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

Soglasnik from manuscript NLR. Solov. № 690/752, p. 107, is a unique musical-theoretical management of the outmarks period. It is devoted to the description of the elements and the structure of the scale. In the article the detailed research and scientifi c treatment of the given monument for the first time is presented.

Old Russian church singing, Soglasnik, Solovetsky collection, scale, Old Russian musical-theoretical managements

1. Bogomolova M. V. Znamennaja monodija i bezlinejnoe mnogogolosie na primere velikoj panihidy (Znamennaja Monodia and Non-Linear Polyphony on Example of Great Pannychis), Moscow, 2005, vol. 2.
2. Vladyshevskaja T. F. Muzykal'naja kul'tura Drevnej Rusi (Musical Culture of Old Rus’), Moscow, 2006.
3. Vorob'ev E. E. Rannie pamjatniki teorii pomet. Rukopis' (Early Memorials of Notice Theory. Manuscript), Nizhnij Novgorod, 2004.
4. Grigor'eva V. Ju. 2014 «Kniga inoka Iosifa Lovzunskago, ego znameni i pomety». Pevcheskie Prazdniki XVII veka. Publikacija i issledovanie pamjatnika (“Book of Monk Joseph Lovzunskij, His Notices”. Chant Feasts of XVII Century. Publication and Study of the Memorial), Moscow, 2014.
5. Grigor'eva V. Ju. 2014 “Rannjaja teorija pomet v drevnerusskih muzykal'no-teoreticheskih rukovodstvah” (Early Theory of Notices in Old Russian Musical-Theoretical Handbooks), in Vestnik PSTGU. Serija V, Moscow, 2014, vol. 3/15, pp. 42–76.
6. Gusejnova Z. M. «Izveshhenie» Aleksandra Mezenca i teorija muzyki XVII veka (“Notification” of Alexander Mezenc and Musical Theory of XVII Century), Saint-Petersburg, 1995.
7. Kruchinina A. N., Shindin B. A. 1979 “Pervoe russkoe posobie po muzykal'noj kompozicii” (First Russian Handbook for Musical Composition), in PKNO, 1978, Leningrad, 1979, pp. 188–195.
8. Smolenskij S. V. Azbuka znamennogo penija (Izveshhenie o soglasnejshih pometah) starca Aleksandra Mezenca (1668-go goda) (Alphabet of Znamennyj Singing (Notification about Coordinated Notices) of Elder Alexander Mezenc (of 1668)), Moscow, 2002.
9. Shabalin D. S. 2003 “Pevcheskie azbuki Drevnej Rusi. Teksty” (Song Alphabets of Old Russia. Texts), in Materialy i issledovanija po drevnerusskoj muzyke, Krasnodar, 2003, vol. 1.
10. Shabalin D. S. 2004 “Pevcheskie azbuki Drevnej Rusi. Perevody, issledovanija, kommentarii” (Song Alphabets of Old Russia. Translations, Studies, Commentaries), in Materialy i issledovanija po drevnerusskoj muzyke, Krasnodar, 2004, vol. 2.
11. Shabalin D. S. 2007 “Drevnerusskaja muzykal'naja jenciklopedija” (Old Russian Musical Encyclopedia), in Materialy i issledovanija po drevnerusskoj muzyke, Krasnodar, 2007, vol. 3–4.

Grigor'eva Veronika

The artiсle deals with the tradition of the Apostles’ Creed illustrations - which are represented in miniatures in Western manuscripts IX-XV c. and engravings XV-XVII c. Different types of visual presentation are distinguished. First of all, the miniatures illustrate the Creed as a whole (the Utrecht Psalter and its copy, St. Edwin Psalter). Next appears another type of representation, when separate dogma is illustrated. Singular solution is represented in the Blokbuch from Heidelberg University, which contains several pages of the Creed illustration. A new milestone in the further development of Creed illustrations is connected with book-printing and the evolution of engravings. We see this type of representation in the incunabula of Konrad Dinkmut, Ulm (1485). In the «Erklerung der zwölf Artickel des Cristenlichen gelaubens» each page is connected not with the dogma, but with the formula of Creed. Engravings of Jacob Cornelisz van Oostsanen, 1512, incorporate two different images, which refer to different dogmas, but one formula. This similar type of representation is found in the engravings pattern by Martin de Vos and engravings by Adrian Collaert. They became famous in Russia as a part of “Theatrum Biblicum”, edited by Claes Jansz Visscher-Piscator. The analysis of this tradition refers not only to the study of West European art history, but also to the «Creed» iconography in Russia.

Apostles’ Creed, Credo, Apostolicum, the Utrecht Psalter, the Reims Missal, Blockbuch, incunabula, Konrad Dinckmut, Theatrum Biblicum, Visscher, Piscator, Martin de Vos, the icon «Credo»

1. Gamlickij A. V. 1995 “Zapadnoevropejskie licevye Biblii v Rossii XVII–XVIII. Vladel'cy i formy bytovanija” (West European Illustrated Bibles in Russia in XVII–XVIII. Owners and Forms of Beeing), in Filevskie chtenija. Tezisy 4-j mezhdunar. nauch. konf. po problemam russkoj hudozhestvennoj kul'tury vtoroj pol. XVII — pervoj pol. XVIII, Moscow, 1995, pp. 19–22.
2. Ivanova S. V. “Ikona «Simvol very» v russkom iskusstve XVII v.“ (Icon of Creed in Russian Art of XVII Cent.), in Vestnik NovGU (in print).
3. Mokrecova N. P., Romanova V. L. Francuzskaja knizhnaja miniatjura XIII v. v sovetskih sobranijah. 1270–1300 (French Book Miniature of XIII Cent. in Soviet Collections. 1270–1300), Moscow, 1983.
4. Backhouse J. The Illuminated Page: Ten Centuries of Manuscript Painting in the British Library, London, 1997.
5. Docampo J. 2008 “Las Miniaturas del Misal de Reims”, in Misal de Reims. Libro de Estitudios, Madrid, 2008, pp. 53–142.
6. Geddes J. The St. Albans Psalter. A Book for Christina of Markyate, London, 2010.
7. Kisseleva L. 2008 “Misal de Reims, estudio codicilógico”, in Misal de Reims. Libro de Estitudios, Madrid, 2008, pp. 19–49.
8. Lexikon für Theologie und Kirche, Freiburg, 1962, vol. 4.
9. Loerke M.-М.-О. Hollenfahrt Christi und Anastasis. Ein Bildmotiv im Abendland und im christlichen Osten. Inaugural-Dissertation zur Erlangung der Doktorwurde der Philosophischen Fakultat I der Universitat Regensburg, Regensburg, 2003.
10. McKendrick S., Doyle K. Bible Manuscripts. 1400 years of Scribes and Scripture, London, 2007.
11. Simor S. B. «I Believe». Images of the Credo from Charlemagne to Luther. Dissertation. Institute of Fine Arts, New York University, 1996.
12. Solera G. 2008 “Traducción del Misal de Reims”, in Misal de Reims. Libro de Estitudios, Madrid, 2008, pp. 143–254.

Ivanova Svetlana

This article examines the iconography of The Descent into Hell in Western European engravings, as well as book illustrations оf XV-XVIII centuries. We consider the development of the iconography associated with the author's variations, the Italian infl uence, or the new theological attitudes that have emerged in the Western Christian theology. The image “Descent into Hell” can be found throughout the work of many great artists. Dürer creates three engravings on the subject. It was also portrayed by Martin Schöngauer, Albrecht Altdorfer and Pieter Breugel the Elder. The fact that this image appears in the composition of cycles at this time is of particular importance. There are also The Passions of Christ, The Seven Virtues and illustrations of the Apostolic Creed. The image carries its specific features according to the cycle. It reaches the peak of its expressiveness as a part of depicting of the Passions of Christ. Breugel, for instance, brings into it numerous allegories. Being a representation of the dogma of the Apostolic Creed, it finds itself in a new surrounding. In book illustrations, the Creed is pictured not as a separate dogma, but as a whole formula. The fifth formula names not only the Descent, but also the Resurrection: a quote. That is why the Descent is originally positioned next to the Resurrection. In the engraving by Jacob Cornelisz van Oostsanen, these two images are incorporated into one. Similar example can be observed in the engravings by Johann Sadeler and Adrian Kollaert, depicting the works of Martin de Vos. The engraving Harrowing of Hell and Resurrection as a plate of the Bible edited by Klas Visscher-Piscator became known to Russian iconographers

Harrowing of hell, Descensus ad inferos, Descent into hell, Apostels’ Creed, Credo, engraving, Passions, Martin Schöngauer, Albrecht Dürer, Albrecht Altdorfer, Pieter Breugel the Elder, Lucas van Leiden, Johann Sadeler, Martin van der Voss, A

1. Gamlickij A. V. 1997 “Biblija Piskatora i problema gravirovannyh obrazcov v evropejskom iskusstve XVI–XVIII stoletij” (Bible of Piscator and Problem of Gravure Models in European Art of XVI–XVII Ages), in Problema kopirovanija v evropejskom iskusstve. Materialy nauch. konf. Rossijskoj Akademii hudozhestv, 1997 g., Moscow, 1998, pp. 96–116.
2. Dvorzhak M. Istorija iskusstva kak istorija duha (History of Art as History of Spirit), Saint-Petersburg, 2001.
3. Ivanova S. V. 2010 “Ikonografija Pashi: Soshestvie vo ad ili Voskresenie?” (Iconography of Easter: Descending to Hell or Resurrection?), in Istorija i kul'tura. Issledovanija. Stat'i. Publikacii. Vospominanija, Saint-Petersburg, 2010, vol. 8/8, pp. 36–61.
4. Ivanova S. V. Voskresenie Hristovo (Resurrection of Christ), Saint-Petersburg, 2014.
5. Ivanova S. V. 2014 “Metamorfozy rossijskoj tradicii ikonografii Voskresenija” (Metamorphoses of Russian Tradition of Resurrection Iconography), in Observatorija kul'tury, Moscow, 2014, vol. 4, pp. 138–141.
6. Ivanova S. V. Ikona «Simvol very» v russkom iskusstve XVII v. (Icon of Creed in Russian Art of XVII Cent.), in Vestnik NovGU (in print).
7. Ivanova S. V. “Gravjury Apostol'skogo kredo i izmenenija ikonografii Voskresenija v Rossii” (Gravures of Apostolic Creed and Changes of Iconography of Resurrection in Russia), in Istorija i kul'tura. Issledovanija. Stat'i. Publikacii, Saint-Petersburg, vol. 12 (v pechati).
8. Ivanova S. V. 2015 “Apostol'skij Simvol very v knizhnoj illjustracii v zapadnoevropejskom iskusstve” (Apostolic Creed in Book Illustrations in West European Art), in Vestnik PSTGU. Ser. V: Voprosy istorii i teorii hristianskogo iskusstva, Moscow, 2015, vol. 1/17, pp. 45–54.
9. Ilarion (Alfeev), arhiep. Hristos — pobeditel' ada. Tema soshestvija vo ad v vostochnohristianskoj tradicii (Christ — Winner of Hell. Theme of Descending to Hell in Eastern Christian Tradition), Saint-Petersburg, 2001.
10. Stepanov A. V. Iskusstvo jepohi Vozrozhdenija. Niderlandy, Germanija, Francija, Ispanija, Anglija (Art of Renaissance Epoch. Nederland, Germany, France, Spain, England), Saint-Petersburg, 2009.
11. Bartsch A. The Illustrated Bartsch, New York, 1978–1983.
12. Loerke M.-М.-О. Hollenfahrt Christi und Anastasis. Ein Bildmotiv im Abendland und im christlichen Osten. Inaugural-Dissertation zur Erlangung der Doktorwurde der Philosophischen Fakultät I der Universität Regensburg, Regensburg, 2003.
13. Mielke H. Albrecht Altdorfer: Zeichnungen, Deckfarbenmalerei, Druckgraphik, Berlin, 1988.
14. Passavant J. D. Le peintre-Graveur. Tome cinquieme, Leipsic, 1864.
15. Orenstein N. M. (ed.) Pieter Bruegel the Elder: Drawings and Prints, New York, New Haven, London, 2001.

Ivanova Svetlana

In recent years much attention of art historians is attracted by the icons of the XIIIth century. That can be explained by the new possibilities of restoration and increased number of icons which are available for the studying including the miraculous that was not possible before. The purpose of work - is the new view on the sacral images in the Florentine region at the example of the Mother of God icons and to find out the reasons of Virgin images’ evolution throughout the century. The historical background in Tuscany in the early XIIIth played an important role in distribution of icons mainly by monastic orders. That is the period when a lot of Byzantine art works appear in that region which previously got here very rarely. During the century grew an attention to visual images, their functions are being rethought and as a result the image of the Virgin is being changed. Instead of Byzantine copies of icons and lapidary images of the beginning of the century gradually came emotional, corporal images with features of a new style. The reasons for these changes is a radical transformation of religious consciousness not only among theologians, but also in society as a whole, which took place during the XIIIth century in Italy.

Virgin image, icon-painting, painting of XIIIth century, Florentine icon, miraculous icon, sacral image , veneration of icon, sacred image , iconography, Madonna Impruneta, Madonna Rovezzano, Santa Maria Primerana, Meliore di Jacopo, Florentine paintin

1. Bel'ting H. Obraz i kul't. Istorija obraza do jepohi iskusstva (Image and Cult. History of Image before Epoch of Art), Moscow, 2002.
2. Zhil'son Je. Filosofija v Srednie veka (Philosophy in Middle Ages), Moscow, 2010.
3. Karsavin L. P. Osnovy srednevekovoj religioznosti v XII–XIII vekah preimushhestvenno v Italii (Grounds of Medieval Religiosity in XII–XVII Centuries Mainly in Italy) [1915], Saint-Petersburg, 1997.
4. Pivoev V. M. Jestetika (Esthetics), Moscow, 2013.
5. Raevskaja N. Ju. Svjashhennye izobrazhenija i izobrazhenija svjashhennogo v Hristianskoj tradicii (Holy Images and Images of Holy in Christian Tradition), Saint-Petersburg, 2011.
6. Jetingof O. E. Obraz Bogomateri. Ocherki vizantijskoj ikonografii XI–XIII vekov (Image of God Mother. Essays in Byzantine Iconography of XI–XIII Centuries), Moscow, 2000.
7. Boskovits M. The Origins of Florentine Painting, 1100–1270, Florence, 1993.
8. Derbes A., Neff A. 2004 “Italy, the Mendicant Orders and Byzantine Sphere”, in Byzantium. Faith and Power (1261–1557), New Haven, London, 2004.
9. Holmes M. The Miraculous Image in Renaissance Florence, New Haven, London, 2013.
10. Tartuferi A. Giunta Pisano, Soncino, 1992.

Pugacheva Irina

The Saint-Boris-and-Saint-Gleb cathedral is the earliest and one of the most important monuments of Staritsa. It was founded in 1558-1561 after the conquest of Kazan. The cathedral has passed through many rebuildings. It was destroyed in 1802-1803. The article analyses its history and main architectural features, such as, for example, the phenomenon of the tented roof architecture.

architecture, cathedral, Ivan IV, Middle Ages, tented roo, Staritsa

1. Batalov A. L. 1993 “Ideja mnogoprestol'nosti v moskovskom kamennom zodchestve serediny — vtoroj poloviny XVI veka” (Idea of Many Altars in Moscow Stone Building of Middle and 2nd Half of XVI Century), in Russkoe iskusstvo pozdnego Srednevekov'ja. Obraz i smysl: sb. nauch. tr. NII teorii i istorii izobrazitel'nyh iskusstv RAH, Moscow, 1993, pp. 103–141.
2. Voronec M. Je., Voronov V. S. 1916 “Izrazcovye Raspjatija Uspenskogo sobora v Dmitrove”, in Sbornik statej v chest' grafini P. S. Uvarovoj, Moscow, 1916, pp. 87–97.
3. Voronin N. N. Zodchestvo Severo-Vostochnoj Rusi XII–XV vekov (Building of North-East Rus’ of XII–XV Centuries), Moscow, 1962, vol. 2.
4. Zagraevskij S. V. 2005 “Voprosy datirovki pamjatnikov Aleksandrovskoj slobody XVI veka” (Question of Dating of Memorials of Alexandrovskaja Sloboda of XVI Century), in Novye issledovanija pamjatnikov arhitektury Aleksandrovskoj slobody, Moscow, 2005, pp. 5–30.
5. Il'in M. A. Russkoe shatrovoe zodchestvo. Pamjatniki serediny XVI veka (Russian Hipped Building. Memorials of Middle of XVI Century), Moscow, 1980.
6. Kavel'maher V. V. 1995 “Cerkov' Troicy na gosudarevom dvore drevnej Aleksandrovoj Slobody” (Trinity Church in Sovereign Court of Old Alexandrovskaja Sloboda), in Pamjatniki arhitektury drevnej Aleksandrovoj Slobody: sb. st., Vladimir, 1995, pp. 24–29.
7. Kavel'maher V. V., Chernyshev M. B. Drevnij Borisoglebskij sobor v Starice (Old Borisoglebskij Cathedral in Starica), Moscow, 2008.
8. Salimov A. M. 2007 “Borisoglebskij sobor v Starice po materialam poslednih issledovanij” (Cathedral in Starica according to Materials of Latest Studies), in Seminarium Bulkinianum II: K 70-letiju so dnja rozhdenija V. A. Bulkina, Saint-Petersburg, 2007, pp. 118–158.
9. Soedinjaja cep' vekov. Starickij monastyr' — obitel' pervogo patriarha (Starickij Monastery — Dwelling-Place of the First Patriarch), Moscow, 2010.
10. Filippov A. V. Drevnerusskie izrazcy (Old Russian Tiles), Moscow, 1938, vol. 1.
11. Filippov A. V. Russkie polivnye izrazcy XVI veka (Russian Poured Tiles of XVI Century), Moscow, 1915.

Iakubova Anna

The article «About the collection of the Archaeological Church Museum of St. Tikhon's Orthodox University» is devoted to a description and characterization of the modest collection of graphic works of the museum. This collection of graphics evolved unevenly. Some of the works were presented to the museum by private individuals. The museum acquired only works on the church and religious themes, or works devoted to the Romanov dynasty. A significant part of the collection consists of tables from books and albums dating back to the end of the XVIIIth - to the beginning of XXth century. There are also manuscripts. Among the manuscripts there are contracts for the supply of wine and documents for the sale of land. Apart from a certain historical value, there should be noted the significance of these documents as authentic samples of paleography, which allow us to study the handwriting and spelling of different periods. Earlier of the exhibits are burin engravings and etchings, later - steel engraving and cliché print. The museum's collection also includes works made using the techniques of lithography and mezzotint. Of particular interest are works such as «The Dream of Napoleon» and three small engravings depicting the calamities, that befell the destruction of Jerusalem. A special place in the collection is taken up by a small amount of chromolithographs from the late XIXth and early XXth century.

engraving, hand-coloured etching, print, graphic arts, lithography, chromolithography

1. Aleksandrova N. N. Russkaja gravjura XVIII — nachala XX veka (Russian Gravure of XVIII — Begin of XX Century), Moscow, 1987.
2. Belov S. V., Tolstjakov A. P. Russkie izdateli konca XIX — nachala XX veka (Russian Editors of End of XIX — Begin of XX Century), Leningrad, 1976.
3. Dinershtejn E. A. I. D. Sytin, Moscow, 1983.
4. Zabolotskih B. V. Russkaja gravjura (Russian Gravure), Moscow, 1993.
5. Ruud Ch. Russkij predprinimatel' moskovskij izdatel' Ivan Sytin (Russian Businessman Moscow Editor Ivan Sytin), Moscow, 1996.

Nefedova Nadezhda

The article «Тhе еngraving “The Dream of Napoleon” from the collection of the Archaeological Church Museum of St. Tikhon's Orthodox University: search samples and interpretation experience» is about the engraving, which was made in the XIXth century in Russia. The name of the engraving does not reflect the content of the engraving: it was given incorrectly in an antiquarian shop, where the engraving was sold. Anonymous Russian artist used in his work the composition of the Prudhon’s canvas «Divine Retribution and Justice, pursuing Crime» (1808. Louvre). Were also taken details of the French satirical engravings dedicated to Napoleon: «Départ pour l'Ile d'Elbe» (Anonymous author, 1814. British Museum, № 1856,0712.652), «Le César de 1815. Je suis venu, j'ai vu... j'ai fui» (Pierre Joseph Moithey, 1815. British Museum. № 1988, 1001. 23). Engraving made by Russian artist, has original details: the image of execution of the Duke of Enghien, the bodiеs of the fallen soldiers and woman in chains, symbolizing France or the liberation of Europe. Taking the above into account, this engraving could be called: «Retribution and Justice, pursuing Napoleon»

engraving, etching, print, hand-colored etching, graphic arts, Napoleon I, Napoleon's wars, France, Russia, Mosсow, Louis Antoine de Bourbon Duke of Enghien, Pierre-Paul Prudhon.

1. Vereshhagin V. A. Russkaja karikatura. Otechestvennaja vojna: Terebenev, Venecianov, Ivanov (Russian Caricature. Patriotic War: Terebenev, Venecianov, Ivanov), Saint-Petersburg, 1912, vol. 17.
2. «Vospominanie izbavlenija ot nashestvija gallov…». Russkaja ikona v kanun vojny 1812 g. Katalog vystavki (“Memory of Deliverance from Galls Invasion…” Russian Icon on Eve of the War of 1812. Catalogue of Exhibition), Moscow, 2014.
3. Klepikov S. A. Satiricheskie teksty 1812–1813 godov (svodnaja bibliografija) (Satiric Texts of 1812-1813 (General Bibliography)), Moscow, 1962.
4. Collection De Vinck. Un siècle d'histoire de France par l'estampe. Inventaire analytique, Paris, 1909.
5. Stephens F. G., George M. D. (eds.) Catalogue of Political and Personal Satires in the Department of Prints and Drawings in the British Museum, London, 1870.

Nefedova Nadezhda

S. Noakowski (1867-1928) was a Polish-Russian architect and graphic artist. He is best known for his architectural pictures. Catholic and Orthodox church architecture, art history, and problems of style were the themes of his images. He worked through these problems of style and art history in his architectural phantasies and drawings. This study aims to clarify the following question: why aren’t positive cultural Polish-Russian interactions in the nineteenth century represented in the Polish national memory. Noakowski’s life was typical of that of thousands of Polish intellectuals. He was born in a traditional Polish noble family in Russian Poland. Along with many Polish young men during the period from the mid-nineteenth century until World War I, he migrated to the heart of the Russian Empire for higher education and carved out a brilliant career in St. Petersburg and Moscow. After the restoration of Poland's independence, Noakowski returned to his fatherland and took and active part in the development of Polish art education. This article focuses on sociocultural adaptation for Poles during the process of resettlement from Russian Poland to other parts of Russia as well as during the process of repatriation back to newly independent Poland. It also discusses features of art education and cultural heritage institutions and will highlight Noakowski’s special position in relation to the question of the preservation of the Orthodox architectural heritage in Warsaw.

S. Noakowski, Polish national memory, art education, art conservation, St. Alexander Nevsky Cathedral in Warsaw

1. Zhebelev S. A. 2002 “Graf Ivan Ivanovich Tolstoj (1858–1916)” (Count Ivan Ivanovich Tolstoj (1858–1916)), in Memuary grafa I. I. Tolstogo, Moscow, 2002, pp. 388–404.
2. Klychnikov V. M. 1999 “Material'noe polozhenie i organizacija hozjajstvennoj dejatel'nosti hudozhnikov Moskvy nakanune revoljucionnyh sobytij 1917 goda” (Material Situation and Organization of Household Activity of Moscow Artists before Revolution Events of 1917), in Armageddon: aktual'nye problemy istorii, filosofii, kul'turologii, Moscow, 1999, vol. 5, pp. 69–84.
3. Komarova I. I. 2010 “Marian Ljalevich”, in Rol' nauchnyh obshhestv Rossii v razvitii arhitekturnoj nauki i ohrany pamjatnikov, Moscow, 2010, pp. 577–578.
4. Kulikov S. V. 2009 “Graf I. I. Tolstoj i reforma Imperatorskoj akademii hudozhestv 1893–1894 gg.” (Count Graf I. I. Tolstoj and Reform of Emperor Academy of Arts in 1893–1894), in Vo glave Imperatorskoj akademii hudozhestv... Graf I. I. Tolstoj i ego korrespondenty 1889–1898, Moscow, 2009, pp. 10–74.
5. Tolstaja L. I. 2009 “Vmesto predislovija” (Instead of Introduction), in Vo glave Imperatorskoj akademii hudozhestv... Graf I. I. Tolstoj i ego korrespondenty 1889–1898, Moscow, 2009, pp. 7–9.
6. Dettloff P. Odbudowa i restauracja zabytków architektury w Polsce w latach 1918–1938. Teoria i praktyka (Reconstruction and Restauration of Architecture Memorials in Poland in 1918–1938. Theory and Practice), Kraków, 2006.
7. Grzegorczyk P. 1959 “Bibliografia Stanisława Noakowskiego” (Bibliography of Stanisław Noakowsky), in Biegańsky P. (ed.) O Stanisławie Noakowskim, Warsaw, 1959, pp. 303–369.
8. Kotula K. Stanisław Noakowski: z kolekcji Muzeum Ziemi Kujawskiej i Dobrzyńskiej we Włocławku. Katalog wystawy (Stanisław Noakowski: from Collection of Museum of Kujawsa and Dobrzyńska Land in Włocławek. Exhibition Catalogue), Włocławek, 2000.
9. Manikowska E. 2010 “Wielka wojna i zabytki” (Great War and Memorials), in Manikowska E., Jamskij P. Polskie dziedzictwo kulturowe u progu niepodległości: wokół Towarzystwa Opieki nad Zabytkami Przeszłości, Warsaw, 2010, pp. 21–91.
10. Paszkiewicz P. Pod berłem Romanowów: sztuka rosyjska w Warszawie 1815–1915 (Under Reign of Romanovy: Russian Art in Warsaw in 1815–1915), Warsaw, 1991.
11. Poklewski J. Polskie życie artystyczne w międzywojennym Wilnie (Polish Art Life in Wilna between Wars), Toruń, 1994.
12. Polanowska J. 1998 “Noakowski Stanisław Witold”, in Mikockia Rachubowa K., Biernacka M. (eds.) Słownik artystów polskich i obcych w Polsce działających (zmarłych przed 1966). Malarze, rzeźbiarze, graficy, Warsaw, 1998, vol. 6, pp. 100–108.
13. Wallis M. Lata nauki i mistrzostwa Stanisława Noakowskiego (Years of Study and Mastery of Stanisław Noakowski), Warsaw, 1971.

Sloistov Sergei

The key problem of this article is preservation of monumental painting, created by Russian artists of the mid 19th - early 20th century. For many years, researchers didn’t see the artistic value in the paintings of that time and not really tried to preserve it for posterity. Because of this attitude, many monuments in Russia have been lost forever. In this connection we have some interesting examples of religious art, preserved outside of our country. One of these truly unique monument is the St. Alexander Nevsky Cathedral in Sofia, built in honor of the thousands of Russian soldiers who died for the liberation of Bulgaria from Ottoman rule. Fortunately, it does not suffer the fate of those temples that was erected in memory of this event in other Balkan countries, and it survives till nowdays almost in its original form. Here are preserved superior murals and icons by V. M. Vasnetsov, A. A. Kiselev, A. M. Korin, P. E. Myasoedov and other Russian and Bulgarian artists. At the moment, due to lack of proper conditions of preservation and insufficiency of funds frescoes of Sofia’s cathedral threatens destruction, so it is important now is to draw attention to the problem of preserving these monumental religious art that are part of our common cultural heritage.

Russian artists of the mid XIX- early XX century, the St. Alexander Nevsky Cathedral in Sofia, monumental religious paintings, the Russian-Turkish war of 1877–1878, lost monuments, A. N. Pomerantsev, V. M. Vasnetsov, A. A. Kiselev, A. M. Korin, P.

1. Kolpakova G. S. Iskusstvo Vizantii. Rannij i Srednij periody (Byzantine Art. Early and Middle Periods), Saint-Petersburg, 2004.
2. Reshetnikova O. N. Russkij hram v Sofii (Russian Church in Sofia), Moscow, 2014.
3. Reshetnikova O. N. Hram kak simvol svobody (Church and Symbol of Freedom), in http://www.liveinternet.ru/users/adpilot/page412.html (Date: 20.12.2014).
4. Solov'ev V. S. Chtenija o Bogochelovechestve. Duhovnye osnovy zhizni. Opravdanie dobra (Reading about God-Human. Spiritual Grounds of Life. Justification of Good), Minsk, 1999.
5. Tosho Pejkov. Patriarsheskata katedrala «Sv. Aleksand’r Nevski». Stroiteli, prilozhnici, hudozhnici (Patriarch Cathedral “St. Alexandr of Neva”. Builders, Artists), Sofia, 2012.

Korina Nataliia

Creative work of Modest Mussorgsky contains motet «Angel vopiyashe» for mixed choir. This motet has been arrogated to Mussorgsky by russian precentors. After publication of the article, which was written by E. M. Levashev, doubts about authorship of the motet were disappeared. Notes, which were containing the autograph of real author, appeared in internet in 1990s. It was Nikolaj Uvarov, the composer from Orenburg. His notes were kept in private library of bishop Methodius (Orenburg, Harbin, Sydney). This article treats of Uvarov and contains music of two choirs.

Easter Hymn, Mussorgsky, Uvarov, Marshal of the Nobility L. I. Schott, Bishop Methodius (Gerasimov), orthodox churches in Harbin and Sydney

1. Levashev E. M. 1981 “Neizvestnoe sochinenie” (Unknown Work), in Sovetskaja muzyka, 1981, vol. 3, pp. 111–112.
2. Rahmanova M. P. «…Ja ne sluzhitel' religioznogo kul'ta, a chlen Profsojuza…» (Delo Dramsojuza) (“…I am not Attendant of Religious Cult, but Member of Trade Union…” (Case of Dramsojuz)), in Iskusstvo muzyki: teorija, istorija, 2013, vol. 7, pp. 23–46.

Lebedeva-Emelina Antonina

In our time when a number of recovering temples and monasteries is increasing and it takes a lot of money on rebuilding their profusion, the most diffi cult problems of the spiritual revival of the parish’s life, the creation of true community and truly clear and choir often recede into the background. In this context the appeal to the life of the Regent, about 60 years served in the choir, not wanting assessment of her merits, without receiving a salary is especially important. It’s important to understand that the service of God, fi rst of all, you need to make prayer a prayer, thanking God for such a high calling and not only as a choral performance, revealing the talent of the composer and conductor and means to assert himself.

the revival of spiritual’s life, service to God, church singing, clear, choir, regent

1. Muzykina V. “Vsjakoe dyhanie da hvalit Gospoda” (“Let Everything that Has Breath Praise the Lord”), in Arhangel'skij eparhial'nyj vestnik, in http://www.arhpress.ru/eparh/2003/11/11/2.shtml.

Koroleva Tat'iana