and continue to be used by contemporary iconographers.

(Written by Faye Peponis, who has served the Greek Orthodox Church for over 35 years in various administrative and teaching capacities. She holds a Bachelor's Degree in Education from DePaul University and a Master's in Education from Purdue University.)

Click here to continue reading page 2

Excerpts and Photography from
Ecclesia: Greek Orthodox Churches
of the Chicago Metropolis
by Panos Fiorentinos

  Featured Destination: Crete (part 2 of 5)

GEOGRAPHY: The capital of Crete, Herakleion, is a modern town with places of interest both in its centre and surrounding area. It can be reached by aeroplane from Athens or car and passenger ferry from Piraeus, 174 nautical miles away. There are also connections with the Dodecanese, the Cyclades and every ten days there is a liner to Limmasol in Cyprus and Haifa in Israel. The good tourist facilities and the highly developed transport and road system make Herakleion one of the most densely populated places of Crete.

HISTORY: Built by the Arabs in 824, on the site of the ancient city, it was formerly known as Candia (Chandax) after the protective moat surrounding it. Until its liberation in 961 AD by Nicephorus Phocas the Saracen pirates set sail from here. Herakleion experienced its greatest acme during the period of the Venetian occupation when its fortress was the most important on the island. It was besieged by the Turks in 1648 but did not capitulate until 1669. Its fortunes declined under the Turks and its population was massacred in 1828 and 1898. During World War II it suffered much damage.

SIGHTS and MONUMENTS: Places of interest in the city: - The cathedral of St. Minas (19th century), one of the largest churches not only of Crete but in the whole of Greece, with important icons. The palace occupied a vast area and is nowadays partially restored so that the visitor gains a picture of the wealth and might of Knossos and may conjure up visions of Theseus Ariadne and the mythical Minotaur.

Finds from here are on display in the Herakleion Museum, including some of the magnificent wall-paintings which adorned its halls. The first palace was built in 2000 BC and destroyed in 1750 BC. The new palace was rebuilt on the same site and destroyed in 1400 BC along with the other major Minoan centres. There is another interesting site to the south of Herakleion, Archanes, where another large Minoan palace has been excavated. On the summit of Mt.Yuktas (7 km. northeast) an equally significant Minoan shrine has been discovered.

At Vathypetro, 5 km. from Archanes, one of the largest Minoan villas has been revealed from which excellent examples of Minoan pottery nowadays kept in the Herakleion Museum, were recovered. There are 14th century wall-paintings in the nearby churches of the Taxiarch Michael, the Holy Trinity and the Virgin. 19 km. southeast of Herakleion, at Myrtia, is the Kazantzakis Museum. There are other important ancient sites at Arkalochori (32 km. southeast of Herakleion) where a Minoan cult cave has been discovered with rich finds, Vi-annos with its churches of the Archangel Michael and St. Pelagia, both with notable wall- paintings, and ancient Lyttos near the village of Xidas (50 km. southeast). To the east of Herakleion (8 km.) lies Amnissos with its cult cave of Eilithyia, while at Nirou Chani are the ruins of a Minoan villa. At Gournes (18 km. from Herakleion) Minoan buildings and rock-cut tombs have been uncovered. The port of ancient Lyttos was Chersonisos (26 km. from Herakleion) with ruins of Greek and Roman times at Kastri, as well as the ruins of two Early Christian basilicae. 34 km. east of Herakleion is Mallia, a lovely seaside village right next to the area of the ancient palace, one of the largest in Minoan Crete and contemporary with those of Knossos and Phaistos. A Minoan town has been excavated all around and to the north the cemetery of Chrysolakkos. One of the most important monasteries, not only of the Herakleion region but of Crete, is that of the Virgin Kera at Pediada (12th century) in which there are valuable Byzantine icons.

25 km. west of Herakleion is Fodele with its 11th and 12th century Byzantine churches ant the family house of the painter Dominicus Theotokopoulos (El Greco) was born. At TyIissos (14 km. southeast of Herakleion) there are remnants of a Minoan villa (1800 - 1450 BC). From here one may visit Anogeia a.s.l.) built on the slopes of Psiloreitis (Mt. Ida), a village in which traditional Cretan mores are kept very much alive. A pathway leads from Anogeia to the cult cave known as the Idaion Anuran. At Asites (24 km. southwest of Herakleion) stands one of the oldest monasteries in Crete, that of St. George Gorgolainis. Another important monastery is that of the Virgin Paliani at Venerato (20 km. south of Herakleion)and close to Zaros (14 km. southwest of Herakleion are the monasteries of Vrontisi, with its 14th century wall-paintings and a Venetian fountain, and of St. Phanourios Varsamonerou (14th century), also with out- standing wall-paintings. 4 km. from this monastery is the Kamares cave in which the distinctive polychrome Minoan pottery was first found. In the plain of the Mesara, one of the largest on Crete, is Aghioi Deka (45 km. southwest of Herakleion) with its Byzantine church and the graves of ten Christians martyred in the persecution of Decius and after whom the village is named. A short distance away are the ruins of the ancient city of Gortyn from which one has an idea of this city's importance in Hellenistic and Roman times. Incorporated in the wall of the Roman odium is the renowned inscription of the Laws of Gortyn (500 BC). The archaeological collection on site comprises finds from excavations there. Close at hand is the Basilica of St. Titus (6th century AD) of which only the apse now remains. Northeast of the city is Lavyrinthos, a labyrinthine quarry of pores stone which has been traditionally associated with the Minotaur. At Moires (53 km. southwest of Herakleion) is the monastery of the Virgin Hodegetria and 10 km. west of here is the archaeological site of Phaistos. The important Minoan palace revealed here was contemporary with those of Knossos and Mallia. West of Phaistos was a smaller yet significant palace or villa, Aghia Triada (61 km. southwest of Herakleion), set on the brow of a hill. 4 km. from Aghia Triada the road continues on to Tympaki, a large town in southern Crete, to the south of which is Matala with its world- famous and truly enchanting beach.

Next month: Crete, Part Three - Central Crete (Rethymnon)

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 June 2009 Greek Orthodox Calendar

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