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

The article considers the peculiarities of development of the North African Church architecture of the capital of the region of Carthage in connection with the local tradition of the veneration of martyrs, as well as to the fact that in the period from the 4th to the 6th century ecclesiastical art of North Africa was under the influence of four diff erent directions — the Orthodox Latin, Donatists, Arian and Orthodox Byzantine. To explain and classify the stages of the development of Christian architecture, establishing the original appearance and the interior of the temple, is possible only on the basis of a comprehensive approach based on the study of the literary heritage (Augustine, Quodvultdeus, Victor Vitensis, Procopius) and the archaeological analysis of North African basilicas. Among the Christian monuments of Carthage, the most studied and interesting from the point of view of the device inner space is the Episcopal Basilica of Dermech I, St. Cyprian and Damous el Karita, and are offered for consideration.

North Africa, Cartage, st. Augustine, st. Cyprian, martyr, tomb, martirium, the Basilica, the apse, the altar, Dermech I, Damous el Karita, Ennabli, Duval.

1. Kupcha N. Muzej Bardo «Ot mifa k mifu» (Bardo Museum “From Myth to Myth”), Tunis, 2006.
2. Urbanovich G., prot. 2015 “Osobennosti stanovlenija severoafrikanskoj rannehristianskoj arhitektury (IV–V vv.) v svjazi s tradiciej pominanija i pochitanija muchenikov” (Features of Formation of North African Early Christian Architecture (IV–V Cent.) in Connection with Tradition of Memory and Devotion of Martyrs), in Vestnik PSTGU, 2015. Vol. V/3/19, pp. 7–27.
3. Urbanovich G., prot. 2015 “Vneshnie formy severoafrikanskoj hramovoj arhitektury (V–VI vv.) v svjazi s tradiciej pominanija i pochitanija muchenikov” (External Forms of North African Church Architecture (V–VI Cent.) in Connection with Tradition of Memory and Devotion of Martyrs), in Vestnik PSTGU, 2015, vol. V/4/20, pp. 7–21.
4. Urbanovich G., prot. Sem' Cerkvej Apokalipsisa (Seven Churches of Apocalypse), Smolensk, 2011.
5. Uspenskij B. A. Krest i krug: Iz istorii hristianskoj simvoliki (Cross and Circle: from History of Christian Symbolic), Moscow, 2006.
6. Duval N. 1978 “Basiliques et mosaïques funéraires de Furnos Minus”, in Mélanges de Cintas M., l'Ecole française de Rome. Antiquité, 1978, vol. 90/2, pp. 871–950.
7. Duval N. 1972 “Études d'architecture chrétienne nord-africaine”, in Mélanges de l’école française de Rome, 1972, vol. 84/2, pp. 1071–1172.
8. Duval N. Les églises africaines a deux absides. Recherches archéologiques sur la liturgie chrétienne en Afrique du Nord. Recherches archéologiques a Sbeitla 1: Les Basiliques de Sbeitla a deux sanctuaires opposés. Basiliques I, II et IV, Paris, 1971.
9. Ennabli L. Christian Cartage. Ministere de Ιа Culture Agency for the Development of National. Heritage and Cultural Promotion, 2001.
10. Gauckler P. 1913 “Basiliques chrétiennes de Tunisie. In-4°, 29 p. et 32 planches”, in Revue Archéologique, vol. 22 (4 série), Paris, 1913, pp. 230–233.

Urbanovich Iurii

The stylistic analysis of the wall painting of Betania monastery sheds light on the place of these frescoes in Byzantine art of the 12th century. As for the Georgian paintings of the epoch, there are some monuments of the first third of the 12th century (frescoes of St. George in Bochorma (after 1104) and several churches of Svanetia, mosaics and frescoes of Gelati Monastery (1130s)). The following fifty years present a kind of historical gap in art, after which the first dated monument is the Church of the Dormition of Vardzia monastery (1180s). The study of the frescoes on the south and north walls of the nave of the Church of the Nativity of the Virgin in Betania allows us to conclude that their style was developing in the course of the classical trends of Byzantine painting of 12th century. The present article examines the frescoes of Betania among the monuments of the Middle Byzantine era as the wall paintings of the Mirozh monastery in Pskov (1130s–1140s), the Church of the Transfiguration of St. Euphrosynia monastery in Polotsk (circa 1161), the Palatine Chapel in Palermo, Sicily (1142–1150), the Cathedral-Basilica of Cefalù (1148), the Martorana or Santa Maria dell'Ammiraglio (1146–1156) etc. During the 12th century Georgia like the Balkan, Russia, Southern Italy and Cyprus was gradually becoming an independent artistic center detached from the metropolis nevertheless responding to the stylistic changes in the art of Byzantine world. There was forming a regional version of the style, in Georgia that adopted and modifi ed the artistic language of the metropolis. Taking into consideration the similar phenomenon in different countries the frescoes study of Betania makes possible to date the monument in the interval between the 1150s and 1160s.

Betania, Orbeli, George III, Komnenian art, frescoes, style, Ateni Sioni Church, Mirozh monastery, Polotsk.

1. Abramishvili G. 2006 “Ateni Sioni”, in Pravoslavnaja jenciklopedija, Moscow, 2006, vol. 3, pp. 675–677.
2. Aladashvili N. A., Alibegashvili G. V., Vol'skaja A. I. Zhivopisnaja shkola Svanetii (Painting School of Svaneti), Tbilisi, 1983.
3. Virsaladze Tinatin. 2007 “Freskovaja rospis' hudozhnika Mikaela Maglakeli v Machvarishi” (Fresco Painting of Artist Mikael Maglakeli in Machvarishi), in Virsaladze Tinatin: Izbrannye trudy, Tbilisi, 2007, pp. 145–225.
4. Lazaraev V. N. Vizantijskaja zhivopis' (Byzantine Painting), Moscow, 1971.
5. Lidov A. M. Rospisi monastyrja Ahtala (Paintings of Ahtala Monastery), Moscow, 2014.
6. Popova O. S. 2005 “Asketicheskoe napravlenie v vizantijskom iskusstve vtoroj chetverti XI veka i ego dal'nejshaja sud'ba” (Ascetic Direction in Byzantine Art of Second Quarter of XI Century and Its Future Destiny), in Vizantijskij mir: iskusstvo Konstantinopolja i nacional'nye tradicii. K 2000-letiju hristianstva. Pamjati O. I. Podobedovoj (1912–1999), Moscow, 2005.
7. Privalova E. Vardzija, Tbilisi, 1982.
8. Sarab'janov V. D. Spaso-Preobrazhenskij sobor Mirozhskogo monastyrja (Transfiguration Cathedral of Mirozhskij Monastery), Moscow, 2010.
9. Sarab'janov V. D., Smirnova Je. S. Istorija drevnerusskoj zhivopisi (History of Old Russian Painting), Moscow, 2007.
10. Сonstantinidi E. 1993–1994 “The Frescoes of the Church of the Holy Archangels of Zemo-Krikhi, Rača (Georgia) and Contemporary Monuments of Mani in Southern Greecе”, in Images from the Byzantine Periphery Studies in Iconography and Style, Athens, 1993–1994, pp. 181–192.
11. Zakharova A., Sverdlova S. 2015 “Original Wall Paintings at the Church of the Saviour in Chvabiani (Upper Svaneti, Georgia) and Byzantine Art at the Turn of the Tenth to Eleventh Centuries”, in Zograf, Belgrade, 2015, vol. 39, pp. 11–25.
12. ქავთარია ნინო. წყაროსთავის ოთხთავი: ეროვნული მემკვიდრეობა // საპატრიარქოს უწყებანი. სექტემბერი, № 30 (558). თბ., 2010. გვ.19–20.

Makarova Anna

Recently art historians started take an interest in art of the Florentine painter of the first half of the 14th century Bernardo Daddi. Last researches from the National Gallery in London discovered the new aspects of the activity of the master, for example, using unique method of applying a layer of the gilding, engraving revealed that accentuates the individual Daddi`s style. Today it is possible to argue that its scope was not limited of only the production of portable altarpieces but he was also the author of a signifi cant number of large-scale altar multipart compositions. In this article, which is in line with studies of early art trecento, an analysis of its artistic heritage from the perspective of the performance of the works commissioned by the Signoria, social and religious organizations of Florence. Designating customers, places for which they were intended, we can get an idea of the scope of the artist, not previously discussed in the art historian science. This will allow to better understand Bernardo Daddi`s place in the artistic life of Florence in the second quarter of the 14th century. In general, present study expands our knowledge of the Italian art of the first half 14th century.

Bernardo Daddi, Giotto, polyptych, triptych, altarpiece, church, basilica, chapel, Santa Maria Novella, Santa Croce, Orsanmichele, Santa Maria del Fiore, Misericordia, Madonna.

1. Grashhenkov V. N. “Portrety rannego ital'janskogo Vozrozhdenija: opyt sociologicheskoj harakteristiki” (Portraits of Early Italian Renaissance: Experience of Sociological Characteristics), in Kul'tura Vozrozhdenija i obshhestvo, p. 54.
2. Libman M. Ja. Donatello, Moscow, 1962.
3. Lidov A. M. Vizantijskij antependium. O simvolicheskom prototipe vysokogo ikonostasa. Vizantijskaja imperija. Stat'i po istorii Vizantijskoj imperii (Byzantian Antependium. About Symbolic Prototype of High Iconostasis. Byzantine Empire. Articles for History of Byzantine Empire), in http://wiki.ru/sites/vizantiyskaya_imperiya/articles-134475.html (Date: 17.08.15).
4. Mel'nikova T. A. Novoe i tradicionnoe v kul'turnoj zhizni florentijskogo gorodskogo obshhestva XIV — nachala XV vv.: dis. … kand. ist.nauk (New and Traditional in Culture Life of Florence City Society of XIV — Begin of XV Cent.: Dissertation), Saratov, 2006.
5. Prokopp M. Ital'janskaja zhivopis' XIV veka (Italian Paintings of XIV Century), Budapesht, 1988, in http://krotov.info/libr_min/16_p/ro/kopp.htm (Date: 16.08.15).
6. Romanchuk A. V. Obshhestvennye idei i predstavlenija v hudozhestvennyh obrazah Florencii i Sieny vtoroj poloviny XIV veka: Dis. … kand. ist. nauk (Social Ideas and Presentations in Art Images of Florence and Siena of Second Half of XIV Century: Dissertation), Saint-Petersburg, 2001, pp. 61–62.
7. Stopani R. Florencija. Iskusstvo i istorija (Florence. Art and History), Florence, 2007.
8. Casu S. The Pittas Collection: Early Italian Painting (1200–1530), Mandragora, 2011, pp. 40–45.
9. Di Nepi S., Roy A., Billinge R. “Bernardo Daddi`s Coronation of the Virgin: The Reunion of Two Long-Seperated Panels”, in National Gallery Technical Bulletin, vol. 28, p. 6.
10. Henderson J. Piety and Charity in Late Medieval Florence, Chicago, 1994.
11. Hourihane C. The Grove Encyclopedia of Medieval Art and Architecture, New York, 2012.
12. Lavin I. Santa Maria del Fiore: Il Duomo di Firenze e laVergine incita, Roma, 1999.
13. Longhi R. Qualita`e industria in Taddeo Gaddi ed altri, Paragone, 1959.
14. Gómez-Moreno C. Medieval Art from Private Collections: A Special Exhibition at the Cloisters, October 30, 1968, Through March 30, 1969: Introduction and Catalogue, Metropolitan Museum of Art, 1968.
15. Nesi A., Utari G. La Croce di Bernardo Daddi, vicissitudini di un`opera d`arte, Centro Di, 2011.
16. Offner R. A Critical and Historical Corpus of Florentine Painting. The Fourteenth Century. III/VIII, 1958.
17. Rizzo A. 1993 “Bernardo di Stefano Rosselli, il «Polittico Rucellai» e il politico di San Padoa Pancrazio di Bernardo Daddi”, in Studi di storia dell`arte, 1993, vol. 4, pp. 211–222.
18. Rubinstein N. The Palazzo Vecchio 1298–1532: Government, Architecture, and Imagery in the Civic Palace of the Florentine Republic, Oxford, 1995.

Parfenova Elena

The Typikon of Patriarch Alexios Stoudites is the major source for chant books studies. This article is the first attempt to examine a connection between liturgical indications from the Typikon (according to the MS 330 from the Sinodal collection, State Historical Museum) and the Kondakar chants. The Typikon references to chants contain such information as indications of their liturgical function, their genre, mode, idiomelon and the incipit, a cast of singers; the full text of a chant is written out in a few cases. This article mirrors the binary structure of the Kondakar: liturgical instructions referring to the chants of the first part of the book (kontakia, oikoi and Akathistos to the Most Holy Theotokos) are analyzed first, while the chants from its second, additional part (ypakoe, troparia, koinonika, the daily chants) are examined later. This research helps to reestablish the full nomenclature of chants described in the Typicon (total of 103 items), to restore or verify their liturgical function and to reconstruct character of their performance. We also may conclude that Kondakar chants were widely used in monastic liturgical practices. A number of tables containing data on the Kondakar chants mentioned in the Typikon were compiled in the course of the study.

Typikon of Patriarch Alexios Stoudites, singing book Kondakar, liturgical instructions, kontakion, oikos, Akathistos to the Most Holy Theotokos, troparion, ypakoi, koinonikon, the daily chants.

1. Artamonova Ju. V. Pesnopenija-modeli v drevnerusskom pevcheskom iskusstve XI–XVIII vekov: dis. ... kand. iskusstvovedenija (Songs-Models in Old Russian Chant Art of XI–XVIII Centuries: Dissertation), Moscow, 1998.
2. Vladyshevskaja T. F. Muzykal'naja kul'tura Drevnej Rusi (Musical Culture of Old Rus’), Moscow, 2006.
3. Zabolotnaja N. V. Cerkovno-pevcheskie rukopisi Drevnej Rusi XI–XIV vekov: osnovnye tipy knig v istoriko-funkcional'nom aspekte (Church Chant Manuscripts of Old Rus’ of XI–XIV Centuries: Main Types of Books in Historical-Functional Aspect), Moscow, 2001.
4. Kazachkov Ju. A. “Akafist. Kompozicionnoe i metricheskoe postroenie. Istoriko-dogmaticheskoe soderzhanie. Vopros o datirovke i atribucii” (Akathistos. Compositional and Metrical Structure. Historical-Dogmatic Content. Question about Date and Ascription), in Pravoslavnaja jenciklopedija, in: http: www.pravenc.ru/text/63814.html (Date: 26.08.2015).
5. Lisicyn M., prot. Pervonachal'nyj slavjano-russkij Tipikon. Istoriko-arheograficheskoe issledovanie (Original Slavic-Russian Typikon: Historical-Archaeographic Study), Saint-Petersburg, 1911.
6. Loseva O. V. Russkie mesjaceslovy XI–XIV vekov (Russian Calendars of XI–XIV Centuries), Moscow, 2001.
7. Momina M. A. 1976 “Postnaja i Cvetnaja Triod'” (Triodion and Pentecostarion), in Metodicheskie rekomendacii po opisaniju slavjano-russkih rukopisej dlja Svodnogo kataloga rukopisej, hranjashhihsja v SSSR, Moscow, 1976, vol. 2/2, pp. 389–419.
8. Nikiforova A. Ju. “Akafist. Liturgicheskoe upotreblenie” (Akathistos. Liturgical Use), in Pravoslavnaja jenciklopedija, in http: www.pravenc.ru/text/63814.html (Date: 26.08.2015).
9. Pentkovskij A. M. Tipikon patriarha Aleksija Studita v Vizantii i na Rusi (Typikon of Patriarch Alexios Studites in Byzantium and Rus’), Moscow, 2001.
10. Pletneva E. V. Pevcheskaja kniga «Oktoih» v drevnerusskoj tradicii (po rukopisjam XI–XV vekov): dis. ... kand. iskusstvovedenija (Chant Book “Oktoichos” in Old Russian Tradition (on Manuscripts of XI–XV Centuries): Dissertation), Saint-Petersburg, 2008.
11. Pozhidaeva G. A. 2003 “Istoriko-liturgicheskie predposylki prostrannogo penija na Rusi” (Historical-Liturgical Premisis of Long Chant in Rus’), in Lozovaja I. (ed.) Gimnologija, Moscow, 2003. vol. 3: Cerkovnoe penie v istoriko-liturgicheskom kontekste: Vostok — Rus' — Zapad, pp. 108–126.
12. Skaballanovich M. N. Tolkovyj Tipikon. Ob’jasnitel'noe izlozhenie Tipikona s istoricheskim vvedeniem (Explained Typikon. Explanatory Exposition of Typikon with Historical Introduction), Kiev, 1913, vol. 2.
13. Tutolmina S. N. Russkie pevcheskie Triodi drevnejshej tradicii: dis. ... kand. iskusstvovedenija (Russian Chant Triodion of Oldest Tradition: Dissertation), Saint-Petersburg, 2004.
14. Uhanova E. V. 2000 “Osobennosti bogosluzhenija Russkoj Cerkvi IX–XIV vv.” (Features of Russian Church Divine Service of IX–XIV Cent.), in Vestnik RGNF, Moscow, 2000, vol. 3, pp. 83–93.
15. Uhanova E. V. 2000 “Jetapy razvitija vostochno-hristianskogo bogosluzhenija IX — nachala XV v. v drevnerusskih spiskah Studijskogo Ustava” (Development Stages of Eastern Christian Divine Service of IX — Begin of XV Cent. in Old Russian Copies of Studite Typikon), in Gimnologija: Materialy mezhdunar. nauch. konf. «Pamjati protoiereja Dimitrija Razumovskogo», Moscow, 2000, vol. 1/1, pp. 101–113.
16. Myers G. A Historical Liturgical and Musical Exploration of Kondakarnoe Penie. The Deciphering of a Medieval Slavic Enigma, Sofia, 2009, pp. 104–112.
17. Myers G. 1988 “The Blagoveshchensky Kondakar and Survival of the Constantinopolitan All-Chanted Office in Kievan Rus”, in Musica Antiqua VIII. Acta Musicologica, Bydgoszcz, 1988, vol. 1, pp. 703–721.
18. Strunk O. 1977 “Intonations and Signatures of the Byzantine Modes”, in Essays on Music in the Western World, New York, 1977, pp. 19–44.

Shvets Tat'iana

This paper analyses seventeen previously unknown concerts for four voices by an eminent Russian composer of the Baroque era Vasily Titov. The paper presents a description of different manuscripts, which allow us to attribute the concerts and the manuscripts to Titov and also to make a compilation of complete or incomplete scores of the concerts.

Titov, concert, manuscript, score, partesny style.

1. Aksenov A. I. Genealogija moskovskogo kupechestva XVIII v.: Iz istorii formirovanija russkoj burzhuazii (Genealogy of Moscow Merchants of XVIII Cent.: from History of Formation of Russian Bourgeoisie), Moscow, 1988.
2. Efimova I. V. Mnogogolosie v russkom professional'nom pevcheskom iskusstve XVII — nachala XVIII veka: Dis. … kand. isk. (Polyphony in Russian Professional Chant Art of XVII — Begin of XVIII Century: Dissertation), Leningrad, 1984.
3. Plotnikova N. Ju. Russkoe partesnoe mnogogolosie konca XVII — serediny XVIII veka: istochnikovedenie, istorija, teorija (Russian Partes Polyphony of End of XVII — Middle of XVIII Century: Source Study, History, Theory), Moscow, 2015.
4. Plotnikova N. Ju. Semejnyj skriptorij Nikolaja i Petra Ivashevyh i ego rol' v istorii partesnogo mnogogolosija (Family Scriptorium of Nikolaj and Petr Ivashevy and Its Role in History of Partes Polyphony), 2015 (forthc.).
5. Plotnikova N. Ju. 2013 “Tvorchestvo Nikolaja Dileckogo: novye otkrytija” (Works of Nikolaj Dileckij: New Discoveries), in Muzykal'naja akademija, 2013, vol. 2.
6. Protopopov V. 2011 “Muzykal'noe tvorchestvo Vasilija Titova: K probleme partesnogo stilja” (Musical Works of Vasilij Titov: To Problem of Partes Style), in Protopopov V. V. Iz neopublikovannogo nasledija: Velikie tvorenija mirovoj duhovnoj muzyki. Russkaja muzyka vsenoshhnogo bdenija. Muzykal'noe tvorchestvo Vasilija Titova: K probleme partesnogo stilja, Moscow, 2011.
7. Protopopov V. 1983 “Tvorenija Vasilija Titova — vydajushhegosja russkogo kompozitora vtoroj poloviny XVII — nachala XVIII veka. K probleme partesnogo stilja“ (Works of Vasilij Titov — Outstanding Russian Composer of Second Half of XVII — Begin of XVIII Century. To Problem of Partes Style), in Protopopov V. V. Izbrannye issledovanija i stat'i, Moscow, 1983.

Gatovskaia Evgeniia

The presented paper is devoted to one aspect of the disclosure in the history of the formation of educational traditions in the field of national musical art of the last century. Namely the question of interaction between two musical and educational training establishments in Moscow: Synodal School of Church Music and Conservatory consisting of the Moscow Branch of the Imperial (1873), the Russian Musical Society. Moscow Synodal School and the Moscow Conservatory took place in the 19th century, complex and interesting way of formation, development, achievement of educational success. Each institution has its own characteristics and traditions of conducting the educational process. The article offers information about their educational and methodological cooperation in the training of young musicians, and specific features of the content of some subjects of the curriculum, are examples of the intersection of contingent faculty and students. Despite the natural differences in the tasks assigned to the teaching and educational institutions (in one preparing graduates musicians — versatile persons, «free artists», another «narrowly focused» training the choristers and choir), they both wanted to combine purely technical, handicraft musicians training with raising their artistic taste. In this approach, the secular and spiritual educational institutions were unanimous. Which is reflected in the development of objects and specially — oriented music (playing instruments, singing, studying music history and theory) and general cultural, rates affecting the outlook for future musicians, regents choirs, church singing. For the first time expressed the idea of the fruitfulness of creative communications Synodal School of Church singing and the Conservatory of the Moscow Branch of the Imperial Russian Musical Society, about schools movement in its educational policy as if toward each other, the importance of the Synodal School based in the tradition of preparing domestic choral conductors.

Synodal School of Church Music, Moscow Conservatory IRMO, music education.

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2. Rahmanova M. P. 2004 “Novoe napravlenie v duhovnoj muzyke: istoricheskie tendencii i hudozhestvennye processy” (New Direction in Spiritual Music: Historical Tendencies and Art Processes), in Korabel'nikova L. Z., Levashev E. M. (eds.) Istorija russkoj muzyki (History of Russian Music), Moscow, 2004, vol. 10B: 1890–1917-e gody.
3. Glushkova O. R. (ed.) Russkoe muzykal'noe obshhestvo (1859–1917). Istorija otdelenij (Russian Musical Society (1859–1917). History of Departments), Moscow, 2012.

Glushkova Ol'ga

The article deals with the peculiarities and difficulties in the dispensation of the Church and, above all, the liturgical life, which are little known to Russian readers, but very characteristic of the Russian emigration of the twentieth century. The time frame of the study is not limited to any one period (typically in the historical science is used in a generic term — «immigration wave»), however, more attention is paid to the middle of 20th century — the Second World War and the time of its end («second wave»). Due to the historical characteristics of this period its characteristics are drawn examples mainly from the church life of the Russian Ortodox Church abroad. Geographical boundaries at the bottom of the range of problems in the European region, although considered a single phenomenon affecting the countries of other continents. Central to the article is a historical reconstruction of education in the Berlin diocese of the Russian Ortodox Church abroad, parish on the fate of which has a distinctly major problems of the organization of the liturgical life in the conditions of emigration: they consistently presented in the beginning of the article. Material for the reconstruction served as archival documents not previously published. The article attempts to identify the main factors affecting the viability of the parish as the availability of Church facilities, clergy and the clergy, the possibility of carrying out regular services, and also trying to figure out the relationship of these factors and their hierarchical strict subordination.

the Russian Diaspora, Church life of the Russian emigration, the Berlin Pokrov Church of the intercession on Kulmbacher Strasse, 6, Kulmbacherstraße, 6. Kirche. Berlin — Wilmersdorf, the materials of the diocesan correspondence, Archive of the Germa

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12. Gaede K. Russische Orthodoxe Kirche in Deutschland in der ersten Hälfte des 20. Jahrhunderts, Köln, 1985.

Sadikova Ekaterina

The aim of the work was to consider the activities of Regent’s work in parish modern church-singing practice; to find similarities and differences between the work of the regent and regent-choirmaster; identify repertoire and performing tasks; identify the problems associated with the level of professional music education of singers and regents. The conventional groups of church choirs are formed in the article. They are united by different levels of music education: professional large choir — parish ensemble; professional choral ensemble of the church — parish ensemble; and a group of church choral groups, equal in their professional musical training: a large professional choir — professional choral ensemble. The study detailed the main directions of functioning and management of parish amateur and professional church choral ensemble. It marked the direction of the evolution of manual conductor's art. Comparative characteristics of the regent’s work with three existing types of church choirs showed that at the present stage of parish life the main singing group becomes the professional choral ensemble, which in turn requires the highest professional knowledges and skills of a regent and singers. Modern parochial practice gives regent an impulse for solving urgent problems and challenges related to the work of professional church choral ensemble.

choir conductor, choirmaster, choir ensemble, choir, manual technique, conducting, singers, liturgical singing, amateur ensemble, parish singing.

1. Asaf'ev B. V. O horovom iskusstve: Sb. statej (About Choir Art: Collection of Articles), Leningrad, 1980.
2. Gardner I. A. Bogosluzhebnoe penie Russkoj Pravoslavnoj Cerkvi (Divine Service Chant of Orthodox Church), Sergiev Posad, 1998, vol. 1: Sushhnost'. Sistema. Istorija (Essence. System. History).
3. Knjazev A., prot. 1999 “«Ashhe izvolit nastojatel'»” (“If the Prior Want”), in Alfa i Omega, 1999, vol. 4/22.
4. Kovin N. 1915 “Upravlenie horom. Posobie dlja regentov” (Choir Administration. Textbook for Regents), in Horovoe i regentskoe delo, Petrograd, 1915, p. 46.
5. Kustovskij E. S. Dirizherskaja tehnika na klirose: Posobie dlja nachinajushhih regentov (Conductor Technic at Church Choir: Textbook for Beginning Regents), Moscow, 2003.
6. Romanovskij N. V. Horovoj slovar' (Choir Dictionary), Leningrad, 1968.

Nikitiuk Oksana

It is obvious that system of church painting implies certain interconnection between style and decorative program. Today in Russian painting exist several most popular stylistic trends: «Rublev» style, Byzantium tradition of Macedonian and Palaeologan art. The most early tendency of church painting shows monumental style of Ancient classicism of the 11th century. The main part of cupola ensemble represents the images of Christ the Almighty, Ascension or Pentecost. The subordinate zones are occupied with the stood full-length figures of the Saints. Festival Cycle compositions in the interior include 4–6 images. Palaeologan style implies rather complicated narrative cycles with Renaissance figures. Decorative program may be determined by Balkan models: Passion Cycle on the west wall, «Celestrial Liturgy» in the dome. «Rublev» style of Moscow painting of the 15th century is connected with certain exactness for figure size in each part of a church, as well as color distinction for each hierarchical zone.

decorative program of orthodox painting, Macedonian and Palaeologan art, Festival Cycle, Balkan models, hierarchical zones.

1. Kolpakova G. S. Iskusstvo Vizantii. Pozdnij period (Byzantine Art. Late Period), Saint-Petersburg, 2004.
2. Krylov A. K. 2011 “Novye dannye o mozhajskih freskah XVI v. (po rezul'tatam issledovanij 1996–1999 gg.)” (New Data about Mozhajsk Frescos of XVI Cent. (on Results of Studies of 1996–1999)), in Krylov A. K. Koloristicheskij simvolizm drevnerusskoj stenopisi (stat'i, issledovanija, zametki), Saint-Petersburg, 2011, pp. 253–270.
3. Lazarev V. N. 1971 “Sistema zhivopisnoj dekoracii vizantijskogo hrama IX–XI vv.” (Art Decoration System of Byzantine Church of IX–XI Cent.), in Lazarev V. N. Vizantijskaja zhivopis', Moscow, 1971, pp. 96–107.
4. Iulianija, nun (Sokolova M. N.). Trud ikonopisca (Work of Icon-Painter), Svjato-Troickaja Sergieva Lavra, 1998.
5. Peshke I. Monumental'naja zhivopis' jepohi Dzhotto v Italii. 1280–1400 (Monumental Paintings of Epoch of Giotto in Italy. 1280–1400), Moscow, 2003.
6. Sovremennaja pravoslavnaja ikona (Modern Orthodox Icon), Moscow, 1994.
7. Jazykova I. «Se tvorju vse novoe…» Ikona v XX veke (“Behold, I Make All Things New…” Icon in XX Century), Moscow, 2002, pp. 143–144.
8. Borsook E. The Mural Painters of Tuscany from Cimabue to Andrea del Sarto, London, 1980.
9. Demus O. Byzantine Mosaic Decoration. Aspects of Monumental Art in Byzantium, London, 1947.
10. Hertlein E. Die Basilika San Francesco in Assisi, Florence, 1964.
11. Martindale A. Simone Martini, Oxford, 1988.
12. Prokopp M. Pietro und Ambrogio Lorenzetti, Berlin, 1985.
13. Smart A. The Dawn of Italian Painting, 1250–1400, Oxford, 1978.

Davidova Mariia

Article is devoted to a question of the leading role of form and content in domestic singing art. This question is presented in a historical foreshortening (communication of the modern choral art from singing tradition) and within research of creative activity of the known choirs (The Moscow State Academic Chamber Chorus by V. Minin, for an example). There is a domestic choral art (work of the Russian composers of the 19–20th centuries) in the center of author's attention. The basic concept «timbresation» by A. Nikolsky is projected on musical practice of the famous domestic choirs: State Academic Chorus by A. Sveshnikov, Republican Academic Choral Chapel by of A. Yurlov, St. Petersburg Choral Chapel by V. Chernushenko, Moscow Chamber Chorus by V. Minin. This concept is studied on the example of russian folk music and church singing art. In this regard the organizing and directing role of the conductor creating an art ensemble is discussed. The phenomenon of a voice and ensemble unity become turning point in determination of national choral art's style features.

“a choir as an orchestra of human voices”, singing tradition, singing art, timbre, chorus master.

1. Il'in V. Ocherki istorii russkoj horovoj kul'tury. 2-ja polovina XVII — nachalo XX veka (Essays on History of Russian Choir Culture. 2nd Half of XVII — Begin of XX Century), Saint-Petersburg, 2007.
2. Il'in V. Ocherki istorii russkoj horovoj kul'tury. 1-ja polovina XX veka (Essays on History of Russian Choir Culture. 1st Half of XX Century), Saint-Petersburg, 2003.

Baikova Elena