St. Tikhon’s University Review . Series V: Problems of History and Theory of Christian Art

This article aims to identify possible origins of some zoomorphic images which are seen on the outer facing of Christian churches (decorative frames of windows and doors) in the territory of Abkhazia and Southern Ossetia. When studying the monuments of the period of the Abkhazian kingdom (8‒11 centuries), a compact group of images has been revealed. All of them are made in fl at graphic manner. Biological identification of the animals is complicated. Identifi cation of the animals is possible only due to analogies and common symbolic context of the Christian artistic culture. Such images can be found mainly on Christian monuments from the territory of Abkhazia and Southern Ossetia, some analogies are from the territory of Georgia and Armenia (façade decoration). Discussions about possible origins of such images involve ideas about the influence of the traditional culture. The inventory of zoomorphic medieval images corresponds to the bestiary of the more ancient periods of the territory of central Caucasus, western Transcaucasia and other neighbouring regions. Animals on the earlier archaeological artefacts are made in the same fl at graphic style. Their images are syncretic, their biological identifi cation is diffi cult. Flat graphic style is very typical of art traditions of the above-mentioned territory in the period of Late Bronze and Early Iron Age. For example, zoomorphic imagery in the territory of central, western and eastern Caucasus in the mountain regions is clearly fl at, the only contours of the animals are outlined. As a result, the statuettes are replaced by the fi gured and ajoure plaques and buckles. The originality of the medieval reliefs was possibly infl uenced by the traditional culture on the territories that became the most active in the process of revival of the art life in western and central Transcaucasia after the devastating Arab raids.

Zoomorphic images, architectural decoration, Caucasus, fl at graphic style, framing of windows, Late Bronze Age, Early Iron Age, traditional culture, syncretic images, outer facing

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25. Tekhov B. (2006) Arkheologiia iuzhnoi chasti Osetii [Archaeology of the Southern Part of Ossetia]. Vladikavkaz (in Russian).
26. Vinogradov A., Beletskii D. (2015) Tserkovnaia arkhitektura Abkhaziii v epokhu Abkhazskogo tsarstva. Konets VIII‒X v. [Church Architecture of Abkhazia in the period of the Abkhazian kingdom. Late 8th — 10th Centuries]. Moscow (in Russian).

Endoltseva Ekaterina

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.

This article analyses the architectural arrangement of the late Gothic church of Saints Peter and Paul at Le Neubure, Normandy, of the 15th — fi rst half of the 16th centuries. Due to its remoteness from large cities of Normandy, this church has only been a subject of local historical studies, but has not been a topic of art history. French late Gothic art still remains to be studied as an epoch in the history of art rather than a final stage of Gothic architectural development. For this reason, a study and publication of this church is necessary. The spatial and planning solutions of the church of Saints Peter and Paul at Le Neubure are extremely complicated, which makes this church unique. Distinctive features of this church include the apse pier on the main axis, smaller ambulatory, lack of ring of chapels, absence of a transept. The article looks at other churches of Normandy (Saint-Maclou at Rouen, Notre-Dame at Caudebec-en- Caux, Saint-Pierre at Caen) as well as at French churches (Saint-Severin in Paris) of the late Gothic period as analogies. It is shown that these changes are not accidental; they are characteristic of the search for new spacial solutions in the Gothic architecture of the relevant period. One can argue in favour of a signifi cant transformation of the older principles of constructiong the eastern part of the church in the late Gothic period.

late Gothic art, Gothic architecture, Gothic system, church of Saints Peter and Paul at Le Neubure, apse, ambulatory, formal analysis

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Pozdnyakova Marina

This article identifies and describes compositional techniques in the heirmoi of the Stolp singing (Russ. столповой распев) from the 1st canon of Christ’s Nativity in the naon version (наонная редакция), echos 1. The compositional techniques used in the heirmos chant are related to the text and play a formative role, being structural and binding elements between the heirmoi of the canon as a liturgical and singing cycle. The connection with the text is implemented at the levels of correlation between the syntagmatic plan of the text (dividing the text of the hymn into individual words, word combinations, phrases) and the centonic structure of the tunes (dividing into individual motifs, “popevkas” (попевки), melodic lines) and the proportion of larger semantic constructions (text lines, stanzas) with relevant musical structures (sections). The most notable compositional techniques are sound imaging, “musical antithesis”, melodic and graphic markings of signifi cant words in the text of the heirmoi, intonational-melodic arches, architectonic symmetry, pairing of melodic lines, duplication of motifs (intonations) inside text-melodic lines, the principle of mirroring in the combination of “popevkas”. Special attention should be paid to the regularities of the syllabic and rhythmic structure in some heirmoi which were revealed due to the analysis of the textual and musical form. They are present in the “naon” version (i.e. taking into account the vocalisations of the letters ъ and ь). Further research in this area will help to fi nd new facets in the compositional techniques of Stolp singing of heirmoi in the “naon” version.

Nativity of Christ, Stolp singing, heirmos, “Khristos razhdayetsya”, first echos, canon, composition

1. St. Amvrosii Optinskii (2009) Polnoe sobranie pisem v 3kh chastiakh [Full Collection of Letters in Three Parts]. Uspensko-kazanskii monastyr’ (in Russian).
2. St. Grigorii Bogoslov (2010) Polnoe sobranie tvorenii ottsov Tserkvi i tserkovnykh pisatelei v russkom perevode [Full Collection of Texts of Church Fathers and Church Writers in Russian Translation], vol. 1. Moscow (in Russian).
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5. Guseinova Z. (2010) Irmosy v muzykal’no-teoreticheskikh rukovodstvakh XVII veka [Heirmoi in Musical Handbooks of the 17th Century]. Vestnik PSTGU. Seriia V: Voprosy istorii i teorii khristianskogo iskusstva, 1 (1), 22–29 (in Russian).
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7. Kazantseva M. (1994) “Muzykal’naia poetika pevcheskoi knigi Irmologii (k postanovke problemy)” [Musical Poetics of Heirmologion (on the formulation of the problem), in Muzykal’naia kul’tura pravoslavnogo mira: traditsii, teoriia, praktika. Materialy nauchnykh konferentsii [Musical Culture of Orthodox World: Traditions, Theory, Practice. Proceedings of Conferences]. Moscow. Pp. 170–180 (in Russian)..
8. Kazantseva M. (2000) “Irmologii i drevnerusskaia muzykal’naia teoriia XVII v.” [Heirmologion and the Old Russian Musical Theory of the 17th Century]. Gimnologiia, 1 (1), 263–273 (in Russian).
9. Kashkin A. (2017) Liturgika [Liturgics], pt. 1. Saratov (in Russian).
10. Kutuzov B. (2009) “Znamennii raspev — poiushchee bogoslovie” [Znamenny Chant as a Singing Theology], in Bogoslovie v zvukah [Theology in the Sounds]. Moscow (in Russian).
11. Loviagin E. (2015) Bogosluzhebnye kanony na grecheskom, slavianskom i russkom iazykakh [Liturgical Canons in Greek, Slavonic, and Russian Languages]. Moscow (in Russian).
12. Lozovaia I. (1993) “Drevnerusskii notirovannyi Paraklitik kontsa XII veka: predvaritel’nye zametki k izucheniyu pevcheskoi knigi” [Old Russian Noted Paraclitic of the End of the 12th Century: Preliminary Notes on the Study of the Singing Book]. Germenevtika drevnerusskoi literatury, 6, 407–432 (in Russian).
13. Lozovaia I. (2000) “Drevnerusskii notirovannyi Paraklit v krugu Irmologiev XII — pervoi poloviny XV vv.: melodicheskie varianty i versii v rospeve kanonov” [Old Russian Noted Paraclitic in the Circle of Heirmologia of the 12th — First Half of the 15th Centuries: Melodic Variants and Versions in the Chant of Canons]. Gimnologiia, 1 (1), 200–217 (in Russian).
14. Lozovaia I. (2015) Stolpovoi znamennyi raspev (2 pol. XV–XVII vv.): formul’naia struktura [Stolp Znamenny Chant (2nd Half of the 15th — 17th Centuries): Structure of the Formulae]. Moscow (in Russian).
15. Meshcherskii N. (2013) Istoriia khristianskoi liturgicheskoi pis’mennosti [History of Christian Liturgical Writing]. St Petersburg (in Russian).
16. Nikiforova A. (2013) Iz istorii Minei v Vizantii: Gimnografi cheskie pamiatniki VIII‒XII vv. iz sobraniia monastyria sviatoj Ekateriny na Sinae [From the History of Menaia in Byzantium: Hymnographic Monuments of the 8th — 12th Centuries from the Collection of the Monastery of St. Catherine in Sinai]. Moscow (in Russian).
17. Popov A. (2000) Tekhnika kompozitsii drevnerusskikh raspevshchikov (na primere Irmologiia kontsa XVII v.) [Composition Technique of Old Russian Singers (with Heirmologion of the Late 17th Century as an Example)]. Gimnologiia, 1 (1), 281–290 (in Russian).
18. Shek A. (2015) “Ob aktual’nykh zadachakh izucheniia melodicheskikh formul znamennogo raspeva (okonchanie) [On Topical Issues in Studying Melodic Formulae of Znamenny Chant (Ending)]. Bogoslovskie trudy, 46. Moscow (in Russian).
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Bogachenko Alexеy

This article continues the work described in the publication “Vasily Titov’s Concertos for the Great Feasts: Russian Baroque Supercycle” on the identifi cation of part-song (Russ. партесный) supercycles, discovering and dating their sources. The article is devoted to the history of the multichoir communional anthems (причастные стихи) in the Baroque era. There is an opinion that by this time anthems had given way to a new genre, i.e. a part-song concerto. An analysis of the surviving manuscripts shows that this is not the case. There are dozens of communional anthems in part-song style for 8 and 12 voices. Alongside many seperate anthems, there are three cycles. The 8-voice cycle of eight or nine verses belongs to Vasily Titov and dates from the end of the 17th century according to the fi ligree in the earliest extant intra vitam copy. Hierodeacon Isaur is named in fi ve diff erent manuscripts as the author of a cycle of nine 12- part anthems for the whole week. All the extant sources are posthumous and date back to the 1750‒1790s by watermarks. The latest copies are the simplifi ed arrangements for 6 and 8 voices only. In four manuscripts, the structure of the cycle is identical. Probably, it accords with the author’s original plan. Any other works by Isaur are not known, biographical information about him has not survived either. The anonymous cycle of 12-part feast anthems in various copies includes up to fourteen works, its structure being very unstable. Its extant copies date back to the 1740‒1770s. Musical analysis shows that the duration of communional anthems was not less than that of part-song concertos, although their text is usually much shorter. Composers reached the concerto scale repeating words and the whole sections of the text much more intensively than it was accepted in the genre of concerto. The average duration of concertos may have served as a reference point.

Russian Baroque, communional cnthem, part-song concerto, Vasily Titov, Hierodiacon Isaur, Gerasim Zavadovsky, sources of the text, watermarks, cori spezzati, polyphonic technique

1. Bulycheva A. (2018) “Problema avtorstva v dukhovnoi muzyke pozdnego barokko (Frantsia — Rossia)” [Problem of Authorship in Late Baroque Sacred Music (France — Russia)]. Nauchnii vestnik Moskovskoi konservatorii, 2, pp. 82–93 (in Russian).
2. Bulycheva A. (2019) “Kontserto, kontsentus, kontsert: partesnii kontsert v kontekste barochnoi terminologii” [Concerto, Concentus, Concert: the Part-Song Concerto in Context of Baroque Terminology]. Starinnaia muzyka, (1), pp. 10–17 (in Russian).
3. Chudinova I. (2011) “Gerasim” [Gerasim], in: Pravoslavnaia entsiklopedia [Orthodox Encyclopaedia], available at http://www.pravenc.ru/text/164575.html (22.02.2020) (in Russian).
4. Demidenko Iu. (2019) “О zabytom pamiatnike russkoi muzykal’noi kul’tury elizavetinskogo tsarstvovania v fondakh Otdela dekorativno-prikladnogo iskusstva” [On One Forgotten Monument of Russian Musical Culture of Elizabethan Reign from Repositories of Department of Applied Arts]. Stranitsy istorii otechestvennogo iskusstva, XXXI. St. Petersburg. Pp. 169–179 (in Russian).
5. Gardner I. (2004) Bogosluzhebnoe penie Russkoi Pravoslavnoi Tserkvi [Liturgical singing of Russian Orthodox Church], vol. 2. Мoscow (in Russian).
6. Guseinova Z. (2003) “Pevcheskie tsikly Obikhoda” [Musical Cycles of “Obikhod”]. Gimnologiia, 4, 215–236 (in Russian).
7. Lebedeva-Emelina A. (2018) Russkoe khorovoe iskusstvo vtoroi poloviny XVIII — nachala XIX veka kak tselostnoe khudozhestvennoe iavlenie [Russian Choral Music in the Second Half of the 18th — Early 19th Centuries as a Coherent Phenomenon of Art]. Мoscow (in Russian).
8. Plotnikova N. (2011) “‘Tsarstvenny master’ Vasily Titov” [“Regal Master” Vasily Titov]. Muzyka i vremya, 5, 32–41 (in Russian).
9. Plotnikova N. (2017) “Semeinii skriptorii Nakolaia i Petra Ivashevykh i ego rol’ v istorii partesnogo mnogogolosiia” [Family Scriptorium of Nikolay and Petr Ivashevs and its Role in the History of Part-Song Polyphony]. Gimnologiia, 7, 435–450 (in Russian).

Bulycheva Anna

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.

This article studies the iconography and stylistics of the newly discovered monument from a private collection in Moscow. These are fi ve seals of the life of Apostle Andrew dated from the fi rst third of the 18th century. They are fragments of an unknown hagiographic icon of the Saint. The monument was created in the North- Western Russian lands, probably in Novgorod, by a master familiar with the style of Moscow Armory but preserving local artistic techniques in his work. The pictorial life cycle of Apostle Andrew has a fairly late origin. It began to be created in Russian Church art only from the middle of the 17th century and gained popularity in modern times, when Apostle Andrew was proclaimed patron of Russia and its fl eet. But even from this time, individual hagiographic icons of the Saint were preserved. This makes each of them a very valuable artefact, contributing to the knowledge of the trends in the development of the life of the Saint. The article pays special attention to the “Russian journey” of the Apostle. The legend of the journey of Apostle Andrew to Russia (to Kiev and even to Novgorod) arose in the early middle ages, but became especially topical in Peter’s era, in connection with the enormous political and cultural transformations. However, the “Crucifi xion of Apostle Andrew” was represented in the pre-Peter version of iconography on a straight cross, in contrast to the version of the execution of the Apostle on a diagonal cross which was actively borrowed at this time from Western European art. Despite incomplete preservation, the monument is distinguished by the originality of the iconographic design and considerable skill of artistic performance.

Apostle Andrew, iconography, Life of St. Andrew, hagiographic cycles of St. Andrew in icons, scenes of life, Russian icon painting of Synodal period, Novgorod icon painting of first third of 18th century

1. Chubinskaia V. (2001) “Ikona ‘Raspiatie s apostol’skimi stradaniiami’ 1697‒1699 godov. Simvoliko-allegoricheskii zamysel v kontekste istoricheskikh sobytii [Icon “Crucifi xion with the Apostolic suff ering” of the years 1697‒1699. Symbolic and Allegorical Design in the Context of Historical Events], in Gosudarstvennyi Muzei-Zapovednik Moskovskii Kreml'. Materialy i issledovaniia, XIII. Petr Velikii — reformator Rossii [State Museum-Preserve of Moscow Kremlin. Materials and research, XIII. Peter the Great, Reformer of Russia]. Moscow. Pp. 144‒159 (in Russian).
2. Denoël, Ch. (2004) Saint André: culte et iconographie en France (V‒XVe siècles). Paris.
3. Komashko N. (2006) Russkaia ikona XVIII veka [Russian Icon of the 18th Century]. Moscow (in Russian).
4. Komashko N., Saenkova E. (2007) Russkaia zhitiinaia ikona [Russian Icon of Life of Saints]. Moscow (in Russian).
5. Kopeikin K. (2006) “Tserkovnye i narodnye traditsii pochitaniia sv. apostola Andreia v Rossii” [Church and Folk Traditions of Veneration of St. Andrew the Apostle in Russia], in Andrei Pervozvannyi — apostol dlia Vostoka i Zapada. Sbornik, posviashchennyi 800-letiiu pereneseniia moshchei v Amal’fi [Andrew, the First-Called Apostle for the East and West. Collection of Papers Dedicated to the 800th Anniversary of the Transfer of the Relics in Amalfi ]. Moscow. Pp. 172 ‒173 (in Russian).
6. Krasilin M. (2002) “Russkaia ikona XVIII — nachala XX vekov” [Russian Icon of the 18th — Beginning of the 20th Centuries], in Istoriia ikonopisi [History of Icon Painting]. Moscow. Pp. 211‒230.
7. Krupnikova E., Sosnovtseva I. (1993) “Ikona ‘Andrei Pervozvannyi’ i litografi ia s vidom Gruzino” [Icon “Andrew the First-Called” and Lithography with a View of Gruzino], in Drevnerusskoe iskusstvo. Novye atributsii. GRM [Old Russian Art. New Attributions. State Russian Museum]. St Petersburg. Pp. 91‒96 (in Russian).
8. Levin S., Karpov S. (2001) “Andreia Pervozvannogo orden” [Award of Andrew the First-Called], in Pravoslavnaia Entsiklopediia [Orthodox Encyclopaedia], vol. 2. Moscow. Pр. 408‒409 (in Russian).
9. Motorin A. (2008) “Sviatye apostoly Andrei i Petr v russkoi khristianskoi istoriosofi i” [The Holy Apostles Andrew and Peter in Russian Christian Historiosophy], in Andrei Pervozvannyi — apostol dlia Vostoka i Zapada. Sbornik, posviashchennyi 800-letiiu pereneseniia moshchei v Amal'fi [Andrew, the First-Called Apostle for East and West. Collection of Papers Dedicated to the 800th Anniversary of the Transfer of the Relics in Amalfi]. Moscow. Pp. 151‒156 (in Russian).
10. Pivovarova N. (2001) “Ikona ‘Obraz novgorodskikh chudotvortsev’ iz sobraniia Russkogo muzeia: voprosy ikonografi i” [Icon “Image of Novgorod Miracle Workers” from the Collection of the Russian Museum: Issues in Iconography], in Novgorod i Novgorodskaia zemlia. Iskusstvo i restavratsiia [Novgorod and Novgorod Land. Art and Restoration], vol. 4. Veliky Novgorod. Pp. 241‒255 (in Russian).
11. Shalina I. (2008) “Obraz Andreia Pervozvannogo v vizantiiskoi i drevnerusskoi ikonografi i” [Image of St. Andrew in Byzantine and Old Russian Iconography], in Andrei Pervozvannyi — apostol dlia Vostoka i Zapada. Sbornik, posviashchennyi 800-letiiu pereneseniia moshchei v Amal'fi [Andrew, the First-Called Apostle for East and West. Collection of Papers Dedicated to the 800th Anniversary of the Transfer of Relics in Amalfi]. Moscow. Pp. 188 ‒203 (in Russian).
12. Shkarovskii M. (2008) “Apostol Andrei v istoricheskoi i tserkovnoi traditsii na Severo-Zapade Rusi” [Apostle Andrew in the Historical and Ecclesiastical Tradition in the North-West of Russia], in: Andrei Pervozvannyi — apostol dlia Vostoka i Zapada. Sbornik, posviashchennyi 800- letiiu pereneseniia moshchei v Amal'fi [Andrew, the First-Called Apostle for East and West. Collection of Papers Dedicated to the 800th Anniversary of the Transfer of Relics in Amalfi]. Moscow. Pp. 228‒235 (in Russian).
13. Shkarovskii M. (2008) “Orden sv. apostola Andreia Pervozvannogo i Andreevskii fl ag” [Аward of St. Andrew the Apostle and St. Andrew’s fl ag], in Andrei Pervozvannyi — apostol dlia Vostoka i Zapada. Sbornik, posviashchennyi 800-letiiu pereneseniia moshchei v Amal'fi [Andrew, the First-Called Apostle for East and West. Collection of Papers Dedicated to the 800th Anniversary of the Transfer of Relics in Amalfi]. Moscow. Pp. 176‒187 (in Russian).
14. Réau L. (1932) “L'origine de la croix de Saint-André”. Mémoires de la Société des Antiquaires de France, 1932. Рp. 157‒158.
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16. Ustinova Iu. (2019) “Kleima so stsenami zhitiia apostola Andreia Pervozvannogo iz chastnogo sobraniia — pamiatnik redkoi ikonografi i pervoi treti XVIII veka” [Seals with Scenes of Life of Apostle Andrew from a Private Collection as a Monument to Rare Iconography of the First Third of the 18th Century], in IV Deminskie chteniia. Otchetnaia nauchnaia konferentsiia Muzeia imeni Andreia Rubleva po itogam 2018 goda, 3‒4 aprelia 2019 goda. Tezisy dokladov [4th Deminskie Readings. Scientific Conference of Andrey Rublev Museum, April 3‒4, 2019. Abstracts]. Moscow. Pp. 94‒98 (in Russian).
17. Ustinova Iu. (2019) “Prichernomorskie khozhdeniia sv. apostola Andreia v pamiatnikakh russkoi ikonografi i XVII‒XVIII vv.” [Black Sea Travels of St. Andrew in the Monuments of Russian Iconography of the 17th — 18th Centuries], in Uvarovskie Tavricheskie chteniia IV: «Drevnosti Iuga Rossii». Gosudarstvennyi istoriko-arkheologicheskii muzei-zapovednik «Khersones Tavricheskii», Sevastopol', 12‒15 sentiabria 2019. Materialy mezhdunarodnoi nauchnoi konferentsii [Uvarov Tauric Readings 4: “Antiquities of the South of Russia”. State Historical and Archaeological Museum-Reserve “Tauric Chersonesus”, Sevastopol, September 12‒15, 2019. Materials of the International Conference]. Sevastopol. Pp. 183‒190 (in Russian).
18. Vinogradov A., Grishchenko A. (2013) Apostol Andrei: opyt nebiografi cheskogo issledovaniia [Apostle Andrew: an Attempt of a Non-Biographical Study]. Moscow (in Russian).
19. Vinogradov A. (ed.) (2005) Grecheskie predaniia o sv. Apostole Andree [Greek Legends about St. Andrew the Apostle], vol. 1. Moscow (in Russian).
20. Vinogradov A., Surguladze M., Anokhina T., Loseva O., Kvlividze N. (2001) “Andrei Pervozvannyi” [Andrew the First-Called Apostle], in Pravoslavnaia Entsiklopediia [Orthodox Encyclopaedia], vol. 2. Moscow. Pр. 370‒377 (in Russian).

Ustinova Yuliya

The churches of Patriarch’s Chernigov House, established in the mid-1990s in the historical district of Moscow, Zamoskvorechye, are included in the sites of cultural heritage of federal signifi cance. The history of the church of Beheading of St. John the Baptist near Bor (Russ. церковь во имя Усекновения главы св. Иоанна Предтечи под Бором) dates from the 15th century and is still interesting to professional historians, archaeologists, local historians and antiquarians. The newest period of the history of the House, associated with the large-scale restoration and placing in it SS Cyril and Methodius Theological institute of Post-Graduate, is marked by the accumulation of information about Chernigovskiy pereulok (“Chernigov side street”) and its churches; it expanded the fi eld for researchers of church history as well as history and archaeology of Moscow and history of Russian education. The purpose of this article is to review the most signifi cant sources of information of diff erent types and dates which contain information about the churches of Chernigov Hosue and related objects in Chernigov side street. The review takes into account both printed sources and electronic publications, manuscripts and unpublished materials. A separate section of the article is devoted to the types of modern publications about the churches of Chernigov House and the history of the area. The study of the history of the House is of particular interest to those who work in the fi eld of local history, because in the recent years, the number of walking tours around the city, including Zamoskvorechye, has been increasing. As part of the study of sources on the history of Chernigov House, the article makes public the “Protocol of inspection of the Church of John the Baptist, near Bor, and the opposing Church in the name of Chernigov wonderworkers...” (written in the most diffi cult time of the Civil War), part of the collection of protocols written by the Commission for the Study of Old Moscow and stored in the State Public Historical Library. In order to outline the question of the construction of St. John’s Church (which is associated with the dating of the construction and with the participation of the Italian architect Aleviz Novy), the article takes into account the content and conclusions of studies of the authors of the 19th and 21st centuries, of priest Sergiy Strakhov and the art historian professor A. L. Batalov. The article outlines approximate directions of possible future studies for those who are interested in the ongoing history of the House.

review of sources, restoration of historical and cultural monuments, local history, Chernigov Patriarch’s House, art of Russian Orthodox Church of 21st century, history of Zamoskvorechye, church of Beheading of John the Baptist near Bor, church of Michael and Fyodor of Chernigov, Aleviz Novy, Commission for the Study of Old Moscow, SS Cyril and Methodius Theological institute of Post-Graduate Studies

1. Akt gosudarstvennoj istoriko-kul'turnoj ekspertizy proektnoj dokumentacii «Proekt prisposobleniya dlya sovremennogo ispol'zovaniya ob»ekta kul'turnogo naslediya federal'nogo znacheniya «Cerkov' Ivana Predtechi pod Borom, 1675 g., s fragmentami XVI v. Kolokol'nya, 1758 g.»» ot 25 aprelya 2018 g. [The act of the state historical and cultural examination of the project documentation «The project of adaptation for the modern use of the cultural heritage object of federal significance “Ivan the Baptist Church near Bor, 1675, with fragments of the 16th century. The bell tower, 1758” dated April 25, 2018], available at: https://www.mos.ru/dkn/documents/discussions/view/4267221/ (18.08.2019) (in Russian).
2. Cerkov' Ivana Predtechi pod Borom, 1675 g., s fragmentami XVI v. Kolokol'nya, 1758 g. [Ivan the Baptist Church near Bor, 1675, with fragments of the 16th century. Kolokolnya, 1758], available at: https://data.mos.ru/opendata/530/row/2949540 (15.08.2019) (in Russian).
3. Cerkov' Mihaila i Fedora Chernigovskih, 1675 g. [Church of Michael and Fyodor of Chernigov, 1675], available at: https://data.mos.ru/opendata/530/row/2959512 (15.08.2019) (in Russian).
4. Prikaz Mosgornaslediya ot 19 iyulya 2017 g. № 493 «Ob utverzhdenii ohrannogo obyazatel'stva sobstvennika ili inogo zakonnogo vladel'ca ob''ekta kul'turnogo naslediya federal'nogo znacheniya «Cerkov' Ivana Predtechi pod Borom, 1675 g., s fragmentami XVI v. Kolokol'nya, 1758 g.» po adresu: g. Moskva, ul. Pyatnickaya, d. 4/2, str. 8, 9» [The Moscow City Heritage Order of July 19, 2017 No. 493 “On Approving the Protection Obligation of the Owner or Other Legal Owner of the Object of Cultural Heritage of Federal Importance “Ivan the Baptist Church near Bor, 1675, with fragments of the 16th century. Kolokolnya, 1758” to the address: Moscow, str. Pyatnitskaya, d. 4/2, buildings 8, 9 «], available at: https://www.mos.ru/dkn/documents/normativnye-pravovye-akty/view/52311220/ (20.08.2019) (in Russian).
5. Batalov A. (2005) «K istorii hramovogo stroitel'stva v Moskve pervoj treti XVI veka i problema topografi cheskoj lokalizacii Ivanovskogo monastyrya» [«On the history of temple construction in Moscow in the fi rst third of the 16th century and the problem of topographic localization of the Ivanovsky Monastery], in Drevnerusskoe i postvizantij skoe iskusstvo. Vtoraya polovina XV — nachalo XVI veka : k 500-letiyu rospisi sobora Rozhdestva Bogorodicy Ferapontova monastyrya [Old Russian and post-Byzantine art. The second half of the 15st — the beginning of the 16st century: on the 500th anniversary of the painting of the Cathedral of the Nativity of the Virgin Ferapontov Monastery], Moscow, pp. 454–466 (in Russian).
6. Batalov A. (2015) «Monastyr' Ioanna Predtechi v Moskve : fakty 600-letnej istorii» [«St. John the Baptist Monastery in Moscow: facts of a 600-year history»], in Istoriya Moskovskogo Ivanovskogo devich'ego monastyrya v dokumentah XVII — nachala XIX veka [The history of the Moscow Ivanovsky convent in the documents of the 17st — early 19st century], Moscow, pp. 6–26 (in Russian).
7. Do konca goda v Moskve budet otrestavrirovano 90 pamyatnikov arhitektury [By the end of the year 90 architectural monuments will be restored in Moscow], available at: https://www.mos.ru/mayor/themes/4299/2995050/ (16.08.2019) (in Russian).
8. Drozdov D. (2017) Pereulki Zamoskvorech'ya. Progulki po Kadashevskim, po Tolmachevskim, Lavrushinskomu, Chernigovskomu i Klimentovskomu [Alleys of Zamoskvorechye. Walks in the Kadashevsky, Tolmachevsky, Lavrushinsky, Chernigov and Klimentovsky]. Moscow (in Russian).
9. Ferapont (Kashin), Metropolitan of Kostroma and Nerekhta (2017) Iakovo-Zheleznoborovskij monastyr' [Iakovo-Zheleznoborovsky Monastery]. Kostroma (in Russian).
10. Gridnev Sergij , diakon; Morulyov F. (2017) Pamyati Sergiya Toropceva. Biografi ya. Vospominaniya [In memory of Sergius Toroptsev. Biography. Memories], available at: http:// triumphserzia.ru/памяти-протоиерея-сергия-торопцева-б/ (16.08.2019) (in Russian).
11. Hram Useknoveniya Glavy Ioanna Predtechi, Moskva, Chernigovskij pereulok [Church of the Beheading of John the Baptist, Moscow, Chernigov Lane], available at: https://icon.spbda. ru/8171-2/aleksandr-derkachev-2/khram-useknoveniya-glavy-ioanna-predte/ (17.08.2019) (in Russian).
12. Hramy Rossii [Temples of Russia], available at: http://www.temples.ru/ (in Russian).
13. Ioanno-Predtechenskij sobor Moskvy budet osvyashchen 1 noyabrya [Moscow church of St. John the Baptist will be consecrated on November 1], available at: https://tvkultura.ru/article/show/article_id/143846/ (20.08.2019) (in Russian).
14. Mashkov I. (ed.) (1998) Putevoditel' po Moskve, 1913 [Moscow Travel Guide, 1913]. Moscow (in Russian).
15. Mitropolit Ilarion rasskazal o mirotochashchej ikone v centre Moskvy [Metropolitan Hilarion spoke about the myrrh-streaming icon in the center of Moscow], available at: https://ria.ru/20191003/1559410844.html (14.12.2019) (in Russian).
16. Palamarchuk P. (ed.) (1994) Sorok sorokov: [v 4 t.] T. 2 : Moskva v granicah Sadovogo kol'ca : Kitajgorod, Belyj gorod, Zemlyanoj gorod, Zamoskvorech'e [A multitude of churches. Moscow within the Garden Ring: Kitay Gorod, White City, Ground City, Zamoskvorechye]. Vol. 2. Moscow, pp. 570–574 (in Russian).
17. PSRL. T. 25. Moskovskij letopisnyj svod konca XV veka (1949) [Complete collection of Russian chronicles. Moscow chronicle of the end of the 15th century]. Moscow-Leningrad (in Russian).
18. Pushkin B. (1920) Protokol osmotra cerkvi Ioanna Predtechi, chto pod borom, i protivolezhashchej cerkvi vo imya Chernigovskih chudotvorcev (sv. kn. Mihaila Chernigovskogo i boyarina ego Fedora) chlenami Komissii po izucheniyu staroj Moskvy Moskovskogo Arheologicheskogo obshchestva, 9 iyunya 1920 g. [The Protocol of inspection of the Church of St. John the Baptist that near bor, and the opposite church in the name of Chernigov wonderworkers (St. Prince Michael of Chernigov and his boyar Fyodor) by members of the Commission for the Study of Old Moscow of the Moscow Archaeological Society, June 9, 1920] [manuscript] [Moscow] (in Russian).
19. Romanyuk S. (2018) Pereulki staroj Moskvy, istoriya, pamyatniki arhitektury, marshruty [Lanes of old Moscow. Story. Monuments of architecture. Routes]. Moscow (in Russian).
20. Starodubova A. (2014) «Komissiya po izucheniyu staroj Moskvy» [«Commission for the Study of Old Moscow»], in Pravoslavnaya enciklopediya [Orthodox Encyclopedia], vol. 36, pp. 526–533. Moscow (in Russian).
21. Sytin P. (1958) Iz istorii moskovskih ulic : ocherki [From the history of Moscow streets: essays]. Moscow (in Russian).
22. V cerkvi Mihaila i Fedora Chernigovskih najdeno zahoronenie XVII v. [The burial of the 17st century was found in the church of Mikhail and Fyodor of Chernigov], available at: https://www.mos.ru/dkn/documents/arhiv-novostej/view/108936220/ (16.08.2019) (in Russian).
23. Veksler A. et al. (2017) «Spasatel'nye arheologicheskie raboty na territorii Kitaj-goroda i Zamoskvorech'ya» [«Rescue archaeological works on the territory of Kitay Gorod and Zamoskvorechye»] in Arheologicheskie otkrytiya: 2015 g. [Archaeological discoveries, 2015], Moscow, pp. 121–123 (in Russian).
24. Volobueva T., Kuznecova O. et al. (eds.) (2013) Svyashchenno-cerkovnosluzhiteli i ktitory Moskovskoj eparhii pervoj treti XX stoletiya [Priests and clergy of the Moscow diocese of the first third of the 20st century]. Tver' (in Russian).
25. Alekseeva E. (2018) «Po molitve Chernigovskih svyatyh» [«By the prayer of Chernigov saints»]. Zhurnal Moskovskoj Patriarhii, 2018, vol. 4, pp. 40–46 (in Russian).
26. Artomasova A. (2007) «Staryj hram : svetloj pamyati prot. Sergiya Karamnova posvyashchaetsya» [«Old temple: blessed memory prot. Sergiy Karamnov is dedicated»]. Prihodskoj listok Patriarshego Podvor'ya hramov svv. mchch. Mihaila i Feodora Chernigovskih i Useknoveniya glavy Ioanna Predtechi pod Borom, 2007, no. 3, pp. 4–6 (in Russian).
27. Belyaev L. (2016) «Dekorativnye izdeliya iz izvestnyaka v Kolomenskom: obzor kollekcii» [«The Architectural Decoration of Limestone at Kolomenskoye: the Collection Survey»]. Vestnik Pravoslavnogj Sviato-Tikhonovskogo gumanitarnogo universiteta. Series V: Voprosy istorii i teorii hristianskogo iskusstva, 2016, vol. 1(21), pp. 95–108. DOI: 10.15382/sturV201621.95-108 (in Russian).
28. Dmitrieva I. (2003) «Kraevedcheskaya deyatel'nost' moskovskih svyashchennosluzhitelej (konec XIX — nachalo XX veka)» [«Local history activities of Moscow clergy (end of XIX — beginning of XX century)»]. Vestnik Pravoslavnogj Sviato-Tikhonovskogo gumanitarnogo universiteta. Series I: Bogoslovie. Filosofiya. Religiovedenie, 2003, vol. 1, pp. 107–119 (in Russian).
29. Kolokol'nya hrama Useknoveniya Glavy Ioanna Predtechi pod Borom [The bell tower of the Church of the Beheading of John the Baptist near Bor], available at: https://neferjournal.livejournal.com/3094620.html (16.08.2019) (in Russian).
30. Procenko A. (2015) «Chernigovskoe podvor'e — sokrovishche staroj Moskvy» [«Chernigov Compound — a treasure of old Moscow»], internet-zhurnal Td = Tat'yanin den', E-journal Td = Tatyana's Day, 2015, available at: http://www.taday.ru/text/2147968.html (20.08.2019) (in Russian).
31. «Sluzheniya i vstrechi Svyatejshego Patriarha Kirilla» [«Services and meetings of His Holiness Patriarch Kirill»]. Zhurnal Moskovskoj Patriarhii, 2015, vol. 12, pp. 8–10 (in Russian).
32. «Sluzheniya i vstrechi Svyatejshego Patriarha Kirilla» [«Services and meetings of His Holiness Patriarch Kirill»]. Zhurnal Moskovskoj Patriarhii, 2018, vol. 4, pp. 26–27 (in Russian).
33. Vasil(')evskij Konstantin Aleksandrovich, available at: http://www.temples.ru/clerics.php?ClericID=589 (15.08.2019) (in Russian).

Trofimova Olga

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.

This article analyses for the fi rst time the choral poem “Road Complaints” (1999) by the outstanding Russian composer of the 20th — 21st centuries Yu. M. Butsko. The article focuses on the features of rendering the poetry of A. S. Pushkin in the musical composition. The embodiment of the artistic images of the poetic text is studied in detail at the level of the structures of the musical language, i.e. melody, harmony, rhythm, dynamics, texture, form. Particular attention is paid to the image of the road which is one of the key images in Pushkin’s poetry, symbolising the spiritual path and life of a person. The study allows one to call the choir poem “Road Complaints” a vivid example of the embodiment of Yurii Butsko’s lyrical and dramatical gift, which was revealed to the full during the 1990s.

Butsko, Pushkin, choral poem, creativity, music, poetry, artistic image

1. Filatova N. (2009) “Bogoslovie v zvukakh: o khorovom tvorchestve Iuriia Butsko” [Theology of Sounds: On the Choral Works of Yurii Butsko], in Muzykal’noe iskusstvo i nauka v XXI veke: istoriia, teoriia, ispolnitel’stvo, pedagogika [Art of Music in the 21st Century: History, Theory, Performing, Pedagogy]. Astrakhan'. Pp. 71–76. (in Russian).
2. Komissarzhevskii V. (1973) “Chitaia svitok vernyi”: novyi spektakl’ o Pushkine” [“Reading the Trustworthy Scroll”: A New Play about Pushkin]. Komsomol’skaia pravda, 4 (in Russian).
3. Kozhinov V. (1978) Kniga o russkoi liricheskoi poezii XIX veka: razvitie stilia i zhanra [A Book o the Russian Lyrical Poetry of the 19th Century: Development of Style and Genre]. Moscow.
4. Kuznetsov I. (2012) Polifoniia v russkoi muzyke XX veka [Polyphony in Russian Music of the 20th Century]. Moscow (in Russian).
5. Levashov V. (2009) Pushkin i narodnaia mifologiia [Pushkin and Folk Mythology]. Chita (in Russian).
6. Savenko S. (2019) “Ot ‘Noktiurnov’ do ‘Pugachevskogo bunta’” [From “Nocturnes” to “Pugachev’s Riot”]. Muzykal’naia zhizn’, 6, 70‒73 (in Russian).

Goryunova Olga

The article studies chromatic elements in harmony of chants and compositions of the Christmas Festive Triptych by archimandrite Matthew (Mormyl’). The initial section of the article provides information about the Christmas Triptych as an individual spiritual, educational and creative project by Revd. Matthew dedicated to the 2000th anniversary of the Nativity of Christ. The author substantiates the thesis about the relationship between the nature of the celebration and the harmonic language of Christmas cycle chants, including those of arch. Matthew in the Christmas Triptych. An important feature of the harmony of the Christmas Triptych is the abundance of chromatisms. Chromatics are used here in accordance with the Greek meaning of the word “chroma” as “paint”, i.e. chromatic combinations are scattered throughout the pages of the Triptych like decorations on a Christmas tree. The analytical section of the article deals with musical and theoretical concepts of chromatics. It is concluded that chromatics of modal origin dominate in the Triptych. Such chromaticity involves a comparison of two supporting tonal centres located in diatonic relationship, each of which is supported by its auxiliary dominant. It is this harmonious circulation which is present in the most important chants of the Triptych, i.e. the most famous tune of the Christmas troparion of the 4th echos and the kondak of the Nativity of Christ of Bulgarian singing and harmonisation by Bortnyansky. Less frequent is the modulation chromaticity, in which the transition from one key to another is carried out through a side dominant, including the one with a high introductory tone of a harmonic minor. In the Christmas Festive Triptych, several fragments stand out where chromatic combinations occur in conditions of ellipsis. In isolated cases, there is a fret change in the fi nal cadence: minor tonic is replaced by major. The systematic occurrence of chromatic elements in the harmony of the Christmas Festive Triptych is one of the factors in the intonational unity of the whole multi-part composition.

Christmas Festive Triptych, archimandrite, chromatism, deviation, hemigroup, ellipsis, tonality

1. Barskii V. (1989) “Tainoe khromaticheskoe iskusstvo v muzyke pozdnego srednevekov’ia i Vozrozhdeniia” [Secret Chromatic Art in Late Mediaeval and Renaissance Music], in Starinnaia muzyka v kontekste sovremennoi kultury [Ancient Music in the Context of Contemporary Music]. Moscow. Pp. 322-329 (in Russian).
2. Barskii V. (1992) “Khromatika kak kategoriia muzykal’nogo myshleniia” [Chromatics as a Category of Musical Thinking], in Laudamus. Pp. 114–120 (in Russian).
3. Gershman E. (1986) Antichnoe muzykal’noe myshlenie [Musical Thinking of Classical Antiquity]. Leningrad (in Russian).
4. Gershman E. (1995) Muzykalnaia Boetsiana [Musical Boetsiana]. St Petersburg (in Russian).
5. Gulianitskaia N. (2002) Poetika muzykal’noi kompozitsii. Teoreticheskie aspekty russkoi dukhovnoi muzyki XX veka [Poetics of Musical Composition. Theoretical Aspects of Russian Sacred Music of the 20th Century]. Moscow (in Russian).
6. Karmanov K. (2012) “Muzykal’noe tvorchestvo arkhimandrita Matfeia (Mormylia)” [Musical Works of Archimandrite Matthew (Mormyl’)]. Vestnik Ekaterinburgskoi dukhovnoi seminarii, 1 (3), 145–184. (In Russian).
7. Kholopov Iu. (1974) “Ob obshchikh logicheskikh printsipakh sovremennoi garmonii” [On the General Logical Principles of Modern Harmony]. Muzyka i sovremennost’, 8, 229–277 (in Russian).
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10. Krasovitskaia M. (2016) Liturgika. Kurs lektsii [Liturgy. Course of Lectures]. Moscow (in Russian).
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Starostina Tatiana

*According to the International Standard Classification of Education (ISCED) 2011, the degree of Candidate of Sciences (Cand.Sc.) belongs to ISCED level 8 — "doctoral or equivalent", together with PhD, DPhil, D.Lit, D.Sc, LL.D, Doctorate or similar.