By Octavian-Adrian Negoiță | Institute for the History of Religions, Romanian Academy

Overview

The antimension is a liturgical object, a piece of cloth of rectangular form, made of either silk or linen. It is of crucial importance for the celebration of the Divine Liturgy, and its etymology too points to its liturgical usage: a combination between the Greek preposition anti- (ἀντί; “instead of”) and the Latin word mensa (“table”), which has led scholars to consider it as a moveable altar and a holy table in miniature. Preserved in the sanctuary on the holy table, the antimension is kept folded into a silk cloth called eileton (τὸ εἰλητὸν; “cover”), whose purpose today is to protect the antimension. On its back side, the antimension has a small pocket in which there are sewn relics of martyrs, which are covered in wax and anointed with the Holy and Great Myrrh. During the celebration of the Liturgy, the priest removes the antimension from the eileton and unfolds it onto the altar table, placing upon it the Chalice and Diskarion to collect any small pieces of the Eucharist that might fall, which he would gather by brushing the antimension with a small sponge. The consecration of the new antimensia is performed by the bishop before the beginning of the Liturgy by anointing them with the Holy and Great Myrrh. After this, the Liturgy is celebrated seven consecutive days upon the new antimensia.

The iconography of the antimension features the scene of the Lament of Christ upon the Tomb (Epitaphios thrēnos, Ἐπιτάφιος θρῆνος) by the Virgin, John the Evangelist, Mary Magdalene, Joseph of Arimathea, and Nikodemos, in the presence of angels with a display of the instruments of the Passion (e.g., the cross, the crown of thorns, the spear, the sponge placed upon a reed, etc.), the busts of the four evangelists placed on each of the four corners of the antimension, and lastly an inscription.

The antimension has both theological and ecclesiastical significance. It symbolizes the shrouds that covered Christ’s body in the tomb (and also the tomb itself), and the sacramental link between the bishop, whose signature is placed upon the antimension under the inscription, and the priest of a certain church placed under the bishop’s jurisdiction. A church is bestowed with a new antimension every time a new bishop is enthroned in the eparchy or after the church’s foundation during the sanctification ritual. It also contains in the inscription the name of the church and the patron saint (or feast) to whom the church is dedicated. All of these details point to the importance of the antimension not only for its liturgical usage, but also for the history of the Church.

The sources indicate that the antimension was made either of wood or linen. Even if there are copies of wooden antimensia preserved today (e.g., the antimension of Patriarch Joachim IV of Antioch, Church of Hagia Paraskevi [1572], or the antimension of Nikephoros of Cyprus, Kykkos Monastery [1653]), the largest number of them are produced of either linen or silk. The dimensions differed across time but, along with the printing phase, the antimension became more standardized (cca. 600 mm x 500 mm). The iconography itself experienced many phases of development. Whereas until the fifteenth century, a cross (in either Greek or Slavonic style) erected on an artistic representation of Golgotha with Christ’s monogram would dominate the central scene (on some occasions having on display some of the objects of Christ’s sufferings), the busts or the initials of the four evangelists would be placed in the corners only during the sixteenth- and seventeenth centuries. Moreover, the scene of Christ vertically sitting in his tomb or a chalice is encountered especially during the 17th century. Along with the development of printing activities during the 17th and 18th centuries, the antimensia began to be printed and not drawn in ink anymore, which provided a good opportunity to expand even more their iconography. The scene of the Lament of Christ upon the Tomb begins to occupy the central part of the antimension at this later stage, and other elaborate artistic features appear around it. These details point to the artistic importance of antimensia and their development over time.

Concerning antimensia in the Danubian principalities, these liturgical objects are of paramount importance for the cultural and religious history of the region. Although there were antimensia that were produced and circulated there at least from the 15th century onward, the oldest copies preserved today date to the 17th century. Whereas the copies of Greek origin that circulated in the Danubian territories are few, the Slavonic ones (or Romanian in Cyrillic script) were produced in great numbers starting in the 17th century. The oldest antimension from Wallachia is the one of Metropolitan Luke (1602–29). Unfortunately, there is no information today about its whereabouts, but it belonged to the Brădetu Skete of Argeș. The Romanian historian Nicolae Iorga was able to analyze it almost 90 years ago and provided a description. It was not printed but drawn with ink. It featured a cross of twisted stalks placed in the middle, surrounded on each side by the Greek initials of the monogram: IC XC NI KA. In the lower part of the cross, on both sides of its basis, the Slavonic letters M Λ P Б that mean “the Place of the Skull [Golgotha] became Heaven” [мывсто лобноє рай бысть] appear. In the lower part there are the initials Ґ А that stand for “the Skull of Adam” (Ґлаба Aдама), and a rudimentary drawing of it. In each of the corners there are the initials of the four evangelists. The Slavonic inscription placed on the antimension reads: “This antimension was consecrated by the most holy father Metropolitan Luke of the entire Wallachia in the days of the most benevolent voivod Radu [Șerban, r. I: 1601; II: 1602–10], in the year 7112 [1604].”

The oldest antimension printed on linen is of Wallachian origin. Preserved at the Museum of the Holy Synod of the Bulgarian Patriarchate, the antimension dates to the second half of the 17th century (January 21, 1650) and belongs to the Metropolitan of Wallachia Stephen I (1648–53; 1655–68), renowned for his typographical activity in Târgoviște. The iconography is of particular importance. In the center there is the body of Christ carried by two angels and placed in a chalice situated at the base of the cross erected behind him. The cross has on top the abbreviation I N Ц I (“Jesus the Nazarene, king of Jews”). The objects of Christ’s sufferings are present nearby: the spear, the sponge on top of a reed, and, in the middle, the crown of thorns. Two angels give incense to Christ at the bottom of the chalice, where the skull of Adam is also printed. On the right side of Christ, there is the Virgin, while on the left, John the Evangelist. On each of the four corners of the antimension there are round medallions that feature the symbols of the four evangelists (i.e., the angel, the ox, the lion, and the eagle). The antimension has a double border adorned with floral motifs. The Slavonic inscription placed on both sides of the main scene reads: “[This is a] divine altar for the celebration of the divine and bloodless service [i.e., the Liturgy]. It was consecrated and blessed by the hand of the most holy metropolitan kyr Steven during the reign of Lord Matthew [Basarab, 1632–54], voivod of the entire Wallachia, month January, year 7158 [1650].”

Another special antimension, also from Stephen I, dates to 1657. This antimension is preserved today in the collections of the Romanian National Museum of Art in Bucharest and it originally belonged to the church of Vlădești (Argeș). As in the case of the antimension of Metropolitan Luke, it is drawn in ink, not printed. Its iconography follows the one of Metropolitan Luke’s antimension. It presents in the middle a cross with a base, built only of simple lines. The monogram IC XC NI KA is displayed on each side of the cross and, on its base, besides the same Slavonic initials M Λ P Б and Ґ А, the antimension of Stephen I has a drawing of Adam’ skull, too. In the corners, the abbreviations for the names of the four evangelists can be observed, but the Slavonic inscription is larger than that of the antimension of Metropolitan Luke. It reads: “[This is an] Altar of our Lord God and Saviour Jesus Christ, on which is celebrated the holy and bloodless service [the Liturgy]. It was consecrated and blessed by the hand of the most holy Metropolitan Steven, in the days of voivod Constantine [Șerban, r. 1654–8], in the church dedicated [to the feast of] the Beheading of St John the Forerunner, in the village of the most noble Pârvu vel vistier [treasurer], called Vlădești, November 8, 7165 [1657].”

An example of an antimension produced in Wallachia with a more complex iconography than the previous ones discussed already is the antimension of Metropolitan Antim of Iviria (1650–1716), whose dating was placed after 1708. Scholars have shown that this antimension follows as a model an antimension of Metropolitan Theodosios of Wallachia, which was itself prepared for printing by Antim. Regarding its iconography, the central image of the antimension is the Lament of Christ upon the Tomb, having Christ shrouded in a cloth, surrounded by five figures: the Virgin Mary, John the Evangelist, [most probably], Mary Magdalene, Joseph of Arimathea, and Nikodemos. In the background, there is the cross that bears on top the abbreviation I N Ц I with some of the objects of Christ’s sufferings. On each side of the cross, there are two angels that have in their hands a spear and a shroud. In the four corners of this scene there are the four evangelists placed in medallions of vegetal motifs with busts of winged angels above them. The entire antimension has a very ornate wide border that depicts the mandylion of Veronica, a chalice and two victory flags, on the top side, while on the lower side there is the bowl in which Pontius Pilate washed his hands, a pair of pliers, and a hammer. On the lateral sides, one can observe again some of the objects of Christ’s sufferings. A copy of Antim’s antimension is preserved today in the museum of the Antim Monastery in Bucharest, but there are others kept in the Art Collection of the Romanian Patriarchate and the Museum of the Archbishopric of Sibiu. Antim’s antimension served as a model for many subsequent antimensia signed by the metropolitans of Wallachia.

From Moldavia, the oldest known antimension dates to 1429, known as the antimension of Metropolitan Damian of Moldavia, which is lost today. According to Nicolae Iorga, who found a note on a chronicle, the name of the metropolitan must have been inscribed on the antimension. Yet another lost old antimension, dated September 12, 1648, is the antimension of the renowned Metropolitan of Moldavia Barlaam (1590–1657). The copy investigated by scholars a few decades ago was offered to Agapia Monastery, and, from there, circulated to Secu Monastery and finally Neamț Monastery. The antimension was made of silk and padded with linen and was adorned with floral motifs drawn in ink. The main scene of the antimension is the Lament of Christ upon the Tomb is surrounded by four angels holding his shroud. In the background, there is the cross (with the abbreviation I N Ц I on the top) with the spear and the reed with a sponge on each of its sides, while the crown of thorns hangs upon it. Moreover, on top of the cross there is Christ’s monogram and on the four corners of the antimension the busts of the four evangelists in round medallions of floral motifs are found. The entire antimension is surrounded by a wide border of floral motifs. Finally, in the background of the scene of the lament, on the right and left sides of the cross, there is a large inscription that reads: “[This is a] divine and blessed altar of our Lord and Saviour Jesus Christ. With the power of the Holy Ghost began, worked and finished this [church] dedicated to the Assembly of Archangel Michael and of the other bodiless heavenly powers, with the blessing and consecration by the hand of most holy archbishop kyr Barlaam, Metropolitan of Suceava. This holy work was completed in the days of the most holy lord Basil voivod with the desire and expense of the benefactor pan Gabriel, the hatman and pârcălab [governor] of Suceava. Year 7156 [1648], month of September, 12 days.”

The antimension of the Bishop of Roman Pachomios of Gledin (1671–1724), who acted previously as the abbot of Neamț Monastery, is of particular importance as its iconography follows a Russian model (1665) associated with Patriarch Nikon (1605–81). The main scene is again the Lament of Christ upon the Tomb having Christ surrounded by the usual five figures but with an additional one here, namely the myrrh-bearing woman Mary of Cleopas. In the background there is the cross bearing on top the abbreviation I N Ц I, while on both of its sides there are two angels holding liturgical fans, an object that symbolizes the Seraphims. Above the cross is placed the Father emerging from clouds, while the Holy Spirit descends on a glowing radius upon Christ’s dead body. The four corners of the antimension display the symbols of the four evangelists in round medallions. The antimension features a rich ornamented border and some liturgical inscriptions. Pachomios offered his antimension on August 15, 1714, to the Pocrov Skete of Neamț.

Printed in 1753, the antimension of Jacob of Putna (1750–60) served as a model for many antimensia printed after it. The main scene printed on the antimension is the Lament of Christ upon the Tomb with the Virgin in the middle, having a sword piercing her chest, John the Evangelist, Mary Magdalene, Joseph of Arimathea, and Nikodemos surrounding the dead body of Christ. In the background, there is the cross that bears on top the abbreviation I N Ц I and some of the objects associated with Christ’s sufferings. On the left and right sides of the cross there are two Seraphims that bear in their hands lit torches, while in the back the Sun, the Moon, and stars appear. In the upper part, the icon of the Trinity is depicted, held up by two angels. The icon is surrounded by the words: “Holy, holy, holy, Lord God of Sabaoth; heaven and earth are full of thy glory.” On each corner of the antimension, there are the four evangelists, each with his symbol depicted beside them. Moreover, on the left side, right between the evangelists John and Luke, there is a depiction of the Resurrection, while on the other side, between Matthew and Mark there is the scene of Christ’s flagellation. The entire antimension is surrounded by a wide border of floral motifs that has busts of angels on its outside corners and in the middle of its upper side the Veronica’s mandylion. Beneath the scene of the lament, there is an inscription that states: “[This is a] divine and holy altar on which are celebrated the divine mysteries; it was blessed by most holy kyriou kyr Jacob, the Metropolitan of Moldavia. Year 1753, June, [...].”

From Transylvania, Maramureș, and Banat, there are copies of antimensia preserved in the ecclesiastical centers of the regions (e.g., Arad, Cluj, Sibiu, Timișoara). Although most of them are copies that have Wallachian origins – such as the antimension of Metropolitan Barlaam of Wallachia (1672–9) preserved in the collection of the Archbishopric of Sibiu, or the antimension of Metropolitan Theodosie (1668–72; 1697–1708) – there are also copies of local origin. Of particular importance is the antimension that belonged to the wooden church of Poienele Izei (Maramureș), that is currently preserved in the collections of the Archbishopric of Cluj. Dated 1632, it was discovered in the altar’s table between 1962 and 1964 during a restoration process, along with the foundation document (hrisov). Central to the iconography of the antimension is Christ’s standing tall in his grave, having blood springing from his rib into a chalice. Behind him there is the cross, with the abbreviation I N Ц I at the top, and below the monogram IC XC NI KA. On Christ’s left and right sides there are two angels holding two of the instruments of torture: the spear and the sponge on the reed. On each corner of the antimension there are the busts of the four evangelists in round medallions. The entire antimension has a simple border. The signature belongs to Bishop Jeremiah Tissarowsky and accompanies the following inscription: “By the grace of the holy and life-giving Spirit and by the holy service of the most holy Jeremia Tissarowsky, by the grace of God, bishop of Galitia, Lyov and Kamenitza-Podolsk, exarch of the Patriarchate of Constantinople of the Holy Orthodox Church, catholic and apostolic [...] [this is an altar] of the all merciful our God and Saviour Jesus Christ, [in order to] celebrate upon it the holy Liturgy. Year 7140 [1632], month of March, day [...].”

Key Issues and Debates

When discussing the origins and development of antimensia, besides the actual physical copies, scholars have explored a wide variety of sources. But this plethora of sources does not allow, as in many cases, clear-cut answers. There are still a lot of different scholarly hypotheses and suggestions, and no unanimity has been achieved so far concerning the historical development, usage, or etymology of antimensia. During Byzantine times, theologians such as Germanos of Constantinople, Pseudo-Sophronius of Jerusalem, Nicholas Kabasilas, and Symeon of Thessalonica, produced a series of commentaries to the Liturgy that discussed the antimensia in the framework of the Liturgy, providing information about their liturgical usage, theological symbolism, and consecration. Byzantine euchologia preserved in manuscript collections (e.g., Barberini gr. 336 [mid-8th c.], Sinaiticus gr. 1006 [15th c.], Sinaiticus gr. 974 [1510] or Barberini gr. 390 [c. 1575–80]) are of paramount importance too for the study of the antimension and its history. To these sources one can add the treatises about the Byzantine ceremonial by Constantine VII (r. 913–59) or Pseudo-Kodinos (mid-14th c.), the canonical prescriptions formulated by the synods or Church authorities, and other sources, such as chronicles, hagiography, epistles or the Rudder (Πηδάλιον, Pedalion) published by Agapios the Hieromonk and Nikodemos Hagiorites in Leipzig in 1800. Finally, more aspects concerning its importance can be extracted from editions of liturgical books that were printed and circulated in Eastern and South-Eastern Europe, such as Leitourgikons, Euchologia, the ritual for the consecration of churches, or Archieratikons, to name but a few.

Concerning its history, the first textual attestation of the antimension dates to around 700, and it is included in a panegyric dedicated to Marcianus of Syracuse. Nevertheless, several scholars have argued that the origins of the antimensia lay in the movable altars used during the first Christian centuries. This hypothesis has led scholars to believe that the antimension began to be used sometime between the Synod of Trullo of 692 and the Seventh Ecumenical Synod of 787. Other scholars believe that the usage of antimensia originates in Syria during the 6th century, when, because of the persecutions, Monophysite Christians were forced to use movable altars. Another hypothesis was that the antimension dates to the 5th century, as some Eastern Christian Churches broke from the Byzantine Church, and scholars used as proof the many liturgical objects similar to the antimension used in other Eastern Christian traditions: the Siro-Jacobites used the tablitho, a wooden altar in miniature, the Copts use two plates, one of stone and one of wood (maqta’), while in Ethiopia the tabot represents the movable altar. But other scholars believed that the origin of the antimension relates to the Iconoclast period of Byzantium, especially the period between 813 and 843 when the Orthodox avoided the iconoclast churches and celebrated the Liturgy in private houses on movable altars. There are some sources that indicate the increasing usage of the antimension in Byzantium, such as the Chronographia of Theophanes the Confessor (758–817), which mentions that in 776 the Patriarch Niketas I (765–80) brought an antimension to the Hippodrome for the coronation of the Co-Emperor Constantine VI (r. 780–97). But many Byzantine sources show that the usage of antimensia was not mandatory. According to the testimonies of Patriarch Manuel II of Constantinople (1244–55), the Canonist Matthew Blastares (1290–1360), or the Patriarch Nil Kerameus (1380–8), the antimension was used for the altars that were not yet consecrated by the bishops. Some Byzantine theologians, such as Patriarch Matthew I (1397–1410) or Symeon of Thessalonica (c. 1381–1429), considered sacrilege the placement of antimensia on the unmovable altars. However, it was a Synod of Moscow in 1675 that decided upon the placement of the antimensia on all altars.

The connection between the relics of martyrs placed in antimensia originates also from the Iconoclastic period. At that time, the practice of placing relics in the altar’s tables stopped, especially in the aftermath of the Synod of Hiereia (754), but it was subsequently restored at the Seventh Ecumenical Synod according to Canon 7. As such, in his interpretation, the renowned Canonist Theodore Balsamon (d. 1199) argued that since the antimension can replace the altar’s table, it too must contain holy relics. But the entire issue fueled another debate as some scholars argued that there were no relics in the antimensia before the 13th century because the Euchologia bear no mention of this practice. Others interpreted the incorporation of relics into the antimensia as a reaction against Iconoclasm. If the Slavic tradition was clearer regarding the inclusion of relics into antimensia, all of them containing relics, in the Greek tradition there were both antimensia with and without relics sewn in the textiles, which raised in its turn the question of validity for the pieces without relics. Scholars answered the question showing that the presence of relics in the antimension is not mandatory for its validity, since its sacredness is not imparted by the relics but by the anointing with the Holy and Great Myrrh, which consecrates the antimension.

The antimension’s etymology fueled debate among scholars too. They argued that, besides the combination between the Greek and Latin words “anti” and “mensa”, the following formula might explain the name as well: antiminsion (ἀντιμίνσιον) constructed from the Greek words anti- (ἀντί; “instead of”) and minsos (μίνσος; “plate,” “vessel”). Although the first variant was easily accepted, as most scholars did not find anything unusual in the combination between the Greek preposition anti- and the Latin word mensa for this relatively new liturgical object. It has been shown that the second variant, antiminsion, was in fact used in most Late Antique and Byzantine sources. Moreover, the version adopted in Western languages originates in antimensium used in the Catholic Church, while the Slavonic milieu embraced the form antimins (Sl. антиминс), and Arab Christianity uses the form andīmīsī.

Another issue that sparked debate among scholars is the connection between the antimension and other liturgical objects, such as the altar’s table, the eileton, the aer (ὁ ἀήρ; Sl. боздýхъ, vozdúkh), and the epitaphios (ὁ ἐπιτάφιος; Sl. плащаница, plashchanitsa; “placed upon the tomb”). The altar’s table is covered itself with a white cloth (to katasarkion, τὸ κατασάρκιον) tightly closed on the bottom by a string, symbolizing Christ’s shrouds, while on each corner of the table there are placed the busts of the four evangelists. The altar table also hosts pieces of martyr’s relics. According to the testimony of Isidoros Pleusiotes (d. 436), the eileton became a mandatory liturgical object during the 5th century. The antimension developed later than the other liturgical objects, but it was not immediately mandatory for celebrating the Liturgy. Only later did it take over and adopted the liturgical function of the eileton. Concerning the aer (i.e., a liturgical object used to cover the Holy Gifts during the Prothesis or Proskomedia and after the Great Entrance at the Liturgy), this was made also of linen on silk and had embroideries with scenes similar to those on the antimension or epitaphios (e.g., Lament of Christ upon the Tomb). Of large dimensions, the epitaphios dates to 14th century Byzantium and it is used during the processions of the Vesper and Matins of the Great Saturday. As with all the other liturgical objects discussed here, the epitaphios also has embroidered the scene of the Lament of Christ upon the Tomb. The link between all these liturgical objects is the symbolism connected with Christ’s shrouds and burial.

The study of antimensia is a fruitful research topic that needs more consideration. Although they are liturgical objects, their relevance as sources for reconstructing the history of the Church cannot be neglected. From a history of art perspective, antimensia can be studied regarding the artistic techniques employed in their production or the changes in the meaning and function of their iconographies. Moreover, the rich amount of antimensia preserved in the repositories of Eastern and South-Eastern Europe but also in Western Europe and the Mediterranean lands, will allow scholars to delve into complex debates about the cross-cultural connections and achievements of various Eastern Christian religious groups between East and West across time.

Acknowledgments

My sentiments of gratitude are directed towards Monk Filotheu Bălan (Petru-Vodă Monastery), Protos. Antipa Burghelea (St Antim Monastery), Emanuela Cernea (Romanian National Museum of Art), Archim. Policarp Chițulescu (Library of the Holy Synod of the Romanian Patriarchate), Iuliana Dumitrașcu (Romanian National Museum of Art), and Arhim. Benedict Sauciuc (Neamț Monastery), who provided me with the materials necessary for this thematic overview.

Further Reading

Agathonos, P. Symbolē eis tēn meletēn tēs latreias tēs Orthodoxou Anatolikēs Ekklēsias. Lefkosia: Museum of the Kykkos Monastery, 2003.

Although tributary to previous studies, this book in Greek, based on the author's PhD dissertation, offers information about the antimension, its origins, history and significance in the Orthodox Eastern Church.

Arranz, M. Schede di storia della Liturgia Bizantina. 2 vols. Bari, 1972–4.

This general study of the Byzantine liturgy offers discussions over various aspects concerning the origins, development and history of antimensia.

Braun, J. Das christliche Altar. 2 vols. München: Gunther Koch, 1924.

This study discusses the antimension in connection with the liturgical objects of the Christian altar and provides details about its significance and history.

Cherescu, P. “Antimisele din colecția muzeului Arhiepiscopiei Sibiului: Studiu istorico-liturgic” [The Antimensia from the Collection of the Museum of the Archbishopric of Sibiu: A Historical and Liturgical Study]. Revista teologică 4 [76], no. 3 (1994): 43–76.

This study discusses old antimensia from the collection of the Archbishopric of Sibiu.

Chițulescu, P. “Un antimis și două vechi epitafe românești necunoscute” [An Unknown Antimension and Two Old Romanian Epitaphia]. Martyria 14, no. 11 (2022): 67–73.

This study discusses the newly discovered antimension by Steven I of Wallachia (1650), providing a detailed description.

Cocora, G. “Antimisul mitropolitului Antim Ivireanul” [The Antimension of Metropolitan Antim of Iviria]. Mitropolia Olteniei 18, no. 9–10 (1966): 835–7.

This study discusses the antimension of Metropolitan Antim of Iviria.

Cotoșman, Gh. “Vechile antimise din bisericile Arhiepiscopiei Timișoarei sau Caransebeșului” [The Old Antimensia from the Churches of the Archbishopric of Timișoara or Caransebeș]. Mitropolia Banatului 17, no. 4–6 (1967): 263–89.

This study discusses the antimensia discovered in the churches under the jurisdiction of the Archbishopric of Timișoara and Caransebeș. 

Caransebeș. Ferrari, G. “ΕΙΛΗΤΟΝ e ΑΝΤΙΜΙΝΣΙΟΝ presso i Bizantini.” Bolletino della Badia Greca di Grottaferrata 10 (1956): 105–11.

This study discusses the link between the eileton and the antimension during the Byzantine period.

Goshev, I. Antiminsŭt: Liturgichesko I Tsŭrkovno-Arkheologichesko Izsledvane [The Antimension: A Study in Liturgics and Church Archaeology]. Sofia: Khudozhnikŭ, 1925.

This old monograph still is a mandatory reading for studying antimensia; it provides descriptions of old antimensia from the Balkans.

Iorga, N. “Un antimis al mitropolitului Luca (1604)” [An Antimension of Metropolitan Luke (1604)]. Biserica Ortodoxă Română 53, no. 9–10 (1935): 484–7.

This study discusses the antimension of Metropolitan Luke of Wallachia.

Ivan, I. “Sfântul Antimis: Importanța unor sfinte antimise de la Mănăstirile Neamț și Secu” [The Holy Antimension: The Importance of Some Holy Antimensia from the Monasteries Neamț and Secu]. Mitropolia Moldovei și Sucevei 44, no. 5–6 (1968): 269–97.

This study discusses antimensia that were produced and circulated in Moldavia.

Izzo, J. M. The Antimension in the Liturgical and Canonical Tradition of the Byzantine and Latin Churches: An Inter-Ritual Inter-Confessional Study. Rome: Pontificium Athenaeum Antonianum, 1975.

This study is the classical reading about antimensia. It addresses aspects concerning the liturgical function and the canonical tradition in both Byzantium and the Catholic world by discussing the origins, history and symbolism of antimensia.

Roșu, V.-I. Antimisul: Origine, istorie și sfințire [The Antimension: Origins, History and Consecration]. Bucharest: Basilica, 2023.

This book is the latest reading concerning antimensia. Besides discussions on origins, history, and the consecration ritual, it provides descriptions of antimensia produced in the Danubian Principalities.

Taft, R. F. A History of the Liturgy of St. John Chrysostom. 6 vols. Rome: Pontificio Istituto Orientale, 1978–2008.

This extensive study of the Liturgy of John Chrysostom provides details about the origins and development the antimension as a liturgical object.

Tuță, N. Sfântul Antimis: Studiu istoric, liturgic și simbolic [The Holy Antimension: A Study in History, Liturgics and Symbolism]. Bucharest: Tipografia Cărților Bisericești, 1943.

This book was one of the first systematic studies that offered a systematic discussion over antimensia in the Danubian Principalities.

This contribution was sponsored through the 2024 Research Fellowship.