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

The article analyzes peculiarities of the development of the North African Church in connection with the local tradition of veneration of martyrs and confessors. Archaeological and literary studies allow us to conclude that in North Africa the pagan attitude towards death and the dead ancestors continued in Christian times as well, reflected most in ideology and architectural features of donatist churches. The controversy and the struggle against paganism and donatism waged by known bishops Augustine of Gippon and Aurelius of Carthage created a theological basis to overcome these negative trends, as reflected in monuments of the North African Christian architecture 5th–6th centuries.

martyr; tomb; North Africa; st. Augustine; st. Cyprian Of Carthage; donatism; funerary meal; the altar; mensa; the Basilica; the apse

1. Zhjul'en Sh.-Andre. Istorija Severnoj Afriki. Tunis. Alzhir (History of Northern Africa. Tunis. Algeria), Moscow, 1961.
2. Elbern V. H. 1979 “Altar Implements and Liturgical Objects”, in Weitzmann K. (ed.) Age of Spirituality: Late Antique and Early Christian Art, Third to Seventh Century, New York, 1979, pp. 592–640.
3. Frend W. H. C. The Donatist Church, Oxford, 1952.
4. Jensen R. M. 2008 “Dining with the Dead: From the Mensa to the Altar in Christian Late Antiquity”, in Brink L., Green D. (eds.) Commemorating the Dead. Texts and Artifacts in Context. Studies of Roman, Jewish, and Christian Burials, Berlin, New York, 2008, pp. 107–143.
5. Krautheimer R. Mensa-Coemeterium-Martyrium in Studies in Early Christian, Medieval and Renaissance Art, New York, 1969.
6. Markus R. A. 1983 “Donatism: the Last Phase”, in From Augustine to Gregory the Great. History and Christianity in Late Antiquity, London, 1983, pp. 118–126.
7. Metzger C. 1991 “Le mobilier liturgique”, in Naissance des arts chrеtiens, Paris, 1991.
8. Quasten J. “«Vetus Superstitio et Nova Religio» the Problem of Refrigerium in the Ancient Church of North Africa“, in The Harvard Theological Review, 1940, vol. 33/4, pp. 253–266.

Urbanovich Iurii

A stylistic analysis of the frescoes in the St. Nicholas church of the Kintsvisi monastery through the artistic approaches (features of drawing and modes of modeling) constitutes the principal object of this paper. The preliminary drawing of nearly all the images in the church is very detailed and firm and in our opinion was made by one and the same person. Despite the mode of the facial modeling was definite for the whole workshop, we can distinguish several manners at this stage of the image creation. The drawing of the draperies conforms to the schemas proper to the Byzantine monumental paintings from the 11th to the early 13th centuries. As earlier, the fl atness dominates in the treatment of figures, the impression of the corporeality is neutralized. Whereas the drawing of the draperies after its linearity and stylization remounts to the tradition of the second quarter of the 12th century (Ateni, Mirozh) and after its thick rhythm and fine lines approaches to the late Comnenian painting, the soft outlines, wide silhouettes (“monumental” style) and more organic proportions are proper to the turn of the 13th century. Also the tender expression on the subtly modeled faces and the absence of bright highlights (an element which imparts a more dramatic quality) approximate Kintsvisi (and its closest analogy in Georgian art — Timotesubani) to the tendencies that we can see in the contemporary frescoes of Studenica (1208–1209), in several images of St. Neophytos of Cyprus (c. 1200) and in a variety of icons dating “around the year 1200” (Mount Sinai).

Monumental painting of the 12th–13th centuries, Georgian art, the art in Transcaucasia, Byzantine painting, the style around “the year 1200”, frescoes of Studenica, style of the frescoes of Kintsvisi, Kintsvisi, Timotesubani, Vardzia

1. Alibegashvili G. Svetskij portret v gruzinskoj srednevekovoj monumental'noj zhivopisi (Secular Portrait in Georgian Medieval Monumental Painting), Tbilisi, 1979.
2. Virsaladze T. 1977 “Osnovnye jetapy razvitija gruzinskoj srednevekovoj monumental'noj zhivopisi” (Main Stages of Development of Georgian Monumental Painting), in II Mezhdunarodnyj simpozium po gruzinskomu iskusstvu, Tbilisi, 1977.
3. Kakovkin A. Ja. 1987 “O datirovke rospisej hrama sv. Grigorija (1215 g.) v Ani” (About Paintings of Church of St. Grigorius (1215) in Ani), in Vizantijskij vremennik, Moscow, 1987, vol. 48, pp. 108–115.
4. Privalova E. Rospis' Timotesubani. Issledovanie po istorii gruzinskoj srednevekovoj monumental'noj zhivopisi. Tbilisi, 1980.
5. Privalova E. Vardzija, Tbilisi, 1982.
6. Privalova E. L. 1977 “O gruzinskoj monumental'noj zhivopisi rubezha XII — XIII vv.” (About Georgian Monumental Painting at the Turn of XII–XIII Cent.), in II Mezhdunarodnyj simpozium po gruzinskomu iskusstvu, Tbilisi, 1977.
7. Privalova E. Pavnisi, Tbilisi, 1977.
8. Didebulidze M. Artistic Qualities of the Wall Painting of St. Nicholas Church at Kintsvisi (Relation of the Georgian wall painting to the Byzantine art at turn of the 13th century). Specialty 17.00.09. History and Theory of Art. Author-abstract of the Thesis submitted for obtaining Degree of Doctor in the History of Art, Tbilisi, 2006.
9. Didebulidze M., Kuprashvili N. 2002 “Conservation of the Kintsvisi Wall Paintings — Example of the Integrated Intervention Program”, in Glasnik Drustva Konzervatora Srbije, Beograd, 2002, vol. 26.
10. Gittins M. 2009 “Methodological and Practical Approaches to the Conservation of three Georgian Wall Paintings”, in Proceedings of Vakhtang Beridze 1st International Symposium, Tbilisi, 2009, pp. 341–346.
11. Lidov A.M. The Mural Paintings of Akhtala, Moscow, 1991.
12. Mouriki D. 1981 “The Formative Role of Byzantine Art on the Artistic Style of the Cultural Neighbours of Byzantium. Reflections of Constantinopolitan Styles in Georgian Monumental Painting”, in Jahrbuch der österreichischen Byzantinistik, Wien, 1981, vol. 31, pp. 725–757.
13. Thierry N. 1983 “Les peintures de l’église de Kiranc“, in IV Mezhdunarodnyj simpozium po gruzinskomu iskusstvu, Tbilisi, 1983.
14. Thierry N. “Les peintures de la cathédrale de Kobayr (Tachir)”, in Cahiers archéologiques. Fin de l'antiquité et moyen-âge, Paris, 1980–1981, vol. 29, pp. 103–122.
15. Vedovello S. A. 2009 “Shared Project”, in Proceedings of Vakhtang Beridze 1st International Symposium, Tbilisi, 2009, pp. 337–340.
16. Simonishvili N. Rospis' cerkvi Bogorodicy v Kincvisi. Avtoref. … dis. kand. isk. (Painting of God Mother Church in Kincvisi. Dissertation Abstract), Tbilisi, 1994 (in Georgian).

Tatarchenko Svetlana

The article explores the vaulted constructions of the premongolian churches in Novgorod, Pskov and Old Ladoga. This aspect of the Novgorod architectural tradition has never been a subject of a separate study. Most of the data has not been published and exists in the archives in the restoration and measure reports. Therefore this article is designed to fill the lacuna in the knowledge about Novgorod architecture, collecting information scattered among the articles and reports. The first part provides the general review of the vault types and their combinations used in Novgorod churches and various technologies with which the builders constructed the vaults in the middle of the 11th ‒ first third of 13th centuries. The thorough research of the monuments during the restoration supplied the evidence of diff erent wooden structures that supported the masonry of the bay vaults, and the false dome technique for the conchs and the pendentives. The main content of the article represents the technical aspect of the history of vaulting at all the stages of the Novgorod architecture up to 1240. The essay deals with the building materials and masonry technique and studies the way the forms introduced in the Sophia cathedral were interpreted in the following development of the local architectural school. The holistic approach enables to trace the changes that brought to life the new architectural type with halfbarrel vaults in the corners and three-bladed facades.

premongolian architecture, Novgorod, Old Ladoga, Pskov, Masonry technique, materials, technology of vaulting

1. Alferova G. V. 1958 “Sobor Spaso-Mirozhskogo monastyrja” (Cathedral of Spaso-Mirozhskogo Monastery), in Arhitekturnoe nasledstvo, Moscow, 1958, vol. 10, pp. 3–32.
2. Arhitekturnoe nasledie Velikogo Novgoroda i Novgorodskoj oblasti: Katalog pamjatnikov (Architecture Heritage of Velikij Novgorod and Novgorodskaja Region: Memorials Catalogue), Saint-Petersburg, 2008.
3. Betin L. V. 1982 “O restavracii stenopisi Preobrazhenskogo sobora Mirozhskogo monastyrja v Pskove”, in Restavracija i issledovanija pamjatnikov kul'tury, Moscow, 1982, vol. 2, pp. 164–170.
4. Ioannisjan O. M. 2002 “K voprosu ob jelementah romanskoj arhitektury Sofijskogo sobora v Novgorode” (To Question about Elements of Roman Architecture of Sophia Cathedral in Novgorod), in Iskusstvo Drevnej Rusi i ego issledovateli, Saint-Petersburg, 2002, pp. 88–113.
5. Komech A. I. Drevnerusskoe zodchestvo konca XI — nachala XII veka. Vizantijskoe nasledie i stanovlenie samostojatel'noj tradicii (Old Russian Architecture of End of XI — Begin of XII Century. Byzantine Heritage and Making of Independent Tradition), Moscow, 1987.
6. Lalazarov S. V. 2002 “Arhitektura cerkvi sv. Georgija” (Architecture of St. George Church), in Cerkov' sv. Georgija v Staroj Ladoge: Istorija, arhitektura, freski, Moscow, 2002, pp. 69–124.
7. Lalazarov S. V. 2003 “Plinfa cerkvi Georgija v Staroj Ladoge” (Bricks of St. George Church in Staraja Ladoga), in Arhitekturno-arheologicheskij seminar. Iz istorii stroitel'noj keramiki srednevekovoj Vostochnoj Evropy. Materialy nauchnogo zasedanija 14–15 maja 2002 g., Saint-Petersburg, 2003, pp. 76–85.
8. Mil'chik M. I., Shtender G. M. 1988 “Zapadnye kamery sobora Mirozhskogo monastyrja vo Pskove. (K voprosu o pervonachal'noj kompozicii hrama)” (Western Parts of Cathedral of Mirozhskij Monastery in Pskov (to Question of Original Composition of the Church)), in Drevnerusskoe iskusstvo. Hudozhestvennaja kul'tura X — pervoj poloviny XIII v., Moscow, 1988, pp. 77–94.
9. Mihajlov S. P. 1982 “Issledovanie sobora Ioanna Predtechi v Pskove” (Study on Cathedral of St. John Baptist in Pskov), in Kratkie soobshhenija Instituta arheologii, Moscow, 1982, vol. 172, pp. 74–79.
10. Novoselov N. V. Ot Blagoveshhenija do Blagoveshhenija. Stroitel'noe proizvodstvo Novgorodskoj zemli v period slozhenija mestnoj arhitekturnoj shkoly. SPb., 2000.
11. Rappoport P. A. Stroitel'noe proizvodstvo Drevnej Rusi (X–XIII vv.) (Building Industry of Old Rus’ (X–XIII Cent.)), Saint-Petersburg, 1994.
12. Sedov Vl. V. 2009 “Cerkov' Rozhdestva Bogorodicy v Peryni: novgorodskij variant bashneobraznogo hrama” (Church of Birth of God Mother in Peryn’: Novgorod Variant of Tower-Like Church), in Drevnerusskoe iskusstvo. Ideja i obraz. Opyty izuchenija vizantijskogo i drevnerusskogo iskusstva, Moscow, 2009, pp. 29–54.
13. Suslov V. V. 1899 “O svodchatyh pokrytijah v cerkovnyh pamjatnikah drevnerusskogo zodchestva” (About Vaulted Covering in Church Memorials of Old Russian Architecture), in Trudy II s’ezda russkih zodchih v Moskve, Moscow, 1899, pp. 138–156.
14. Torshin E. N. 2007 “Polockie stroiteli v Smolenske i Novgorode” (Polock Builders in Smolensk and Novgorod), in Izuchenie i restavracija pamjatnikov drevnerusskoj arhitektury i monumental'nogo iskusstva. Trudy GJe, Saint-Petersburg, 2007, vol. 34, pp. 74–88.
15. Shtender G. M. 1977 “Pervichnyj zamysel i posledujushhie izmenenija galerej i lestnichnoj bashni Novgorodskoj Sofii” (Original Intention and Next Changes of Galleries and Ladder Tower of Sophia in Novgorod), in Drevnerusskoe iskusstvo: Problemy i atribucii, Moscow, 1977, pp. 30–54.
16. Shtender G. M., Kovaleva V. M. 1982 “O formirovanii drevnego arhitekturnogo oblika sobora Antonieva monastyrja v Novgorode” (About Forming of Old Architecture Image of Cathedral of Antoniev Monastery in Novgorod), in Kratkie soobshhenija Instituta arheologii, Moscow, 1982, vol. 171, pp. 54–60.

Trushnikova Aleksandra

The main aim of this article is to compare the results of restoration research of the roofs of Novgorodian buildings of the 11th — first half of the 13th century, the types of gutters and the mortises for the crosses with the evidence of written sources. Only thirteen monuments of Novgorodian architecture of the 11th — first half of the 13th century saved the traces of the roofings. The results of restoration research show the similarity of the building materials and constructive elements used for the roofi ngs at that time. Lead was the main roofing material for the Novgorodian buildings of Pre-Mongolian period. The lead roofi ng consisted of thin plates, which were nailed exactly to the smooth layer of mortar, lying on the vaults. The traces of nails, the nails themselves and the drops of lead were found in this layer of mortar. Many fires and rebuilding of roofi ngs caused the loss of the majority of lead plates. The evidence of chronicles also proved that the churches of Pre-Mongolian period were covered with lead roofs. Although it is very solid and persistent to the rain and sun, the lead roofing has one drawback: it cannot survive fi re. St Sophia cathedral in Novgorod could have been originally covered by tiles, but it is possible, that the lead roofing could exist from the time of the building of the church. Grigoriy Shtender thought that the Transfiguration church on Nereditsa hill and St Parasceva church in Novgorod had wooden roofs, which were laid on the roof timbers. The analysis of the restoration data shows that these churches could also have the lead roofi ngs. The layout of gutters is closely connected with the type of roofings. The halves of the logs with the 35–40 cm diameter were used for the gutters. The types of the fastening of the crosses, which stood in the middle of the dome, can rarely be traced. The mortise of conical shape can be found in the centre of the dome. The cross was placed in this mortise and fastened by lime slabs.

Old Russian architecture, Pre-Mongol Rus’, roofs, lead roofs, Novgorod the Great, the constructive technology

1. Alferova G. V. 1958 “Sobor Spaso-Mirozhskogo monastyrja” (Cathedral of Spaso-Mirozhskij Monastery), in AN, 1958, vol. 10, pp. 3–32.
2. Arcihovskij A. V. 1960 “Novye novgorodskie gramoty” (New Novgorod Documents), in SA, 1960, vol. 1, pp. 230–244.
3. Gladenko T. V., Krasnorech'ev L. E., Shtender G. M., Shuljak L. M. 1964 “Arhitektura Novgoroda v svete poslednih issledovanij” (Architecture of Novgorod in Light of Latest Studies), in Novgorod. K 1100-letiju goroda: Sb. statej, Moscow, 1964, pp. 183–263.
4. Zaliznjak A. A. Drevnenovgorodskij dialekt (Old Novgorod Dialect), Moscow, 2004.
5. Istorija russkoj arhitektury (History of Russian Architecture), Saint-Petersburg, 1994.
6. Maroevich R. 1996 “Jetjudy po grammatike drevnerusskogo jazyka. I (K prochteniju Svincovoj gramoty)” (Etudes of Grammar of Old Russian Language. I (To Reading of Lead Document)), in Voprosy jazykoznanija, 1996, vol. 3, pp. 17–22.
7. Nikitin V., Golubeva I. 2009 “Edinstvennyj na Rusi. Istorija sozdanija, zhizni i restavracii Spaso-Preobrazhenskogo sobora Mirozhskogo monastyrja. Ch. 1: XII vek” (Sole in Rus’. History of Making, Life and Restauration of Transfiguration Cathedral of Mirozhskij Monastery. Vol. 1: XII Century), in Pskovskaja gubernija, 2–8 sentjabrja 2009 g., vol. 33/454.
8. Ousterhaut R. Vizantijskie stroiteli (Byzantine Builders), Kiev, Moscow, 2005.
9. Petrov D. A. 1993 “Letopisi ob ustrojstve svincovyh pokrytij v Novgorode i Pskove v XII–XV vv.” (Chronicles about Structure of Lead Coverings in Novgorod and Pskov in XII–XV Cent.), in Problemy istorii i kul'tury, Rostov, 1993, pp. 124–128.
10. Rappoport P. A. Stroitel'noe proizvodstvo Drevnej Rusi (X–XIII vv.) (Building Industry of Old Rus’ (X–XIII Cent.)), Saint-Petersburg, 1994.
11. Rappoport P. A. Drevnerusskaja arhitektura (Old Russian Architecture), Saint-Petersburg, 1993.
12. 1962 “Vosstanovlenie Neredicy” (Reconstruction of Neredica), in NIS, 1962, vol. 10, pp. 169–205.

Antipov Il'ia

Jerusalem Cross in the Orthodox Church is often called «pilgrim cross». It is widely believed that this cross has no Orthodox roots and came after the capture of Jerusalem, Knights of the First Crusade. But there are ancient monuments that prove that these crosses were common in the Eastern Christian Church already in the 6th–7th centuries. A similar cross also was on the flag of Byzantium. But in the place of crosses there was the sacred abbreviation dedicated to Jesus Christ: «King of Kings ruling over the kings». Since the 16 century similar crosses were placed on the flags of the Russian regular army. Their form goes back to the equilateral cross, the phenomenon of St. Constantine. Five-parted composition can be interpreted as the image of unity of the Orthodox Church. Cross of St. Constantine the Great was imaged in different ways already during his life. It is known that Emperor Constantine ordered to reproduce for many times the image of cross that he had seen in his vision. One of the greatest sacred objects for Christians became a precious cross donated by St. Constantine in the Hagia Sophia in Constantinople. It was set on a small podium, and it had short crossbeams on its ends. This cross was imaged on the back of the Byzantine coins for several centuries. Short beams of cross on the coins became to be imaged like T-completions. It is possible that the images on these coins had an influence on the iconography of the Teutonic and Jerusalem crosses in the 13th century. However, Godfrey of Bouillon brought to Jerusalem in 1099 the flag with cross without T-shaped endings. Probably, it was the flag of his father, Eustace II, with whom he became the hero of the Norman invasion of England. The flag was not a stamp, and the military. Its symbolism went back to Labarum of St. Constantine. Jerusalem Cross became the herb of Godfrey and the Knights of the Holy Sepulchre not earlier than in the 13 century due to the influence of spiritual activity of St. Francis of Assisi and developing heraldry.

Jerusalem Cross, Orthodox Church, crusades, the Cross of St. Constantine, pilgrim cross

1. Aljard K. Kniga o flagah (Book about Flags), Moscow, 1709.
2. Batalov A. 1994 “Grob Gospoden' v zamysle «svjataja svjatyh» Borisa Godunova” (Grave of Lord in Intention of “Sancta Sanctorum” of Boris Godunov), in Ierusalim v russkoj kul'ture, Moscow, 1994, pp. 154–171.
3. Bichikashvili I. 1998 “O gruzinskom istoricheskom gosudarstvennom flage i gerbe” (About Georgian Historical State Flag and Coat of Arms), in Gerboved, 1998, vol. 29, pp. 134–141.
4. Butyrskij M. N. 2004 “Krest na vizantijskoj monete” (Cross on Byzantine Coin), in Antikvariat. Predmety iskusstva i kollekcionirovanija, 2004, vol. 9/20, pp. 141–143.
5. Vagner G. 1886 “Vizantijskij hram kak obraz mira” (Byzantine Church and Image of World), in Vizantijskij vremennik, Moscow, 1886, vol. 47.
6. Vilinbahov G. V. Gosudarstvennaja geral'dika v Rossii: Teorija i praktika. Dis. … d-ra ist. nauk (State Heraldic in Russia: Theory and Practice. Dissertation), Saint-Petersburg, 2003.
7. Vilinbahov G. V. K voprosu o tradicijah v Gruzinskoj znamennoj simvolike (To Question about Traditions in Georgian Znamennaja Symbolic), Tbilisi, 1977.
8. Vilinbahov G. V. 1985 “Krest carja Konstantina v srednevekovoj voinskoj geral'dike Evropy” (Cross of Tsar Constantine in Medieval Military Heraldic in Europe), in Lukonin V.G. (ed.) Hudozhestvennye pamjatniki i problemy kul'tury Vostoka, Leningrad, 1985, pp. 188–196.
9. Vilinbahov G. V. 1983 “Legenda o «znamenii Konstantina» v simvolike russkih znamen XVII–XVIII vekov” (Legend about “Sign of Constantine” in Symbolic of Russian Banners of XVII–XVIII Centuries), in Trudy Gosudarstvennogo ordena Lenina Jermitazha, Leningrad, 1983, vol. 23, pp. 26–41.
10. Gnutova S. V. «Konstantinov krest» — drevnejshij pamjatnik rannehristianskogo iskusstva na territorii Rossii (“Constantine Cross” — Oldest Memorial of Early Christian Art in Territory of Russia), in http://www.icon-art.info/book_contents.php?book_id=68) (Date: 05.04.2015).
11. Lidov A. 2015 “Ikonichnost' i ikonicheskoe. O prostranstvennyh smyslah ikonnogo obraza“ (Iconicity and Iconical. About Space Senses of Icon Image), in Dary: Al'manah sovremennoj hristianskoj kul'tury, 2015, pp. 25–45.
12. Minin S. A. Pervyj krestovyj pohod v srednevekovoj kul'ture: dogovor Boga i cheloveka v narrative hronistov: Avtoref. dis. ... kand. ist. nauk: 24.00.01 (First Crusade in Medieval Culture: Treaty of God and Human in Chronists’ Narrative: Dissertation Abstract), M., 2009.
13. Polyvjannyj D.I. Kul'turnoe svoeobrazie srednevekovoj Bolgarii v kontekste vizantijsko-slavjanskoj obshhnosti IX–XV vv. (Cultural Originality of Medieval Bulgaria in Context of Byzantine-Slavic Community of IX–XV Cent.), Ivanovo, 2000.
14. Smirnov A. P. 1975 “Vynosnoj chekannyj krest grecheskoj raboty XI–XII vekov” (Remote Minted Cross of Greek Work of XI–XII Centuries), in Drevnerusskoe iskusstvo. Zarubezhnye svjazi, Moscow, 1975, pp. 27–40.
15. Sukina L. B. 2003 “«Korsunskij» zaprestol'nyj krest iz pereslavskogo nikol'skogo monastyrja” (“Chersoneses” Altar Cross from Pereslavskij Nikol’skij Monastery), in Gnutova S. V. (ed.) Stavrograficheskij sbornik, Moscow, 2003, vol. 2: Krest v Pravoslavii, pp. 157–163.
16. Shhedrina K. A. 2003 “Krest imperatora Konstantina Velikogo (k voprosu ikonografii)” (Cross of Emperor of Constantine the Great (to Question of Iconography)), in Gnutova S. V. (ed.) Stavrograficheskij sbornik, Moscow, 2003, vol. 2: Krest v Pravoslavii, pp. 55–66.
17. Riley-Smith J. 1979 “The Title of Godfrey of Bouillon”, in Bulletin of the Institute of Historical Research, 1979, vol. 52.
18. France J. 1983 “The Election and Title of Godfrey de Bouillon”, in Canadian Journal of History, 1983, vol. 18/3, pp. 321–329.
19. Murray Alan V. 1990 “The Title of Godfrey of Bouillon as Ruler of Jerusalem”, in Collegium Medievale, 1990, vol. 3, pp. 163–178.
20. Schick Baurath von. 1894 “The Jerusalem Cross”, in Palestine Exploration Fund - Quarterly Statement for 1894, pp. 183–189.

Gubareva Oksana

The problem of the genesis of medieval Western European and Byzantine architecture begins to be discussed in the foreign and Russian science in the mid-19th century. It’s obvious that the fundamental basis of both architectures is a deep unity of European artistic traditions running from late antique roots. However, some groups of monuments, even in such remote regions as Serbia and Russia demonstrate the typological proximity in the common sense and in lots of details. The Russian and Serbian architecture developing in parallel graduate borrowed Byzantine and Romanesque stylistic traits that led to the creation of the Temples constructions’ symbol becoming later the model for similar ones in the future. These processes are developed almost simultaneously in the middle of the 12th century, in historical, political and cultural circumstances uniting young Slavic countries: Russia marked the strengthening of the independence of Prince Andrei Bogolyubsky, in Serbia — the great Zupan Stefan Nemanja. However, the characteristic features of Romanesque and Byzantine architecture reached Serbia and Russia in a rather attenuated form, which facilitated the interpenetration of these properties and their combination with local Slavic tradition. This one was formed in the regions becoming a kind of bridge between East and West medieval Europe.

The problem of the genesis of medieval Western European and Byzantine architecture begins to be discussed in the foreign and Russian science in the mid-19th century. It’s obvious that the fundamental basis of both architectures is a deep unity of Europea

1. Bogomater' Vladimirskaja. K 600-letiju Sretenija ikony Bogomateri Vladimirskoj v Moskve 26 avgusta (8 sentjabrja) 1395 goda: Sb. statej. Katalog vystavki (To 600 Anniversary of Meeting of Vladimiraskaja Icon in Moscow on 25 August (8 September) 1395: Collection of Articles. Exhibition Catalogue), Moscow, 1995.
2. Voronin N. N. Zodchestvo Severo-Vostochnoj Rusi XII–XV vekov (Architecture of North-Eastern Russia of XII–XV Centuries), Moscow, 1961, vol. 1.
3. Voronov A. A., Mihajlova M. B. Bospor Kimmerijskij (Cimmerian Bosporus), Moscow, 1983.
4. Vseobshhaja istorija arhitektury (General History of Architecture), Leningrad, Moscow, 1966, vol. 3.
5. Vysockij A. M. 2002 “Ob odnoj gruppe pamjatnikov v arhitekture Rusi konca XI — nachala XIII v. (eshhe raz o pervoj cerkvi Apostolov v Konstantinopole i ee nasledii v srednevekovom mire)” (About One Group of Memorials in Russian Architecture of XI — Begin of XIII Cent. (Again about First Church of Apostles in Constantinople and Its Heritage in Medieval World)), in Drevnerusskoe iskusstvo. Rus' i strany vizantijskogo mira. XII vek, Saint-Petersburg, 2002, pp. 179–205.
6. Zhivkovich T. Portreti srpskih vladara (IX–XII vek) (Portraits of Serbian Rulers (IX–XII Centuries)), Beograd, 2006.
7. Ioannisjan O. M. 2005 “Romanskie istoki Vladimiro-Suzdal'skoj Rusi vremeni Andreja Bogoljubskogo (Germanija ili Italija?)” (Romanian Origins of Vladimiro-Suzdal'skaja Rus’ in Time of Andrej Bogoljubskij (Germany or Italy?)), in Vizantijskij mir: iskusstvo Konstantinopolja i nacional'nye tradicii, Moscow, 2005, pp. 31–70.
8. Shvidkovskij D. O. (ed.) Italija — Rossija: tysjacha let arhitektury (Italy — Russia: Thousand Years of Architecture), Turin, London, Venice, New-York, 2013.
9. Kazarjan A. Ju. 2009 “Poperechnoe razvitie kompozicij vizantijskih hramov i monastyrskih ansamblej: K osobennostjam stolichnoj shkoly” (Transverse Development of Composition of Byzantine Churches and Monastery Ensembles: to Features of Capital Schools), in Lazarevskie chtenija. Iskusstvo A. A. Voronova. Arhitekturnye paralleli v russkih i serbskih srednevekovyh hramah Vizantii, Drevnej Rusi, Zapadnoj Evropy: Materialy nauchnoj konferencii, Moscow, 2009. C. 15–35.
10. Kandich O. M. 1973 “Kule-zvonici uz srpske crkve XI–XIV veka” (Kule-zvonici from Serbian Churches of XI–XIV Centuries), in Zbornik za likovne umetnosti Matice srpske, 1973, vol. 14, pp. 3–71.
11. Komech A. I. 2002 “Arhitektura Vladimira 1150–1180-h gg. Hudozhestvennaja priroda i genezis «russkoj romaniki»” (Architecture of Vladimir in 1150–1180-s. Art Nature and Genesis of “Russian Romance”), in Drevnerusskoe iskusstvo. Rus' i strany vizantijskogo mira. XII vek, Saint-Petersburg, 2002, pp. 231–254.
12. Komech A. I. Drevnerusskoe zodchestvo konca X — nachala XII v. (Old Russian Architecture of X — Begin of XII Cent.), Moscow, 1987.
13. Korach V. 1987 “Sveti Sava i program Rashkog hrama” (St. Savva and Program of Church in Rashka), in Izmedzhu Vizantije i Zapada: odabrane studije o arhitekturi, Beograd, 1987, pp. 145–156.
14. Korach V. 1987 “O arhitekturi katedralnih crkava XI veka na vizantijskom kulturnom podruchju” (About Architecture of Cathedrals of XI Century in Byzantine Cultural Field), in Izmedzhu Vizantije i Zapada: odabrane studije o arhitekturi, Beograd, 1987, pp. 57–67.
15. Koraћ V. 2006 “Pogled na strukturu prostora i spoљne oblike stare ruske arhitekture, SOFIA” (View on Structure of Space an Outer form of Old Russian Architecture, SOFIA), in Sb. statej po iskusstvu Vizantii i Drevnej Rusi v chest' A. I. Komecha, Moscow, 2006, pp. 43–248.
16. Maksimovich L. 2000 “Srbija i metodi upravlana Carstvom u 12 veku” (Serbia and Methods of Kingdom Rulin in 12 Century), in Stefan Nemana — Sveti Simeon Mirotochivi. Medzhunarodni nauchni skup, septembar 1996, Beograd, 2000, S. 55–63.
17. Mal'ceva S. V. 2012 “Balkanskie vlijanija ili paralleli v drevnerusskoj arhitekture?” (Balkan Influences or Parallels in Old Russian Architecture?), in Aktual'nye problemy teorii i istorii iskusstva. II: Sb. nauch. statej, Saint-Petersburg, 2012, pp. 137–144.
18. Neshkovich Ј. Dzhurdzhevi Stupovi u Starom Rasu (Dzhurdzhevi Stupovi in Stary Ras), Kralevo, 1984.
19. Petkoviћ S. Moracha, Moracha, 2002.
20. Petkoviћ S. Hilandar, Beograd, 2008.
21. Preradoviћ D. 2013 “Prenosi relikvija iz Vizantije na Jadran u periodu izmedzhu VI i XI veka“ (Transferes of Relics from Byzantium to Jadran in Period between VI and XI Century), in Nish i Vizantija, 2013, vol. 11, pp. 187–207.
22. Rashenov A. Mesemvrijski c’rkvi (Mesemvrian Churches), Neseb’r, 2006.
23. Ristiћ V. Moravska arhitektura (Moravian Architecture), Krushevac, 1996.
24. Sedov Vl. V. 2009 “Cerkov' Nikoly na Lipne i novgorodskaja arhitektura XIII v. vo vzaimosvjazi s romano-goticheskoj tradiciej” (Church of St. Nicholas on Lipne and Novgorod Architecture of XIII Cent. in Connection with Romanian-Gothic Tradition), in Drevnerusskoe iskusstvo, Moscow, 2009, pp. 393–412.
25. Sedov Vl. V. 2007 “Arhitektura Rashki: gruppovoj «portret» dal'nih «rodstvennikov». K fenomenologii prostranstva vizantijskih hramov” (Architecture of Rashka: Group “Portrait” of Far “Relatives”. To Phenomenology of Space of Byzantine Churches), in Iskusstvoznanie, 2007, vol. 1–2, pp. 213–227.
26. Sedov Vl. V. 1996 “Afon i russkaja arhitektura nachala XIII v. (prichiny vlijanija)” (Athos and Russian Architecture of Begin of XIII Cent. (Grounds of Influence)), in Bondarenko I. A. (ed.) Arhitektura v istorii russkoj kul'tury, Moscow, 1996, pp. 39–45.
27. Sedov Vl. V. 2014 “Bogoljubovskij kivorij i ego vizantijskie analogi” (Ciborium of Bogoljubovo and Its Byzantine Analogs), in Lidov A. M. (eds.) Zhivonosnyj istochnik. Voda v ierotopii i ikonografii hristianskogo mira: Sb. materialov mezhdunarodnogo simpoziuma, Moscow, 2014, pp. 110–111.
28. Sedov Vl. V. 2009 “Vizantijskij hram v Kurshunlu” (Byzantine Church in Kurshunlu), in Drevnerusskoe iskusstvo, Moscow, 2009, pp. 134–141.
29. Sedov Vl. V. 2009 “Cerkov' Nikolaja v Kurshumlii i vopros o centricheskom osveshhenii vizantijskih i drevnerusskih hramov” (Church of St. Nicholas in Kurshumlia and Question about Central Lightning of Byzantine and Old Russian Churches), in Lazarevskie chtenija. Iskusstvo Vizantii, Drevnej Rusi, Zapadnoj Evropy: Materialy nauchnoj konferencii, Moscow, 2009, pp. 36–61.
30. Sedov Vl. V. 2009 “Cerkov' Rozhdestva Bogorodicy v Peryni: novgorodskij variant bashneobraznogo hrama” (Church of Birth of God Mother in Peryn’: Novgorod Vatiant of Tower-Like Church), in Drevnerusskoe iskusstvo, Moscow, 2009, pp. 29–54.
31. Todich B., Chanak-Medich M. Manastir Dechani (Monastery of Dechani), Beograd, 2005.
32. Ferjanchich B. “Stefan Nemana u vizantijskoj politici druge polovine 12 veka” (Stefan Nemana in Byzantine Politics of 2nd Half of XII Century), in Stefan Nemana — Sveti Simeon Mirotochivi, pp. 31–44.
33. Chanak-Medich M. Sveti Ahilije u Arilu: Istorija, arhitektura i prostorni sklop manastira (St. Ahilije in Aril’: History, Architecture and Large Space of Monastery), Beograd, 2002.
34. Chanak-Medich M., Boshkovich Dzh. 1986 “Arhitektura Nemaninog doba I. Crkve u Toplici i dolinama Ibra i Morave” (Architecture of Nemanine Epoch I. Church in Toplici and Dales of Ibr and Morav), in Spomenici srpske arhitekture sredneg veka. Korpus sakralnih gradzhevina, Beograd, 1986.
35. Chanak-Medich M. Arhitektura crkve manastira Morache i nena prvobitna spolashnost. Manastir Moracha (Architecture of Monastery Church of Morache and Its Original Exterior. Monastery of Moracha), 2006, pp. 117–127.
36. Chanak-Medich M. “Dvojne kule na procheљu crkava Nemaњinog doba” (Double Towers in Fore Part of Churches of Nemanine Epoch), in Stefan Nemana — Sveti Simeon Mirotochivi, pp. 181–197.
37. Chanak-Medich M., Kandich O. 1995 “Arhitektura prve polovine XIII veka I. Crkve u Rashkoj” (Architecture of 1st Half of XIII Century I. Churches in Rashka), in Spomenici srpske arhitekture sredneg veka. Korpus sakralnih gradzhevina, Beograd, 1995.
38. Shhennikova L. A. 2001 “Ikona-spisok «Bogomater' Vladimirskaja» iz Uspenskogo sobora goroda Vladimira” (Icon-Copy of “God Mother Vladimirskaja” from Assumption Cathedral of Vladimir), in Iskusstvo hristianskogo mira: Sb. statej, Moscow, 2001, vol. 5, pp. 67–84.
39. Shherbakova A. V. 2012 “Prostranstvo kafolikona Osios Lukas v Fokide i ego vozmozhnyj prototip — hram svv. Sergija i Vakha v Konstantinopole“ (Space of Catholicon of Osios Lukas in Fokida and Its Possible Prototype — Church of St. Sergius and Vacchus in Constantinople), in Aktual'nye problemy teorii i istorii iskusstva. II: Sb. nauch. statej, Saint-Petersburg, 2012, pp. 83–86.
40. Belan A. Sveti Tripun i niegova katedrala (St. Tripun and Its Cathedral), Kotor, 2002.
41. Ćurčić S. Architecture in the Balkans from Diocletian to Suleyman the Magnificent, New Haven, London, 2010.
42. Ćurčić S. 2006 “Monastic Cells in Medieval Serbian Church Towers”, in SOFIA: Sb. statej po iskusstvu Vizantii i Drevnej Rusi v chest' A. I. Komecha, Moscow, 2006, pp. 491–514.
43. Dyggve E. Povij est salonitanskog kršćanstva (), Split, 1996.
44. Krauthajmer R., Ćurčić S. Ranohrišćanska i vizantijska arhitektura (Early Christian and Byzantine Architecture), Beograd, 2008.
45. Salona Christiana. Arheološki muzej — Split, izložba 25.09. — 31.10.1994 (Salona Christiana. Architecture Museum — Split, Exhibition 25.09. — 31.10.1994), Split, 1994.
46. Stevović I. 2002 “Byzantium, Byzantine Italy and Cities on the Eastern Coast of the Adriatic: the Case of Kotor and Dubrovnik”, in Zbornik radova Vizantoloshkog instituta, Beograd, 2002, vol. 39, pp. 165–182.
47. Stevović I. 2010 “Historical and Artistic Time in the Architecture of Medieval Serbia: 12th Century”, in Trudy Gosudarstvennogo Jermitazha, LIII: Arhitektura Vizantii i Drevnej Rusi IX–XII vekov: Materialy mezhdunarodnogo seminara 17–21 nojabrja 2009 g., Saint-Petersburg, 2010, pp. 148–163.
48. Ćirković S., Korać V., Babić G. (eds.) Studenica Monastery, Belgrade, 1986.
49. Ujčić Ž. Ranokršćanska Bazilika sv. Marij e Formoze u Puli (Early Christian Basilica of St. Maria and Formosa in Pula), Pula, 2005.
50. Vežić P. 2011 “Dalmatinski trikonhosi” (Dalmatian Trifold), in Ars adriatica. Časopis Odjela za povij est umjetnosti Sveučilišta u Zadru, Zadar, 2011, vol. 1, pp. 27–66.
51. Vežić P. Sv. Donat. Rotonda Sv. Trojstva u Zadru (Donat. Rotonda of St. Trinity in Zadar), Split, 2002.

Voronova Ariadna

The article is devoted to the goldsmiths` art in Florence of the first half of the 14th century. It was a period of prosperity of Florence Commune, which gave an extraordinary development of fine arts, especially goldsmiths` art. At the end of the 13th century the goldsmiths of Siena invented a new technique of enamel — translucent enamel upon silver relief (basse taille enamel), famous for its color values. The making of translucent enamels began in Florence in the first half of the 14th century. But the goldsmiths of Florence managed to combine translucent and opaque enamels, and they never abandoned ancient champlevé enamel. Altar decoration made by Andrea Pucci Sardi performs wide using of opaque champlevé enamel on copper gilt. One can see some elements of Byzantine influence in its composition and Giottesque tradition in images. The goldsmith Andrea Arditi became the first Florence jeweler who used translucent enamel technique in his art. The unique silver chalice with translucent and opaque enamels in good condition made by Andrea Arditi is located in the Moscow Kremlin Museum. The second work of Arditi reliquary of San Zanoby from Florence Cathedral has lost its enamel decoration. In the Moscow Kremlin Museum there is a gilded copper cross with opaque enamels. It is attributed as work of Florentine goldsmith of the middle of the 14th century. In the enamel art of Florence one can see the tradition Giotto painting and some features of a new Gothic style.

Florence, medieval enamel art, Andrea Pucci Sardi, Andrea Arditi, translucent and opaque enamel, champlevé enamel, basse taille enamel, chalice, reliquary, Gothic art, jeweler, ecclesiastical item, technique

1. Antonetti P. Povsednevnaja zhizn' Florencii vo vremena Dante (Everyday Life of Florence in Times of Dante), Moscow, 2004.
2. Lazarev V. N. Proishozhdenie ital'janskogo Vozrozhdenija. Iskusstvo Trechento (Origin of Italian Renaissance. Art of Trecento), Moscow, 1959, vol. 2.
3. Rotenberg E. I. Iskusstvo goticheskoj jepohi. Sistema hudozhestvennyh vidov (Art of Gothic Epoch. System of Art Kinds), Moscow, 2001.
4. Chellini B. Zhizneopisanija. Traktaty. Pojezija (Vitas. Treatises, Poetry), Saint-Petersburg, 2003.
5. Arnolfo alle origini del Rinascimento italiano: Catalogo della mostra, Firenze, 2005.
6. Atti del I Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, 1984, vol. 14/2.
7. Atti del II Convegno sugli smalti traslucidi italiani, Annali della Scuola Normale Superiore di Pisa, Pisa, 1988, vol. 18.
8. Atti del III Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, Pisa, 1991, vol. 21.
9. Atti del IV Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, Pisa, 1994, vol. 24.
10. Atti del V Convegno sugli smalti traslucidi italiani. Annali della Scuola Normale Superiore di Pisa, Pisa, 1997. vol. 4/2.
11. Cocchi A. Degli antichi reliquary di S. Maria del Fiore e di S. Giovanni a Firenze, Firenze, 1901, pp. 17.
12. Collareta M., Levi D. Calici italiani. Museo Nazionale del Bargello, Firenze, 1983.
13. Gauthier M. Les Émaux du moyen age occidental, Friburg, 1972.
14. L’Orefi ceria nella Firenze del Quatrocento: Catalogo della mostra, Firenze, 1977.
15. Orefi ceria sacra italiana. Museo Nazionale del Bargello, Firenze, 1988.
16. Strocchi C. 1988 “Lo smalto traslucido a Firenze: prime osservazioni sulla bottega di Andrea Arditi”, in Annali della Scuola Normale Superiore di Pisa, Pisa, 1988, vol. 18, pp. 137–150.
17. Strozzi B. P. Museo Nazionale del Bargello, Firenze, 2014.
18. Venturi A. Storia dell`arte italiana, Milano, 1904, vol. 4.

Solov'eva Larisa

On the central vault of the exonarthex of the Holy Vigrin Ljeviška church in Prizren (1307–1313) there is a cycle of Baptism and of John the Precursor’s preachings, that is situated near the composition «The Last Judgement» and near the images of the Old Testament prophets. The cycle consists of six episodes and of a scene «The Baptism of Christ», including the personifications of Sea and river Jordan. Every episode has the inscription commenting the scene, some texts on the the Precursor’s scroll are conservated. One composition, that represents the Savior with a shovel on the barn fl oor, is particulary interesting, it was popular in the Serbian painting of the 14th century. The article briefly traces the history of the formation of the cycle of Baptism and of John the Precursor’s preachings and discuss the topography of the cycle in the church painting. The early cycles of Precursor’s preachings and of Baptism are known in Cappadocia churches in the 8th–11th centuies. We found the scenes of this cycle in byzantine miniatures of 11th–12th centuies. In the 14th century, we found the detailed depiction of this cycle in the mural paintings of the Balkan churches: St. Apostles in Thessaloniki, Žiča, Hilanrar, Dečani, Lesnovo, Matejče and others. Normally, the cycle is depicted in the narthex, where the agiasma (holy water, blessed on the Feast of Baptism) was situated. The emplacement of this cycle on the intersecting vault in the exonarthex of the cathedral church in Prizren is unique and is connected with the composition «The Last Judgement».

Virgin Ljeviška church, Prizren, exonarthex, Baptism, preachings, John the Precursor, Jordan, personifi cation, agiasma.

1. Lazarev V. N. Istorija vizantijskoj zhivopisi (History of Byzantine Painting), Moscow, 1986.
2. Mokrecova I. P. 1983 “O nekotoryh osobennostjah miniatjur Nikomidijskogo Evangelija” (About Some Features of Miniatures of Nicomedia Gospel), in Drevnerusskoe iskusstvo. Rukopisnaja kniga, Moscow, 1983, vol. 3, pp. 303–330.
3. Pivovarova N. V. 1999 “K istolkovaniju programmy rospisi diakonnika cerkvi Spasa na Neredice v Novgorode” (To Explanation of Program of Painting of Diaconnik of Church Spasa na Neredice in Novgorod), in Drevnerusskoe iskusstvo: Vizantija i drevnjaja Rus', Saint-Petersburg, 1999, pp. 210–227.
4. Pivovarova N. V. Freski cerkvi Spasa na Neredice v Novgorode: Ikonograficheskaja programma rospisi (Frescos of Church Spasa na Neredice in Novgorod. Iconographical Program of Painting), Saint-Petersburg, 2002.
5. Sarab'janov V. D. 2003 “Rospisi bokovyh apsid sobora Mirozhskogo monastyrja i istoki ih ikonograficheskoj programmy” (Painting of Side Vaults of Cathedral of Mirozhskij Monastery and Origins if Their Iconographical Program), in Iskusstvo hristianskogo mira, 2003, vol. 7, pp. 75–84.
6. Tkachenko A. A., Je. P. A., Lisovoj N. N., Artjuhova T. A., Koroljov A. A., Turilov A. A., Ustinova Ju. V., Ivanova Ju. V. 2010 “Ioann Predtecha” (John Baptist), in Pravoslavnaja jenciklopedija, Moscow, 2010, vol. 24, pp. 528–577.
7. Carevskaja T. Ju. Freski cerkvi Blagoveshhenija na Mjachine («v Arkazhah») (Frescos of Annunciation Church on Mjacnina (“in Arkazhy”)), Novgorod, 1999.
8. Babich G. 1978 “Ikonografski program zhivopisa u pripratima krala Milutina” (Iconographical Problem of Painting and Vestibule of King Miluti), in Vizantiјska umetnost pochetkom XIV veka. Grachanica, 1973, Beograd, 1978, pp. 105–121.
9. Bogdanovich D., Dzurich V. Ј., Medakovich D. Hilandar, Beograd, 1978.
10. Boshkovich Dz., Petkovich V. Manastir Dechani, II (Monastery of Dechani, II), Beograd, 1941.
11. Voјvodich D. 2010 “Na tragu izgublenih fresaka Zhiche (I)“ (Following Tracks of Lost Frescos of Zhiche (I)), in Zograf, 2010, vol. 34, pp. 71–86.
12. Voјvodich D. 1998–1999 “O vremenu nastanka zidnog slikarstva u Palezhu” (About Time of Origin of Wall Painting in Palezh), in Zograf, 1998–1999, vol. 27, pp. 129–130.
13. Gabelich S. Manastir Lesnovo. Istoriјa i slikarstvo (Monastery of Lesnovo. History and Painting), Beograd, 1998.
14. Gligoriјevich-Maksimovich M. 2007 “Antichki elementi u slikarstvu Bogorodice Levishke u Prizrenu” (Antique Elements in Painting of God Mother in Levishka in Prizren), in Zbornik Matice srpske za klasichne studiјe, 2007, vol. 9, pp. 203–221.
15. Dimitrova E. Manastir Matejche (Monastery of Matejche), Skopje, 2002.
16. Dzhurich V. Ј. Zidno slikarstvo manastira Dechana. Gradzha i studiјe (Wall Painting of Dechan Monastery. Creation and Study), Beograd, 1995.
17. Dzhurich V. Ј. Crkva Svete Sofiјe u Ohridu (Church of St. Sophia in Ochrid), Beograd, 1963.
18. Kashanin M., Boshkovich Dzh., Miјovich P. Zhicha. Istoriјa, arhitektura, slikarstvo (Zhicha. History, Architecture, Painting), Beograd, 1969.
19. Kisas S. 1976 “O vremenu nastanka fresaka u crkvi Svetih Apostola u Solunu” (About Time of Origin of Frescos in Church of St. Apostles in Thessaloniki), in Zograf, Beograd,1976, vol. 7, pp. 52–57.
20. Markovich M. 1998 “Prvobitni zhivopis glavne manastirske crkve”, in Subotich G. (ed.) Manastir Hilandar, Beograd, 1998, pp. 221–242.
21. Miљkovik-Pepek P. 1956 “Materijali za makedonskata srednovekovna umetnost. Freskite vo svetilishteto na crkvata sv. Sofija vo Ohrid” (Materials for Macedonian Medieval Art. Frescos in Church of St. Sophia in Ochrid), in Zbornik na Arheoloshkiot muzej (1955-1956), Skopje, 1956, pp. 58–61.
22. Nitich A. Dzhurich V. Ј. 1995 “Ciklus propovedi sv. Јovana Preteche” (Cycle of Sermon of St. John Baptist), in Zidno slikarstvo manastira Dechana. Gradzha i studiјe, Beograd, 1995, pp. 161–164.
23. Nitich A. 1993–1994 “Ciklus sv. Јovana Preteche u Mateichu i vizantiјska tradiciјa” (Cycle of St. John Baptist in Mateichu and Byzantine Tradition), in Zograf, 1993–1994, vol. 23, pp. 75–87.
24. Panich D., Babich G. Bogorodica Levishka (God Mother in Levishka), Beograd, 1988.
25. Petkovich V. Spasova crkva u Zhichi. Arhitektura i zhivopis (Spas Church in Zhichi. Architecture and Painting), Beograd, 1911.
26. Petkovich V. R. 1909 “Zhicha”, in Starinar, 1909, vol. 4, pp. 27–106.
27. Petkovich V. R. Manastir Dechani, II (Monastery of Dechani, II), Beograd, 1941.
28. Petkovich S. 1978 “Slikarstvo spolashne priprate Grachanice” (Painting of Vestibule in Grachanica), in Vizantiјska umetnost pochetkom XIV veka. Grachanica, 1973, Beograd, 1978, pp. 201–211.
29. Radoјchich S. Staro srpsko slikarstvo (Old Serbian Painting), Beograd, 2010.
30. Todich B. Grachanica: Slikarstvo (Grachanica: Painting), Beograd, 1988, pp. 251–253.
31. Todich B. Srpsko slikarstvo u doba krala Milutina (Serbian Painting in Epoch of King Milutin), Beograd, 1998.
32. Chanak-Medich M. 2000 “Arhitektura i program eksonarteksa zhichke Spasove crkve” (Architecture and Program of Exonartex of Spas Church in Zhicha), in Subotich G. (ed.) Manastir Zhicha. Zbornik radova, Kralevo, 2000, pp. 57–81.
33. Babić G. Les chapelles annexes des églises Byzantines: Fonction liturgique et programmes iconographiques, Paris, 1969.
34. Bank A. 1967 “Les monuments de la peinture byzantine du XIII siècle“, in Symposium de Sopočani, 1965, Beograd, 1967, pp. 91–101.
35. Deichmann F. W. Frühchristlichen Bauten und Mosaiken von Ravenna, Baden-Baden, 1958.
36. Galavaris G. The Illustrations of the Homilies of Gregory Nazianzenus, Princeton, 1969.
37. Huskinson J. 2005 ‘Rivers of Roman Antioch. Personification in the Greek World: From Antiquity to Byzantium”, in Stafford E. and Herrin J. (eds.) Personifiсations in the Greek World: From Antiquity to Byzantium, 2005, pp. 247–264.
38. Jerphanion G. de. Les églises rupestres de Cappadoce. Texte, I–II. Planches, 1–3, Paris, 1925–1942.
39. Jolivet-Lévy C. Sacred Art of Cappadocia. Byzantine Murals from the Sixth to 13th Centuries (en coll. avec A. Ertug), Istanbul, 2006.
40. Kandić O. 1998–1999 “Fonts for the Blessing of the Waters in Serbian Medieval Churches”, in Zograf, 1998–1999, vol. 27, pp. 61–77.
41. Leroy J. Les manuscrits Syriaques à peintures conservés dans les bilbiothèques d’Europe et d’Orient, Paris, 1964.
42. Mango C. The Art of Byzantine Empire 321–1453, New Jersey, 1972.
43. Millet G. La peinture du Moyen Age en Yougoslavie, 1954, vol. 1.
44. Millet G. Monuments de l’Athos, Paris, 1927.
45. Musicescu M. A., Ionescu G. Biserica domneasca din Curtea de Argeş, Bucharesy, 1976.
46. Petkovic V. R. La peinture serbe du moyen âge, Paris, 1934, vol. 2.
47. Popović Lj. Personifications in Paleologan Painting 1261–1453. Phil. Diss, Bryn Mawr College, 1963.
48. Restle M. Byzantine Wall Painting in Asia Minor, New York, 1967.
49. Restle M. Die Byzantinische Wandmalerei in Kleinasien, Bongers, 1967, vol. 2.
50. Stephan Ch. Ein byzantinisches Bildensemble. Die Mosaiken und Fresken der Apostelkirche zu Thesaloniki, Worms, 1986.
51. Stoyanova M. Le cycle de la vie de Saint Jean-Baptiste dans l’Orient chrétien, Venise, 1990.
52. Thierry N. 1991/1992 “Importance du culte de Jean Prodrome à Cappadoce“, in Byzantinische Zeitschrift, 1991/1992, vol. 84/85, pp. 94–116.
53. Thierry N. 1972 “Art byzantin du Haut Moyen Age en Cappadoce: l’église no 3 de Mavruçan”, in Journal des Savants, 1972, pp. 233–269.
54. Thierry N. Haute Moyen age. Cavusin, Paris, 1983, vol. 1.
55. Underwood P. A. The Kariye Djami, New York, 1966, 1975, vol. 1–4.
56. Underwood Р. 1975 “Some Problems in Programs and Iconography of Ministry Cycles” in Underwood P. A. (ed.) The Kariye Djami, Princeton, 1975, vol. 4, pp. 243–302.
57. Weyl Carr А. 1982 “A group of Provincial Manuscripts”, in DOP, 1982, vol. 36, pp. 39–66.
58. Weyl Carr А. Byzantine Illumination 1150–1215. The Study of Provincial Tradition, Chicago, 1987.
59. Xyngopoulos A. 1971 “Les fresques de l’église des Saints Apôtres à Thessalonique”, in Art et société à Byzance sous les Paléologues, Venise, 1971, pp. 83–90.
60. Yota E. Le tétraévangile Harley 1810 de la British Library. Contribution à l’étude de l’illustration des tétraévangiles du Xe au XIIIe siècle. Thèse de doctorat, Fribourg, 2001.
61. Xyngopoulos A. Ai toichographiai tou katholikou tes mones Prodromou para tas Serras (Wall Paintings of Cathedral of Prodromos Monastery in Serras), Thessalonike, 1973.

Semenova Elizaveta

“Hook manuscript” with omissions notation is sustainable, it is to some extent in all extant manuscripts. This phenomenon depends on many factors, including changes in the system of singing in the 15th century («epoch of style change»). In the collection of the Holy Trinity-St. Sergius Lavra at the Russian State Library hook manuscript no. 407, 439, 440 belong the first half of 15 century, no. 408, 409 belong the second half of the century. They demonstrate the patterns of «epoch of style change». The manuscripts of the first half of the 15th century retain the traits of the ancient tradition. Here predominantly “istinnorečnyj” (“right”) text, ancient signs (“hooked arrow”, “double apostroph” etc.). The manuscripts of the second half of the 15th century, no. 409 represents the final look of a text and revision of the singing, and no. 408 represents the main fracture and shows the fragmentary notation. Certain chants or microcycles, individual textlines or syllables have the fragmentary notation in no. 408. It is due to the a different nature and depends on the specifi c problems arising from the transition to Jerusalem Charter, formation of new znamenny books (Octoechos), the need to create a new melodies for Oktoihe, Stihirare mineiny. Text in no. 408 shows that singing was a poetical editing, structural modification of the text and of the necessity of prosodic changes. This is reflected to the changes in notation, creating new neumes.

manuscript, Jerusalem Charter, Holy Trinity-St. Sergius Lavra, epoch of style change, znamenny book, fragmentary notation

1. Aleksandrina A. V. Pevcheskie rukopisnye knigi XV–XIX vv. iz biblioteki Troice-Sergievoj Lavry: Istoriko-knigovedcheskij analiz. T. II: Katalog pevcheskih rukopisej XV–XIX vv. Troice-Sergievoj Lavry iz sobranija NIOR RGB F. 304.I. Special'nost' 05.25.03 — bibliotekovedenie, bibliografovedenie i knigovedenie. Dis. … kand. ist. nauk (Song Manuscript Books of XV–XIX Cent. from Library of Troice-Sergieva Lavra: Historical-Book Study Analysis. Vol. 2: Catalogye of Song Manuscripts of XV–XIX Cent. of Troice-Sergieva Lavra from Collection NIOR RGB F. 304.I. Dissertation), Moscow, 2014.
2. Gusejnova Z. M. 2008 “Stihirari minejnye v Kirillo-Belozerskih rukopisjah XV v.” (Minaion Sticheraria in Kirillo-Belozerskije Monasteries of XV Cent.), in Vestnik PSTGU. Serija V, Moscow, 2008, pp. 7–14.
3. Zabolotnaja N. V. Cerkovno-pevcheskie rukopisi Drevnej Rusi XI–XIV vekov: Osnovnye tipy knig v istoriko-funkcional'nom aspekte (Church-Singing Manuscripts of Old Rus’ of XI–XIV Centuries: Main Types of Books in Historical-Functional Aspect), Moscow, 2001.
4. Zahar'ina N. B. Russkie pevcheskie knigi. Tipologija, puti jevoljucii. Avtoref. … dis. … d-ra iskusstvovedenija. Special'nost' 17.00.02 — muzykal'noe iskusstvo (Russian Song Books. Typology, Evolution Ways. Dissertation Abstract), Moscow, 2006. S. 12–13.
5. Pletneva E. V. 2003 “Notacija v pesnopenijah drevnerusskih Oktoihov Izbornyh i Shestodnevov Sluzhebnyh (XIII–XV vv.)” (Notation in Songs of Old Russian Octoichos and Service Hexamerons (XIII–XV Cent.)), in XIII Ezhegodnaja Bogoslovskaja konferencija PSTGU: Materialy, Moscow, 2003, pp. 443–451.
6. Turilov A. A. 2012 “Posle Klimenta i Nauma (slavjanskaja pis'mennost' na territorii Ohridskoj episkopii v X — pervoj polovine XIII v.)” (After Clement and Nahum (Slavic Literature in Territory of Ochrid Archdiocese in X — First Half of XIII Cent.)), in Mezhslavjanskie kul'turnye svjazi jepohi Srednevekov'ja i istochnikovedenie istorii i kul'tury juzhnyh slavjan i Drevnej Rusi: Jetjudy i harakteristiki, Moscow, 2012.
7. Tjurina O. V. 2013 “Vidy zakljuchitel'nyh formul v pesnopenijah bol'shogo rospeva” (Kinds of End Formulae in Songs of Great Chant), in Vestnik PSTGU. Serija V. 2013, vol. 3/12, pp. 7–24.
8. Filippova E. 2006 “K voprosu ob izmenenii pevcheskoj praktiki v Russkoj Cerkvi v period bogosluzhebnoj reformy XIV–XV vv.” (To Question of Change of Song Practice in Russian Church in Period of Service Reform of XIV–XV Cent.), in Lozovaja I. E. (ed.) «Idu v nevedomyj mne put'»: Pamjati Eleny Filippovoj, Moscow, 2006, pp. 75–85.

Guseinova Zivar

The article covers the issues dealing with missionary temple building in Altai in the 19th — beginning of the 20th century and the sources of its origins which were infl uenced by all-Russian architectural trends. We analyzed the most vivid and characteristic church buildings created under spiritual care of Altai spiritual mission staff. The work is based on methodological approach of progressively developing local system. The article presents the results of researching missionary churches and schools (19th — early 20th centuries) aimed at identifying the stylistic features of these buildings. Missionary constructions in the south of Western Siberia were fairly typical of Siberian architecture of the chronological period under study. The signs of Russian style, Classicism, Art Nouveau, Gothic elements and eclectic are presented in the panorama of buildings and constructions. The majority of school buildings were constructed by the model planning of a peasant's hut, which includes class-rooms, a recreation hall, accommodation for teachers and watchmen. Orphanage buildings had, in addition to that, a bedroom, a kitchen and a dining room. The architecture of school and orphanage buildings corresponded to the type of rural housing construction, although the decor and size of the windows of schools differed. Schools were usually decorated with simple décor elements such as cornice frieze. In some cases there were found signs of eastern influence on the architecture of the missionary buildings. Moreover, such details were the result of some additional harmonious correction of model projects made by builders. The study showed that the architectural and artistic image of liturgical and other church missionary buildings in the south of Western Siberia was created by referring to the experience of people's residential architecture and exemplary projects of church architecture of the corresponding period, as well as under the influence of local artistic tastes and spatial thinking of builders.

architecture, church architecture, Altai spiritual mission, regional features, missionary churches, missionary schools

1. Veresh S. V. Hram — obraz Vselennoj: o putjah razvitija arhitektury russkogo pravoslavnogo hrama (Church — Image of Universe: about Ways of Development of Architecture of Russian Orthodox Church), Moscow, 2010.
2. Voronin N. N. 1954 “Arhitekturnyj pamjatnik kak istoricheskij istochnik” (Architectural Memorial as Historical Source), in Sovetskaja arheologija, 1954, vol. 19, pp. 44–67.
3. Gromova E. B. 2004 “Modul' sakral'nogo prostranstva” (Modul of Sacred Space), in Kul'tura i prostranstvo. Slavjanskij mir, Moscow, 2004, pp. 27–35.
4. Krejdun Ju. A. 2009 “Kompleks Bijskogo arhierejskogo doma i katehizatorskogo uchilishha” (Complex of Bijsk Bishop House and Catechize School), in Mir nauki, kul'tury, obrazovanija, 2009, vol. 3/15, pp. 39–42.
5. Krejdun Ju. A., Sharova E. V. 2009 “Arhitektura i istorija stroitel'stva hrama Vsemilostivogo Spasa v Ulale”, in Mir nauki, kul'tury, obrazovanija, 2009, vol. 5/17, pp. 71–74.
6. Krejdun Ju. A. 2010 “Majminskij Duhososhestvenskij hram — pervoe kamennoe missionerskoe stroenie na Altae”, in Mir nauki, kul'tury, obrazovanija, 2010, vol. 6/25, pp. 45–49.
7. Krejdun Ju. A. Hramy, stany i monastyri Altajskoj duhovnoj missii: chertezhi, panoramy, 3D-modeli (Churches, Camps and Monasteries of Altai Spiritual Mission: Drafts, Panoramas, 3D-Models), Barnaul, 2013.
8. Lisenko L. M. 1987 “Russkoe derevjannoe zodchestvo” (Russian Wooden Architecture), in Derevo v arhitekture i skul'pture slavjan, Moscow, 1987, pp. 99–126.
9. Opolovnikov A. V., Opolovnikova E. A. Derevo i garmonija: obrazy derevjannogo zodchestva Rossii (Wood and Harmony: Images of Wooden Architecture of Russia), Moscow, 1998.
10. Pavlova A. L. 2001 “Oblik hrama. Sobornye hramy v russkoj arhitekture serediny — vtoroj poloviny XIX v.” (Face of Church. Cathedrals in Russian Architecture of Middle — 2nd Half of XIX Cent.), in Svetil'nik’. Cerkovnoe iskusstvo i arheologija, Moscow, 2001, vol. 1, pp. 95–104.
11. Rybakov B. A. 1957 “Arhitekturnaja matematika drevnerusskih zodchih” (Architectural Mathematics of Old Russian Architects), in Sovetskaja arheologija, 1957, vol. 1, pp. 83–112.
12. Savel'ev Ju. R. 2001 “Hramozdateli. Knjaz'ja — stroiteli hramov srednevekovoj Rusi” (Church Builders. Princes-Builders of Churches of Medieval Rus’), in Svetil'nik’. Cerkovnoe iskusstvo i arheologija, Moscow, 2001, vol. 1, pp. 59–87.
13. Starodubcev O. V. Simvolika pravoslavnogo hrama (Symbolic of Orthodox Church), in http://www.pravoslavie.ru (Date: 15.10.2011)).
14. Sulimenko S. D. Arhitektura i dialog kul'tur (na primere simvolizacii formy zavershenij russkogo pravoslavnogo hrama) (Architecture and Dialogue of Cultures (on Example of Symbolization of Form of Endings of Russian Orthodox Church)), 2004, in www.raai.sfedu.ru (Date: 15.10.2011)).
15. Chernov A. Ju. Hroniki iznanochnogo vremeni (Chronicles of Back Time), Saint-Petersburg, 2006.

Kreidun Iurii, archpriest

The article deals with the monumental paintings of the leading Russian painters A. Soldatov, A. Chashkin A. Vronsky, A. Lavdanskogo, D. Yablochkina, N. and N. Bogdanov, A. Filippov, A. Andreev (and they created workshops) in Orthodox churches in Ukraine. The author analyzes the influence of the ancient monuments of religious art and modern trends in the individual handwriting mentioned masters, summed up the material of the various trends in the development of temple painting. The study found that the Russian icon painters invited mainly for painting the main monastic churches and cathedrals, as in their decoration raises difficult problems which can be solved only by artists working in the well-coordinated team with considerable experience in this field, in-depth knowledge in theology, iconography, history, iconography. For example, Holy Assumption Monastery substantiates the idea that the monasteries today are centers of religious art

church painting of Orthodox churches in Ukraine, the leading Russian painters, style features, Byzantine art, icon-painting workshops

1. Beskrovnyj A. 2011 “Vozrozhdenie” (Renaissance), in Pravoslavnyj vzgljad, 2011, vol. 4/15, pp. 75–82.
2. Brjusova V. G. Sofija novgorodskaja, pamjatnik iskusstva i istorii (Novgorod Sophia, Memorial of Art and History), Moscow, 2001.
3. Logvin G. N. Sofija Kievskaja. Gosudarstvennyj arhitekturno-istoricheskij zapovednik: Al'bom (Sophia of Kiev. State Architectural-Historical Reserve: Album), Kiev, 1971.
4. Sarab'janov V. D. Georgievskaja cerkov' v Staroj Ladoge (St. George Church in Staraja Ladoga), Moscow, 2003.
5. Skit ikony Bozh'ej Materi «Vseh skorbjashhih Radoste», s. Bogorodichnoe (Hermitage of God Mother “All Grievings’ Joy”, Village Bogorodichnoe), Svjato-Uspenskaja Svjatogorskaja Lavra, 2008.
6. Chukina A. L. (ed.) Sovremennaja pravoslavnaja monumental'naja zhivopis' (Modern Orthodox Monumental Painting), Moscow, 2009, pp. 212–221.

Rudich Alena