Polovragi Monastery represents a page of history written in gold in the annals of church life in our country. A place of ancient tradition in the monastic life of the Oltenia region, this venerable monastery dedicated to the Mother of God now looks back on over five hundred years of Orthodox witness beneath the snow-capped peaks of the Southern Carpathians, at the foot of the Parâng Mountains.
Over the course of its five centuries of existence, rivers of ink have been spilled in recounting the history of Polovragi Monastery. Blessed by the Mother of God with heavenly beauty, the holy monastery traces its origins to the earliest forms of monastic life, cultivated in the spirit and according to the rule of Saint Nicodimus of Tismana. Later, wishing to bring together the great family of idiorhythmic monks, scattered amongst the hermitages of the ancient forests surrounding this place, Archimandrite John, abbot of Hurezi Monastery, with the support and encouragement of the Holy Martyr Prince Constantin Brâncoveanu, built a monastery on the old site, organised according to the communal monastic order, adorned with a fine church, an infirmary and cells.
Having closely examined the list of academic sources that deal directly or indirectly with topics related to the Holy Monastery of Polovragi, we shall endeavour below to provide an overview of the place and role of this ancient monastic lavra in history, culture, ecclesiastical art and, last but not least, the Orthodox spiritual life of the Romanian people. Proceeding, therefore, from the main aspects of historical-critical analysis, we arrive at an initial notion of theological synchrony, applicable to Polovragi Monastery in all its dimensions. This observation stems from the natural intertwining of intercultural and artistic elements, which have always served as a point of reference and are unmistakably assessed within the theological framework of this ‘fortress of the Orthodox spirit and faith’.
I. Alexandru Ștefulescu, ‘Polovragii’
One of the seminal academic works, published at the beginning of the 20th century, is by Professor Alexandru Ștefulescu, generically titled Polovragii1. Across its 160 pages, the study offers a comprehensive perspective on the location where Polovragi Monastery was founded and developed. In his account, the author draws on primary source documents, succeeding in bringing to light previously unknown aspects of the history, spirituality and demography of the holy monastic lavra. Drawing on extensive descriptions, illustrated with photographs and diagrams, Ștefulescu paints a patriarchal picture depicting God’s gift at Polovragi. ‘On a vast plain, teeming with greenery, trees and fruit-bearing trees, criss-crossed far and wide by county and local roads and countless natural tracks, lies Polovragi, nestled with its head towards the north beneath the mountains, whilst to the west it overlooks the deep but narrow valley of the Olteț. In old documents and inscriptions, it is referred to as Polvrăgi and Polvragi. Local folklore sees ‘Polvrăgi’ or ‘Polvragi’ as ‘Polvraci’, meaning ‘healers’ or ‘doctors’, and this tradition still holds today that here, in Polovragi, healers once came from the neighbouring cave, where they had their pagan shrine (church), bringing herbs with which they cured people of their ailments. The vast plain of Polovragi is traditionally known as ‘the Healers’ Field’, a name which appears to derive from the Slavic words: pole – field and vraci – healer, that is, polevraci – Polvraci, Polovraci, Polovragi’2
Ștefulescu’s work provides us with a wealth of demographic details, whilst also serving as an effective statistical barometer. Furthermore, it is here that we learn about the traditional dress of the Gorj people in the mountainous region, with men described as wearing “large sheepskin hats and very tight white woollen trousers”, whilst the women were adorned “on their heads with propoade (cloths)”. The account also includes details of the main life events: birth, baptism, wedding and funeral, as well as a description of how the faithful celebrated the main Orthodox church festivals.
It is very significant that Professor Ștefulescu’s work also identifies the earliest documentary references to the village of Polovragi. He states that these were recorded in the 15th century, during the reign of Radu the Handsome (1462–1474), son of Vlad Vodă Dracul. Documents from that period confirm that the lords of these lands were ‘Stanciul Postelnicul, Danciul Logofătul and Calotă Postelnicul, the sons of Hamza of Pârâieni’3
In addition to the valuable historical information regarding the ownership of the entire region, the village charter and the boyar administration of the surrounding estates, the documents identified by Ștefulescu provide valuable insights into the history of the monastery. “Polovragi Monastery, whose church and a small house were first built by Danciul Pârâianul, the grand chamberlain, was subsequently purchased by Prince Constantin Brâncoveanu and made a metochion of Horez Monastery; after which the abbot of Horez Monastery renovated the church at the monastery’s (Horez) expense, had it painted, surrounded the site with a wall and built cells upon it’4”. It is also said that, after purchasing the monastery, Prince Brâncoveanu confirmed in deeds the chief rights he had acquired over the surrounding estates. As for the monastery’s church, now dedicated to the ‘Dormition of the Mother of God’, it is known to have been built in the Byzantine architectural style, with Brâncoveanu-style features, on the site of an older church dating from 1529–1530. ‘In 1643, Danciul Pârâianul Logofătul poured his Christian heart and soul into the sacred building of Polovragi Monastery, to which, on 6 June 1648, Matei Vodă confirmed its ownership of the part of the estate in the village of Polovragi, bestowed by its founder, who in the same year dedicated it to the Holy Sepulchre in Jerusalem. On 13 March 1650, Danciul Pârâianul donated the estates of Cârpeanii jumătate, Budoiul and Tereuja to the monastery. On 1 April of the same year (1650), Lady Stanca, the sister of Danciul Pârâianul, bequeathed her entire estate to the monastery, a gift confirmed by Matei Vodă on 26 May, in the same year, and by Antonie Vodă on 19 June 1671. On 8 April 1689, Maria Băneasa, wife of Ban Barbu Milescu, son of Danciul Pârâianul, donated the village of Sârbeștii on the Olteț to the monastery. Fifty years after its foundation (30 June 1693), Polovragi Monastery, dedicated to the Holy Sepulchre in Jerusalem since 1648, was no longer able to sustain itself; Patriarch Dositei of Jerusalem intervened, together with the heirs of Danciul Pârâianul, to appeal to Constantin Vodă Brâncoveanu to redeem it. On 24 July 1693, Brâncoveanu Vodă redeemed it from the Holy Sepulchre for 1,500 aspri and made it a metochion of Hurezi Monastery [...]. Thus, Polovragi Monastery counts not only Danciul Pârâianul but also Constantin Vodă Brâncoveanu5 as one of its principal founders.
It is important to mention here, to supplement the historical data provided by Alexandru Ștefulescu regarding the founders of Polovragi Monastery, two further relevant studies, subsequently published in Mitropolia Olteniei by Ștefan Andreescu (“The Founders of Polovragi”, in MO, no. 3–4/1964, pp. 231–235) and Fr. Dumitru Bălașa (“Constantin Brâncoveanu, Voivode, and Ioan the Archimandrite. An Unpublished Manuscript by Ioan, Abbot of Hurezi Monastery – 1692–1726’, in MO, no. 10–12/1973, pp. 993–1001).
Another significant detail relating to the historical origins of Polovragi Monastery concerns the ‘Infirmary’, built by Abbot Lavrentie between 1736 and 1738. The painting, preserved intact in its original form, reflects a powerful theology of healing through faith. We thus find depictions of the most important healings performed by Christ the Saviour, as well as holy physicians who practised without charge. Ștefulescu also reproduces here and transcribes into modern Romanian the text inscribed on the foundation stone (epitaph) of the holy monastery. We therefore reproduce it as follows: ‘Just as the deer longs for the springs of water, so did my soul long to build a house of God in honour of our Father Nicholas, Archbishop of Mirela, whothis holy infirmary from its foundations with all the zeal and expense of His Holiness Father Lavrentie, abbot of Polovragi Monastery, with the assistance of other brothers whose names will be recorded in the register of November 2, Year 7245. On the western wall are depicted: Dionysius the Archimandrite, the abbot of Horezu Monastery, Bălăcescul; Clement, Bishop of Râmnic; Lavrentie, abbot of Polovragi Monastery; Stephen, a hieromonk and founder. On the north-facing wall: a nun, a boyar with a cross, a woman with two children (no names given). ‘Remember them, O Lord (all of them), Gheorghe Ion, the painter, 1738’."
The iconographic structure or hermeneutics of the Chapel dedicated to Saint Nicholas at Polovragi Monastery is described in a very interesting study by the scholar-priest Dumitru Bălașa. Here we find, in addition to the inscription quoted in full by Ștefulescu, a number of details of iconographic significance. We are thus told that, next to the inscription, one can make out “the icon of the patron saint, Saint Nicholas, Bishop of Myra, flanked by the Lord Jesus Christ (Ic Hc), who is offering him the Gospel, and by the Mother of God (Μρ Θυ), who is offering him the omophorion. In the narthex, on the western wall, the following figures can be seen: Dionysius the Archimandrite – the founder of Hurezi Monastery, a young man with a black beard, Clement, Bishop of Râmnic, blessing with his right hand and holding his crozier in his left, with a black beard, like John the Archimandrite; Lavrentie, the abbot of the monastery and founder of the infirmary, holding in his right hand, facing south, his foundation covered with tiles; Ștefan the hieromonk, founder, an elderly man with a white beard". Also visible on the northern wall is “a nun holding a metania in her hand. To her left is a man with a black moustache, holding a double-barred cross in his right hand. He wears a cloak with a fur collar over his shoulder and is girded with a belt tied at the front”. Among the hagiographic representations arranged within the iconographic scheme of the chapel, Father Dumitru Bălașa mentions: Saint Christopher, “with a spear in his right hand, a bow in his left and a quiver of arrows at his right hip”; Saint Gaudela; and the military saints: George, Theodore Tyron and Procopius. On the vault, within a beautiful mandorla, Jesus Christ Pantocrator is depicted. Further on, Father Bălașa notes the texture of the wall-painted iconostasis, adorned with beautiful floral motifs. ‘In the Proskomedia, there is a scene depicting the dead Jesus before the cross, in an upright position, the Mother of God with her hand to her eyes wiping away her tears, and Saint John. The scene is the same as that in the main church. Beneath this painting, the list of founders is inscribed in black [...] Above this inscription is a painted vine with grapes, and the must flows into a vessel adorned with flowers. The scene symbolises the voluntary sacrifice for the salvation of the world6”.
From this brief overview of Alexandru Ștefulescu’s work, supported by evidence drawn from several subsequent studies and articles on the monastery, we can draw a number of conclusions regarding the general context of academic research. Firstly, the focus of Ștefulescu’s book is eminently historical. The novel linguistic, ethnographic and demographic insights regarding the area in which the monastery emerged and developed are both noteworthy and commendable. Secondly, the author outlines, in stages, the process of the spiritual formation of the Orthodox faith in this region, linked to the monastic tradition cultivated by Saint Nicodim of Tismana in Oltenia. In this regard, Polovragi Monastery became a powerful monastic centre, adopting elements of monastic order from the ancient Romanian monastic rules associated with Hurezi Monastery, as well as the Brâncoveanu architectural tradition, which overlapped with the older forms, irreversibly replacing them. In this regard, the author recalls the ties of allegiance (worship) that the monastery has maintained throughout history with the Patriarchate of Jerusalem and the Church of the Holy Sepulchre. It is also very important to clearly highlight the place and significance of Saint Constantine Brâncoveanu, the Martyr Prince, in the life of the monastery, as one of the founders of this venerable settlement. This important detail, emphasised and very well argued by Ștefulescu, is a fundamental element in identifying the entire complex as a unique monument of Brâncoveanu art and architecture. Although Ștefulescu’s account focuses primarily on the historical sequence of events, his work makes an essential contribution to the appreciation and promotion of typologies of sacred art within the specialist literature.
II. Archimandrite Veniamin Micle, Polovragi Monastery
The second leading scholar in the consolidation of the scholarly evidence used to characterise Polovragi Monastery in all its aspects is, without doubt, Archimandrite Veniamin Micle. This venerable priest is recognised in Romanian academic circles for his innovative efforts to promote enduring ecclesiastical values. Within this context, and as far as we are concerned, Veniamin Micle offers us for analysis his remarkable work Polovragi Monastery7.
Building on the work of his predecessor, Professor Alexandru Ștefulescu, Archimandrite Veniamin Micle succeeds in narrowing the scope of the subject, focusing on elements specifically related to Polovragi Monastery. In other words, whilst Ștefulescu provides an excellent contextual analysis, enriched with historical data and ethnographic interpretations, Micle offers the key elements for a direct understanding of monastic life at Polovragi. One of the chapters we shall examine in detail in this work is devoted to ‘The Architecture and Painting of the Church’ at Polovragi Monastery.
As is evident from the brief remarks made by Ștefulescu, the style employed for the Church dedicated to the ‘Dormition of the Mother of God’ at Polovragi Monastery is the ‘Byzantine’ style. In this architectural context, the holy place “has a trefoil shape, with lateral apses, constructed with proportional symmetry, measuring 22 metres in length, 10 metres in width and 20 metres in height”. Archimandrite Veniamin Micle goes on to highlight the presence of elements from an earlier architectural period, which, according to some specialists, are discernible in the composition of the materials used, and which suggest that the church dates back to the 16th century. According to other views, all these fundamental elements suggest a link between the two centuries: the 16th and the 17th. ‘As distinctive features,’ notes the author, ‘the outer horizontal, rounded belt, built of bricks laid in a herringbone pattern, stands out. It encircles the church, dividing the façade into two distinct zones: the lower part, characterised by alternating courses of exposed brick and carved stone, interspersed with a single vertical brick, and the upper part, plastered white. The window frames are made of carved stone, with the upper part decorated with various sculpted motifs. A cornice, formed of three rows of overlapping bricks, also laid in a sawtooth pattern, surrounds the building beneath the roof made of traditional thatch typical of local folk architecture. Rising from the nave, on a square base, is the Pantocrator tower, cylindrical in shape on the inside and twelve-sided on the outside. It features four windows, facing the cardinal points8.
Two years after the publication of the aforementioned work, Archimandrite Veniamin published a new, previously unpublished study in Mitropolia Olteniei on ‘The Archaeological Evidence from Polovragi’9. This paper supports the ancient Dacian-Roman roots and origins of the site (as attested by archaeological discoveries in the area), forming a highly interesting hypothesis, according to which “the fortress (dava) at Polovragi is identified with the ancient Arcinna”.
Returning to the valuable pictorial details, on this occasion Archimandrite Veniamin Micle succeeds in sketching a veritable description of the entire holy site. He begins with the observation that the ‘interior painting’ is perfectly preserved, which offers the unique opportunity to carry out a truly exhaustive analysis. The observations begin to take shape from the exterior towards the interior of the church, featuring references to the icon of the ‘Dormition of the Mother of God’, painted on the church’s pediment, as well as on the ‘iconographic representations, unique in our country, of the monasteries of Mount Athos’ (painted in the open narthex)10.
We shall focus on a few unusual pictorial representations, with a hagiographic theme, from the area where the naos and the narthex meet. “On the left-hand wall of the doorway, which connects the narthex to the naos,” notes Veniamin Micle, “is a painting of Saint Christopher with the Infant Jesus on his right shoulder, and on the opposite wall, the monk Teoctist with the Infant Jesus on his left shoulder. The painting in the naos depicts, in the lower register, the military saints in full regalia, with stuccoed or relief halos. On the south wall are Saint Theodore Tyron, Saint Procopius and Saint George, whilst on the north wall are Saint Theodore Stratilates, Saint Nestor and Saint Demetrius. A silver cross has since been affixed to the painted cross of Saint Demetrius, bearing the following inscription: ‘The Cross of Saint Demetrius, by Protosinghel Constantie, former abbot of Polovragi, 26 October 1883’. Also in this section, towards the apse of the Holy Altar, on the right is Jesus Christ, Judge of the Nations, and on the left, the Mother of God with the Infant in her arms. This is followed by scenes from the life of the Saviour and images of saints, set within rosettes outlined in red. From the height of the vaults, the image of the Pantocrator watches over the holy sanctuary. The scenes depicting the arrest and crucifixion of Jesus are striking for their drama and the expressions on the faces; they were executed by master painters who appear to have learnt the art of skilfully blending colours from the two famous painters of the time: Pârvu Mutu and Constantin Zugravu11.
Archimandrite Veniamin Micle’s note is very important because it moves from contextual details—which are often of a historical nature—towards a competent architectural and pictorial analysis. In this regard, there is the beginnings of an iconographic analysis, which outlines, from the exterior to the interior, the most important elements of the artistic heritage of the Church of the Dormition at Polovragi Monastery. At the same time, the affiliation of the Polovragi iconographic school is very clearly stated; the painters who worked here were thoroughly familiar with both the art of Pârvu Mutu and the chromatic style pioneered by the great Greek painter, Constantinos. From this perspective, we are pleased to draw the following conclusion: the iconography of the Church of the Dormition of the Mother of God at Polovragi Monastery represents a synthesis of the most important schools of painting from the Brâncoveanu era. To summarise the points made above, we can say that Archimandrite Veniamin Micle’s work also provides a significant update to the bibliography on this subject 12.
III. Polovragi, the monastery close to heaven. History. Spirituality. Art
The latest major academic work, published by ‘Mitropolia Olteniei’ Press on Polovragi Monastery, successfully complements the notes we mentioned earlier. Drawing on the body of previous research, the commemorative volume Polovragi, the monastery near the sky. History. Spirituality. Art is, in fact, a welcome synthesis of the most important information, data and interpretations relating to this significant Brâncoveanu foundation in northern Oltenia 13.
We shall not dwell on the historical details, which have already been presented in our bibliographical analysis, but shall endeavour to highlight a few specific iconographic elements, captured by the authors of the volume in a well-researched and up-to-date study of the paintings in the Church of the ‘Dormition of the Mother of God’ and the ‘St Nicholas’ Infirmary’.
Firstly, the work reaffirms the artistic authenticity of the paintings in the main church, as the painters who worked here were trained in the school of Pârvu Mutu (Saint Pafnutie the Painter) and Constantinos. ‘Several inscriptions record the names of the craftsmen who created the icons of the precious iconostasis and the mural paintings of the monastery church, completed on 11 September 1703: Andrei, Simeon, Istrate, Hranit. Their names appear not only in the inscription in the narthex but also in the memorial list painted on the proskomidia table: ‘Remember, O Lord, Abdreiu, Simion, Istrate, Hranit, the painters who were there; 5 August, year 7211’.” With regard to their work at Polovragi, it remains a certainty that their main source of inspiration was the painting at Hurezi Monastery, where “a number of iconographic and thematic innovations had been introduced through the collaboration of the Greek painter Constantinos, who brought with him iconographic techniques used at the time by the elite of Epirus and Cretan painters, and Archimandrite John, the monastery’s abbot, a great scholar-theologian and expert on Ukrainian ecclesiastical printed works which were then emerging from the presses of the Kiev Caves Lavra, an important cultural and spiritual centre of Eastern European Orthodox monasticism. Some of these innovations were also incorporated into the iconographic programme of the church at Polovragi Monastery14.
In addition to the priceless iconographic heritage derived from the church’s mural paintings, with scenes and distinctive features within the Romanian ecclesiastical tradition, another piece of great artistic value is the iconostasis. The contribution of this illustrated monograph is to highlight its historical value, linked to the unique character of the artistic setting. We thus learn that ‘the valuable carved, gilded and painted wooden iconostasis, in vivid shades of blue and red, was adorned with icons by the same Brâncoveanu master painters [...] The inscriptions on the imperial icons mention, in Romanian, the years 1704–1705 and the painters Istrate and Hranit, whilst the inscription on the patronal icon states that these icons were ‘madeby me, the humble Ioan, the abbot of Hurezi’, followed by an incomplete date, which has been cited as 1708–1709, and later as 1699–1700. Most likely, however, the iconostasis—which is mentioned amongst Archimandrite Ioan’s works for the decoration of the church—was created during the same period as the murals. The icons are painted in vivid, picturesque colours and are in clear stylistic harmony with the murals inside the church15”.
In line with the iconographic programme of the Church of the Dormition of the Mother of God, the authors of the volume establish a predictable parallel with the not much more recent paintings of the St Nicholas Infirmary. In addition to the standard description of the pictorial scenes, the authors honestly observe that “the focal points of the iconographic programme have shifted. Whereas, during the Brâncoveanu era, the Annunciation was situated on the eastern pilasters of the nave, on either side of the iconostasis, whilst the Crucifixion was depicted on the tympanum of the western wall, the relocation of the Crucifixion scene to the east led to the image of the Annunciation being moved westwards. Consequently, the order of the other scenes in the nave—which were traditionally read starting from the south-east—has also changed, with some now read from east to west and others from west to east. This distinctive feature of the iconographic programme, which probably draws its inspiration from the paintings in the narthex of the main church at Hurezi Monastery, was further developed at Pietrari Hermitage and at the Infirmary of the Diocese of Râmnic, two monuments founded by Bishop Climent and painted by Gheorghe, the painter of the infirmary at Polovragi. The presence of Saint Eustathius of Plakida and his family, alongside the Holy Emperors, as well as the image of Saint Macarius the Egyptian on the lintel of the entrance door, modelled on the one at the Hurezi infirmary, found in the same location”16.
In short, the illustrated book entitled Polovragi, the Monastery Close to Heaven* (Craiova, 2012) further articulates, from an iconographic perspective, the filial connection between Polovragi Monastery and Hurezi Monastery. Adorned, strengthened and cared for by the same great founder, Saint Constantin Brâncoveanu, these two monumental treasures of the Romanian Orthodox Church stand side by side as a testament to a unified, harmonious and unique style from an iconographic perspective and beyond. The correlative elements are presented as evidence to demonstrate the stylistic connection within this monastic complex in Oltenia, beneath the Mountains. Last but not least, it must be noted that the most significant insights are clearly those relating to the vivid and authentic expression of the iconographic programme. This study consequently offers the most comprehensive architectural and iconographic analysis of Polovragi Monastery, bringing together details and explanations not previously included in earlier studies.
We find ourselves within a meticulous interdisciplinary framework, drawing on elements of history, theology and, last but not least, art. In this respect, whilst each of the works or research studies mentioned on the subject of Polovragi Monastery has developed its own distinctive approach in terms of presentation and analysis, our work aims to provide a concise yet quasi-exhaustive presentation of the Church of the ‘Dormition of the Mother of God’ in Polovragi, focusing in particular, as a research study, on the iconographic elements of the mural paintings. Naturally, a contextual approach was essential, as we have drawn upon interdisciplinary arguments throughout almost the entire work; however, we wished to maintain our focus on the iconographic aspect. For this reason, we have endeavoured to identify the most effective means of highlighting the paintings in the church of Polovragi Monastery.
We are confident that our analysis, which consists of presenting a theme of Orthodox iconography with an undeniably Romanian character, we shall succeed in arousing the interest of future readers, opening up new avenues of research and bringing together related Orthodox painting practices and styles. There will certainly also be interest in the circulation of elements of the Brâncoveanu school, cultivated within the Romanian sphere, particularly in the Oltenia region beneath the Mountains. In this regard, the connections established and the hypotheses demonstrated will serve to keep the life and work of the Orthodox Church in iconographic art alive.
- 1
Alexandru Ștefulescu, Polovragii, N.D. Miloșescu Press, Tg. Jiu, 1906.
- 2
Alexandru Ștefulescu, Polovragii, p. 9.
- 3
State Archives, Polovragi Monastery, bundle 1 bis, document 13.
- 4
N. Dobrescu, The History of the Romanian Orthodox Church in Oltenia, Bucharest, 1906, pp. 248–249.
- 5
Alexandru Ștefulescu, Polovragii, pp. 68–69.
- 6
Fr. Dumitru Bălașa, ‘The Infirmary or the Monastic Hospital’, in MO, 9–10/1973, pp. 816–817.
- 7
Archimandrite Veniamin Micle, Polovragi Monastery, published by the Metropolis of Oltenia, 1978, 55 pp.
- 8
Archimandrite Veniamin Micle, Polovragi Monastery, p. 13.
- 9
Archimandrite Veniamin Micle, ‘Archaeological Evidence from Polovragi’, in Revista Mitropolia Olteniei (MO), no. 10–12/1980, p. 250.
- 10
Archimandrite Veniamin Micle, Polovragi Monastery, p. 14.
- 11
Archimandrite Veniamin Micle, Polovragi Monastery, p. 18.
- 12
We would like to mention here the works most relevant to our research: Ștefan Andreescu, ‘The Date of the Founding of Polovragi’, in MO, no. 11–12/2963, pp. 922–925; Ibid., ‘The Founders of Polovragi’, in MO, no. 3–4/1964, pp. 231–235; Alexandru Bărcăcilă, ‘The Painter Constantinos’, in MO, no. 10–12/1961, pp. 688–689; T.G. Bulat, ‘Ioan the Archimandrite, the First Abbot of Hurezi Monastery’, in MO, no. 5–6/1966, pp. 423–448; Prof. Deacon Gheorghe I. Moisescu, ‘The Tercentenary of Polovragi Monastery’, in MO, no. 11–12/1954, pp. 624–626.
- 13
Archimandrite Timotei Aioanei (editor), Polovragi, the monastery close to heaven. History. Spirituality. Art, a volume published with the blessing of His Eminence Irineu, Archbishop of Craiova and Metropolitan of Oltenia, published by the Metropolis of Oltenia, Craiova, 2012.
- 14
Polovragi, the monastery close to heaven, pp. 59–60.
- 15
Polovragi, the monastery close to heaven, p. 98.
- 16
Polovragi, the monastery close to heaven, p. 106.