Qadisha

Valley
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Archaeological Promenade
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 Qadisha Valley
Bsarma

Sebaal
Kfar Aaqqa
É`°ûjOÉb …OGhKarm Saddé
Aarbet
Qozhaya
Amioun Kousba
Seraal II
Ehden
A
I
Tourza Haouqa
Tripoli El-Bohsas
B III Kfar Sghab

Blaouza
Zgharta
C
D
Hadchit F
V Bcharré
Qnat
Hadath E IV
Ej-Jebbé VII
VI
Dimane
Hasroun Bqerqacha
Bsarma
Chikka

Sebaal
Kfar Hazir Kfar Aaqqa Karm Saddé
Aarbet
Qozhaya
Amioun Kousba
Seraal II
Ehden
1
I
Tourza Haouqa
2 III Kfar Sghab
Blaouza
3
4
Hadchit 6
n V Bcharré
Qnat 5 IV
Hadath 7
Ej-Jebbé VII
VI
Dimane The Cedars
Hasroun Bqerqacha

Aainata
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Qadisha
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Valley
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Qadisha, one of the deepest and most beautiful valleys in

Lebanon, is indeed a world apart. At the bottom of this wild,
steep-sided gorge runs the Qadisha River, whose source is in
the Qadisha Grotto at the foot of the Cedars. Above the valley
and famous Cedar grove towers Qornet Es-Saouda, Lebanon’s
highest peak.

The Qadisha Valley begins at Bcharré village, which marks the

start of a deep geological fault whose extending valleys reach
out of sight. All the accumulated water from these smaller
valleys flows into the Qadisha River, which runs through the
valley towards Tripoli and the sea. At Tripoli, the name of
this river changes to the Abou Ali River. The name Abou Ali is
related to the name Fakhr el Mulk Abi Ali Ibn Ammar, who was
the last Emir of Tripoli during the Fatimid period at the dawn of
the Crusades.

The Qadisha Valley houses some of the most important early

Christian monastic settlements in the world. Rock-cut chapels,
grottoes, and hermitages, many painted with frescoes dating
back to the 12th and 13th centuries, are tucked into the steep
walls. Among the notable monasteries located in the valley
are the Monastery of Mar Antonios Qozhaya, the Monastery
of Saydet Haouqa, the Monastery of Qannoubine, and the
Monastery of Mar Elisha.
 Qadisha Valley in History
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Qadisha Valley in History
The word Qadisha comes from a Semitic root meaning
“holiness;” consequently, Wadi Qadisha means the “Holy
Valley.” This name may have its roots long before the Christian
era. It is possibly related to “The Holy Baal,” a Semitic god to
whom a large temple in Tripoli was dedicated during the Roman
era. In this Tripoli temple, “The Holy Baal” was known as “The
Holy Zeus.”
From the prehistoric periods to the Roman era, people lived
in the caves and rock shelters scattered all over the Qadisha
Valley. At the dawn of the Christian era, when the new Christian
religion was introduced into the valley, these caves and rock
shelters were transformed into chapels, hermitages, and
monasteries. Generations of monks, hermits, and ascetics
found asylum here.
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 Qadisha Valley in History
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These religious men belonged to various confessions that grew

out of controversies over the nature of Christ during the early
Christian era. Among them were the Nestorians, the Monopysites,
the Chalcedonians, and the Monothelites. The Nestorians
believed that Christ had a human nature until his baptism in the
Jordan River, thus refusing the attribute of Mary as the “Mother
of God” and only accepting her attribute as the “Mother of
Christ.” The Monopysites, or Jacobites, believed that Christ has
a unique nature in which the divine almost prevails over the
human. The Chalcedonians believed that Christ incorporates
two natures, the divine and the human, and consequently
Mary can be considered the “Mother of God.” Others, called
Monothelites, believed that Christ has only one will, which is the
Divine Will. These different communities were always arguing
and fighting about the meaning of religious terminologies, which
differed according to each group’s language.

In addition to the Christians, Muslim Sufis also lived in the

Qadisha Valley. According to Ibn Joubeir, an Andalusian traveler
who visited the area during the 12th century A.D., the Christians of
the mountains provided food and provisions to the Muslims who
chose to isolate themselves from the world in the valley. At that
time, the valley used to echo the prayers of its inhabitants, each
one in his own language: Greek, Arabic, Syriac, and Ethiopian.
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 Visiting the Valley
…OGƒdG IQÉjR
At the town of Tourza the Qadisha Valley divides into two
branches, each named after a monastery: the Wadi Qozhaya
branch leads to Ehden and the Wadi Qannoubine branch leads
to the Cedars. A path runs along the bottom of the Qadisha
Valley through an area called Bain an-Nahrain (“Between the
Two Rivers”), where Wadi Qozhaya meets Wadi Qannoubine.
From here, trails lead to various sites inside the valley. You
can also start from the top of the valley and take one of the
numerous paths to the bottom.
Visiting all the sites in the Qadisha Valley may take several
days. This brochure invites you to spend one day visiting the
major sites in the valley and its immediate surroundings.
You can drive a car from Tourza to Haouqa via Ehden, then on
to the Monastery of Mar Antonios Qozhaya (A). After visiting
your car nearEl-Bohsas
the monastery, drive back to Haouqa and parkTripoli
the village church. A trail begins at Haouqa, leading down to
the medieval Monastery and Oratory of Saydet Haouqa (B),
then to the Church of Saint Marina (C), and the Monastery of
Qannoubine (D).
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Zgharta

Bsarma
Chikka

Sebaal
Kfar Hazir Kfar Aaqqa Karm Saddé
Aarbet
Qozhaya
Amioun Kousba
Seraal II
Ehden
A
I
Tourza Haouqa
B III Kfar Sghab

Blaouza
C
D
Hadchit F
roun V Bcharré
Qnat
Hadath E IV
Ej-Jebbé VII
VI
Dimane The Cedars
Hasroun Bqerqacha

Aaina
 Tourza
GRQƒW
I- Tourza
In the village of Tourza, ask the local inhabitants to point out the
Roman-Byzantine rock cut tomb known as Magaharet es-Sabaa
(“the Cave of the Lion”). In front of this tomb, a rock face holds
a carving representing a griffin or a sphinx, with a winged lion’s
body and an eagle’s head and holding two spheres in its hands
and feet. The carving has two functions: first, it represents the
forces of good protecting the dead from evil, and second, it
incites the observer to think about the destiny of man after
death. This type of carving is very common on funerary stelae
and sarcophagi of the Roman period.
GRQƒW -I
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 Ehden
¿ógEG

II- Ehden ¿ógEG -II

The origins of Ehden village go back to the Middle Ages. The
village is known for its old souk and picturesque main square,
or Midan, where the entire village gathers on long summer
evenings. The village church, known as the Church of St. Georges
(Mar Gerges), preserves the mummified body of Youssef Karam,
national hero of the 19th century.
Ehden is dominated by Saydet El-Hosn (Church of Our Lady of
the Fortress), which was probably built upon the remains of a
Roman structure. From the church’s terrace is a magnificent
view of the Cedar grove and the Qadisha Valley, extending all the
way to Tripoli and the sea. Nearby, Deir Mar Sarkis (Monastery
of St. Sarkis and Bakhos) has several small chapels, the oldest
dating to the 13th and 14th centuries. Also nearby is the Church
of Saint Mamas (Mar Mema), built in 947 A.D.
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Close to the village is the Horsh Ehden Nature Reserve, which

contains a particularly diverse and beautiful remnant forest of
the Cedars of Lebanon, as well as a mixed forest of juniper, fir,
and the country’s last protected community of wild apple trees.
The reserve’s beautiful, mist-covered valleys and gorges protect
a variety of rare species of trees, plants, flowers, and animals.
 Haouqa
ÉbƒM
III- Haouqa
A- The Monastery of
Mar Antonios Qozhaya
This monastery is the largest in the Qadisha Valley, and it has
probably been inhabited since the medieval period. Historical
documents and inscriptions on some household utensils found
at the monastery indicate the presence of a community there
between the early-11th century and mid-12th century A.D. The
present state of the building dates from the year 1926, and
the main church of the monastery was constructed in 1865
according to an inscription over its main door.
The church’s façade was built with yellow limestone and has 15
arches decorated with small columns. Three bell domes were
built over the arches. The main door of the church is decorated
with 19th century-style arabesques. The building’s architecture
is similar to that of other palaces in Mount Lebanon built during
the Emirs period.
ÉbƒM -III
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 Haouqa
ÉbƒM
Inside, the church has one vaulted nave with a semicircular
apse at its eastern end. To the north, a void in the rock
holds a baptismal vat. The southern wall of the church has a
painting of the Holy Trinity crowning the Virgin Mary. The arch
that separates the nave from the apse is decorated with wall
paintings representing crossed circles colored with red, black,
and white.
A cave situated to the northwest of the main entrance of the
monastery is known as the “Cave of the Fools.” This cave still
holds some of the chains that were once used to tie up insane
persons, leaving them to the care of Saint Anthony (Saint
Antonios). On the altar of this cave is a small cylindrical press,
once used to help cure people of some diseases. A sick person
would roll this cylindrical press over the place of illness in his
body, hoping to be cured.
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 Haouqa
ÉbƒM
Another section of the monastery, built during the years 1820- »eÉY zô«eGõªdG ÜÉàc{ áYÉÑ£H â몰S »àdG »g ,ÉHhQhCG øe IOQƒà°ùe ᣫ°ùH
1823, was dedicated to a printing press. The monastery’s first »a »fÉjô°ùdG ±ôëdÉH áYÉÑ£dG qøØd π≤©e ∫hCG É«q Mõb ôjO øe â∏©Lh ,1610h 1585
printing press was brought from Rome by Maronite monks at .»Hô©dG ¥ô°ûªdG
the end of the 18th century, and it was placed in the monastery
in 1815. The monks bought a newer printing press in 1871 to ∞ëàe ¬Ñ°ûjo Ée ≈dEG ¬aôZ øe Ol óY ∫ƒq ëJ ™°VGƒàe ¢Vô©e º«bCG á©Ñ£ªdG ÖfÉL ≈dEG
replace the former one. The newer printing press is on exhibit in »àdG á«q °ù≤£dG ¢ùHÓªdGh »fGhC’G ¢†©H ±ô¨dG √òg »a â°Vn ôp Yo óbh .á«q ØjôdG IÉ«ëdG
the monastery today. However, this monastery was also using »àdG ÖàµdG ¢†©Hh É¡JGhOCGh áYÉÑ£dG äGqó©e ¢†©H øY Ó°†a k ,áØ∏àîe äGôàa ≈dEG Oƒ©J
portable printing presses imported from Europe long before the .ôjódG »a É¡©ÑW ºJq
18th century, allowing the monks to print the first Psalter in
1585 and 1610 A.D., and making this monastery the first in . q…ôî°U ∞jƒéJ »a ⪫bCGo …ƒ£°Sƒo dG ô°ü©dG øe á°ùÑëe ,ôjódG øe áHô≤e ≈∏Y
the Middle East to introduce the art of printing in the Syriac
language.

Next to the printing press is a small exhibition of printing tools,

locally printed books, rural household utensils, and some of the
clothing used by the monks during different periods.

A few meters to the west of the monastery is a small hermitage,

which was built during the medieval period.
 Haouqa
ÉbƒM
B - The Monastery of
Saydet Haouqa
Oratory
&
its
The Monastery of Saydet Haouqa can be reached by walking on
a steep pathway leading down from the village of Haouqa, which
was created by the local community to facilitate the access to
the valley. The monastery is composed of a sanctuary and a few
hermitages. It was built during the 13th century in a voided rock
face transformed by the monks into a living space.
Historical documents suggest a relationship between the building
of this monastery and some military events that happened
during the 13th century, when the Mamluke army invaded the
local bastions in the mountains. The Mamlukes would not have
been able to invade and take over the area in 1283 without
the help of a local person named Ibn el-Sabha al-Kafarsghabi.
According to some historical accounts, Ibn el-Sabha felt sorry
for assisting the Mamlukes and built the Haouqa monastery as
an act of repentance.
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 Haouqa
ÉbƒM
For a short period during the 17th century, the monastery hosted
a seminary for the Maronite order. It was deserted afterwards
and annexed to the Monastery of Mar Antonios Qozhaya. Lately,
the monastery was rehabilitated, and it now hosts a Colombian
hermit who entered the Maronite Order. On the eve of 15th of
August, the locals inhabitants celebrate the Dormition of the
Virgin in the monastery’s church.
Inside, the monastery’s small church has a single tunnel-vaulted
nave with a semi-circular apse at its eastern end. Unfortunately,
during recent restoration work the lime mortar holding many wall
paintings was removed. At the west end of the church, a small
hole in the ceiling is used for the rope of the church’s bell, which
is situated inside a small tower over the main door. A well is
situated outside, on the right side of church door.
In the mid-20th century, after the monastery was abandoned
for a long time, an old painting representing the “Virgin with
the Child” was found. On the reverse of this painting, there is
another painting representing a saint monk healing a sick person
wearing white clothing and a turban on his head. This painting
may be connected to the 13th century Mamluke invasions, as
it is believed that the sick person depicted in the painting may
be Ibn al-Sabha. The painting is now part of a private collection,
and a copy of it is exhibited in the Monastery of Qannoubine.
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 Haouqa
ÉbƒM
The monastery’s oratory is situated in a natural cave. It has a
single nave oriented to the northeast, ending with a small apse.
A painting occupies the center of the nave; it represents the
“Virgin with the Child,” and at her feet is John the Baptist in his
childhood. It seems that this painting was inspired by an older
painting that was present in the monastery until the year 1900
and later disappeared. This painting was inspired by a painting
by the Italian Renaissance artist Raphael.
On the trail leading downhill from the Monastery of Haouqa,
inside the grand northern rock promontory, is a cave known as
Aassi Haouqa. This cave hosts the remains of some ancient wall
paintings. An inscription dates the remains to “the year 1504 of
the years of Alexander the son of Philip the Macedonian,” which
means 1193 A.D.
Near Aassi Haouqa, on the left side of the trail, are the remains
of a medieval structure known as the Tower of Saint Thomas.
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 The Church of Saint Marina
ÉæjQÉe á°ùjó≤dG á°ù«æc
C- The Church of Saint Marina
Along the trail leading from the Monastery of Saydet Haouqa
to the Monastery of Qannoubine stands the Church of Saint
Marina. The church has two sections. The southern section was
built in 1909, according to an inscribed stone panel situated
over the main door. The northern section was created by
converting a rock cavity into an apse. Inside the apse, a new
altar was built in 1953 in front of an older altar whose remains
are still visible.
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 The Church of Saint Marina
ÉæjQÉe á°ùjó≤dG á°ù«æc
To the right side of the altar, a marble panel holds the names
of 17 Maronite patriarchs buried here between the 15th and the
19th centuries. The carved marble pieces surrounding the panel
are of a later date.
Saint Marina is one of the most venerated saints of the Qadisha
Valley. Her life story is printed on a panel on the eastern wall
of the church.
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 The Monastery of Qannoubine
ø«Hƒæb ôjO

D- The Monastery of Qannoubine ø«Hƒæb ôjO -O

The name of this monastery originates from the Greek word
koinobion, which simply means “monastery.” Although some
local traditions attribute the construction of this monastery to the
Byzantine Emperor Theodosius the Great (4th century A.D.), it is
more probable that the monastery was founded by the disciples
of Theodosius the Cenobiarc. This hermit, who lived between
423 and 528 A.D., created a code of instruction for the monks,
from which Ignatius of Loyola, the founder of the Jesuit Order,
was inspired. Historical documents attest that Qannoubine
Monastery was the seat of the Maronite Patriarchate between
the 15th and the 19th centuries.
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 The Monastery of Qannoubine
ø«Hƒæb ôjO
The monastery’s church has a single vaulted nave ending with a
semi-circular apse on its eastern end. Two semi-circular niches
are situated on both sides of the apse. The nave is divided
into two sections by two arches. The bases of these arches
hold preliminary drawings for wall paintings that are unfinished.
On the northeast and the southeast bases are drawings of two
flowerpots, in addition to two bearded men wearing long robes,
holding grapes in one hand and holding a basket full of fruits
over their head with the other hand. On the southwest bases are
the drawings of two angels wearing the costumes of deacons,
each one holding a candle and a censer. In the center of the
northern wall, a niche holds a baptismal vat. To the left end of
the same wall, an opening blocked with a decorated stone leads
to a tomb.
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 The Monastery of Qannoubine
ø«Hƒæb ôjO
This church is decorated with wall paintings that date from the
days of the Patriarch Estephan Al-Doweihi (1670-1704). The
apse wall painting is a mixture of two themes. The first theme
is a Deisis representing the Christ between Mary and Saint
Stephen, who was the protector saint of Patriarch Al-Doweihi.
This depiction of Saint Stephen deviates from a typical Deisis,
in which John would usually be depicted. The second theme
concerns the representation of the Christ as the apocalyptic
Pantocrator (in contradiction with the Byzantine tradition of a
Deisis), and next to him an altar with a slaughtered lamb (taken
from the Biblical book of Revelations, Chapter 5).
The northern niche left to the main apse is also decorated with
a wall painting, representing Saint Joseph holding the child
Jesus in one hand and a saw in the other. The southern niche
is decorated with a painting of the Prophet Daniel in the pit
of lions. The painting on the north wall represents the Trinity
crowning the Virgin above an altar with a slaughtered lamb.
Surrounding the altar are 14 Maronite archbishops assisting
the crowning scene, and Patriarch Al-Doweihi is to the left side
of the scene holding the Parochial Scepter with a sphere and a
cross on its top.
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The Monastery of Qannoubine
ø«Hƒæb ôjO
 The Monastery of Mar Elisha
ºjó≤dG ™°û«dCG QÉe ôjO
After visiting the Monastery of Qannoubine (D), you can stop
at a small restaurant situated at the bottom of the valley to
the right side of the trail. Ask there for a taxi to drive you back
to Haouqa. On the way up, you can visit the Monastery of Mar
Elisha (E), the Museum of Gibran Khalil Gibran and the Oratory
of Saydet el-Derr (F) in Bcharré, and the village of Hadchit.
E- The Monastery of Mar Elisha
Originally built as a hermitage around the 12th-13th centuries,
the Monastery of Mar Elisha hosted a Maronite Archbishopric
during the 14th century. A number of European travelers visited
here during the 17th and the 18th centuries, when it was known
as the Monastery of Saint Shallita and/or Saint Assia. Shallita
and Assia are the names of two famous hermits who lived and
died here during the 17th-18th centuries.
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 The Monastery of Mar Elisha
ºjó≤dG ™°û«dCG QÉe ôjO
The Lebanese Maronite Order was founded at this monastery in
1696. When the Order was divided between the Lebanese and
the Aleppine monks in 1770, the Monastery of Mar Elisha was
granted to the Aleppines (who became known as the Maronite
Mariamite Order in 1969).
Except for some small sections, most parts of the monastery
building date from the 20th century. The ground floor holds an
exhibit of daily household utensils and clothing used by the
monks, in addition to prayer books printed in the Monastery of
Qozhaya, the Monastery of Khinshara, Venice, Beirut, and the
United States. The first floor holds the rooms of the monks, in
addition to a small rock cavity transformed into a small church.
The monastery’s main church has a single vaulted nave ending
with three rectangular apses. The main apse of the church holds
a 19th century icon painted in the Byzantine-Melkite style. The
icon represents the Prophet Elisha wearing the mantle (cloak)
given to him by the Prophet Elijah, as Elijah was transcending
into the sky in his fire chariot. In the four corners of the Icon
are scenes of the life of Elisha, as mentioned in the Bible in the
Second Book of Kings.
A stone panel over the main door dates the construction of
the church to the year 1835. A small door to the left side of
the church leads to a cave, in which many hermits are buried,
among them the French hermit François de Chasteuil, who died
here in 1664.
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 Bcharré
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IV- Bcharré …ô°ûH -IV

Considered as a gateway to the Cedars, the history of this town n ƒo dG ô°ü©dG ≈dEG ≈bôj É¡îjQÉJ ¿Éc GPEGh .RQC’G √ÉéJÉH QƒÑ©dG áHGƒH …ôq °ûH ôÑnà©oJ
…ƒ£°S
goes back to the medieval period. In Crusader times, Bcharré »é«JGôà°SG ™bƒªH ™qàªàJh ,¢ù∏HGôW á«q àfƒµd Ék ©HÉJ Ék YÉ£bEG πµq °ûJ ÉgQGƒLh âfÉc ÉeóæY
was known as one of the fiefs of the county of Tripoli. It has a É¡Jô¡°T ¿EÉa ,»dɪ°ûdG »fÉæÑ∏dG πMÉ°ùdGh ´É≤ÑdG ø«H πaGƒ≤dG ≥jôW ≈∏Y º«¶Y
strategic position, dominating the road of the caravans crossing ¿GôÑL ô«ÑµdG »fÉæÑ∏dG ¿Éæq ØdGh ôYÉ°ûdGh ÖjOC’G ¢SCGQ §≤°ùe É¡fƒc øe É¡«JCÉJ á«q dÉëdG
from the Békaa to the coast. ôNGhCG AÉ°†≤H º∏ëj ¿Éc …òdG z»ÑædG{ ÜÉàc ÖMÉ°U ,(1931-1883) ¿GôÑL π«∏N
Museum of Gibran Khalil Gibran
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íjô°V ,Ió∏ÑdG ºdÉ©e RôHCG øe ƒgh ,Ωƒ«dG ôjódG ø°†àëjh .É¡«a ¬JÉaQ ∫ÉÑ≤à°SÉH ’G
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Bcharré is noted as the birthplace of Gibran Khalil Gibran (1883-
1931), author of The Prophet and many other famous works. One
of Gibran’s last wishes was to spend his final days in Bcharré
and to be buried in the small Monastery of Mar Sarkis at the
entrance of the town. Although Gibran did not spend his final
days in the town, he was in fact buried in the monastery, which
today serves as the Gibran Museum. Here, Gibran’s paintings,
drawings, and manuscripts are on display.
 Bcharré
…ô°�
ûH
F- The Oratory of Saydet el-Derr
The Oratory of Saydet el-Derr is a cave situated near the road
between Bcharré and Hadchit. This cave was originally a Roman
tomb and was transformed into a Christian oratory during the
Middle Ages. The entrance of the oratory is very recent and has
no ancient elements in it.
Inside, the oratory is decorated with wall paintings dating to
the 13th or 14th centuries. One of the paintings represents
the baptism of Christ and figures of Saints. The paintings are
very badly damaged, but you can still see the representation
of a woman with a child standing beside her. In local Christian
tradition, this woman was known as Saint Shmouna or Mart
Shmouna and also as Salome or Salomoni. She was the mother
of the seven brothers killed by King Antiochos the Third when
he took over Palestine and Jerusalem, according to the Second
Book of Machabees in the Bible. Saint Shmouna was very
famous in the region. Another small oratory, located in a rock
cavity near the village of Hadchit, was also dedicated to her and
is known as Mart Shmouna. Unfortunately, the wall paintings in
this oratory were destroyed and covered with lime wash.
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 Hadchit
â«°TóM
V- Hadchit
Hadchit stands on the edge of a high rocky cliff overlooking the
Qadisha Valley, between the villages of Ehden and Bcharré. This
village’s old narrow streets, traditional houses, and churches
are still well-preserved. Among them is the Church of Saint
Romanos, whose current building dates to the end of the 19th
century. The original church here was built over the ruins of a
Roman temple, and a statue from this temple was discovered
while digging the foundations of the current church.
Near the village cemetery, a small road leads to the Houla
Valley, one of the small valleys extending from the Qadisha.
Many churches, oratories, and monasteries were built on the
left side of this valley, including Mar Sarkis and Bakhos, Mar
Bohna, and Mart Shmouna (mentioned above).
From Hadchit, you can walk down on the right side of the Houla
Valley to visit the Monastery of Deir el-Salib. The Byzantine-style
wall paintings in this monastery, dating from between the 12th
and the 14th centuries, represent the Apostles, Evangelists,
and Saints, along with a representation of John Chrystosome
(“the gold mouth”). Other wall paintings, scattered throughout
the monastery, represent the Annunciation and the Crucifixion.
The latter could be the reason why the monastery is called Deir
el-Salib, meaning “the Monastery of the Cross.”
Hasroun
¿hô°üM
Vi- Hasroun
A red-roofed town hugging the edge of the Qadisha Valley,
Hasroun is notable for its picturesque 19th century dwellings,
old churches, and gardens, with origins going back to the 15th
and 16th centuries.
The Church of Saint Laba (also known as the Apostle Labbaeus
or Thaddaeus) is the most famous church in Hasroun. Built
during the 19th century, it has a tower rising over its front door
and a marble panel dating its construction to the year 1924.
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 Dimane
¿ÉªjódG
Vii- Dimane
Located along the road from Hasroun to Tourza, the village of
Dimane is the new summer residence of the Maronite Patriarch.
It overlooks the Monastery of Qannoubine, the prior seat of
the Patriarch. Built during the 19th century, the Monastery
of Dimane has a church that is famous for its wall paintings
done during the 1940s by Lebanese painter Saliba Doueihy.
The paintings represent scenes from the New Testament of
the Bible: the Annunciation, the Nativity, the Adoration of the
Magi, the Baptism of Jesus, one of the Christ’s miracles, the
Crucifixion, and the Resurrection. There is also a painting
representing Saint Marina with a child next to her, in addition to
two scenes of the Dormition of the Virgin and her crowning.
● Text by Dr. Hassan Salamé-Sarkis.
● English translation by Assaad Seif.
● Maps: Assaad Seif.
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 Glossary
Altar: Raised platform or structure where sacrifices
are offered and religious rites are performed.

Apse: Semi-circular area at east end of a church,

often with a domed or vaulted roof.

Arabesque: Oriental type of decoration with intricate intertwining

designs.

Censer: A container for burning incense.

Deir: Arabic word for “Monastery.”

Deisis: From the Greek word meaning “prayer” or

“intercession,” in iconographic language it
represents a group of three persons: Christ in the
center, with the Virgin Mary to his right and John the
Baptist to his left.

Dormition Also known as the “Dormition of the Theotokos”

of the Virgin: in the Eastern Orthodox Church and as the
“Assumption of the Virgin” by Roman Catholics,
it refers to the Virgin Mary’s being taken up to
heaven when her life ended. The word “dormition”
literally means “falling asleep,” and this refers to
a local tradition that the Virgin did not bodily die, but
fell into a deep sleep before ascending to heaven.

Fief: An estate or region controlled by a feudal lord.

Griffin: A mythological winged animal with an eagle-like

head and a lion’s body.

Icon: A representation or picture of sacred person,

such as Jesus, Mary, or a Saint, often painted
on a wooden panel.

Nave: The central space in a church.

Oratory: A small room or secluded place, set apart for private

prayer.

Pantocrator: Jesus as the supreme judge of the universe.

Puddle Clay: A concrete-like mixture of wet clay, small gravel,

and sand used in certain wall building techniques.
It is similar to the modern technique of making a
cast and pouring the mixture inside in steps or
phases. After each phase, the clay would be beaten
or compressed before the next layer was poured into
the cast.

Sarcophagus: A stone or marble coffin.

Saydet: Arabic word for “The Lady” or “Our Lady”

(the Virgin Mary).

Souk: Open-air marketplace.

Sphinx: A statue representing a lion with a human head.

Stelae: Plural of Stele, a monolithic slab that serves as a

monument and sometimes has an inscription.

Tunnel-vaulted: A semi circular tunnel-like vault.