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

This article deals with the typology and construction of staircases that lead to choir galleries (catechumena) in Novgorod churches of the late 13th–15th centuries. Three types of construction are distinguished: 1) one-fl ight staircase within the western wall; 2) stone staircase located along the western part of the northern wall; 3) wooden staircase in one of the western corner compartments. Intramural staircases as well as wooden staircases placed in one of the western corners of the church building are characteristic of the late 13th — fi rst half of the 14th centuries. Later, from the 1360s and up to 1430s, mostly stone staircases were erected; these are situated along the western part of the northern wall. Sometimes wooden staircases or staircases in the thickness of the western wall occur. Since the 1430s, staircases appear only in churches “on old foundations”; as a rule, they are intramural (it is only the church of Resurrection at Lake Myachino, 1463, that has a stone staircase in the northwestern part of the basement). Apart from the structure of church buildings, the article examines staircases in civil buildings (the “chamber of Vasily Kalika”, 1350, and the Faceted Palace, 1433). The article gives a detailed account of the main parameters of the staircases (width, step height, type of overlap); it also considers questions of their illumination, provides an analysis that includes comparison with constructions of monuments of pre-Mongolian period. Special attention is paid to the types of external staircases that were constructed in the 15th century in the basement of the church. A number of two-storey buildings of the 15th century did not have porches, instead, staircases were constructed from one or two sides. At the same time, many churches had western porches and staircases at the side facades. One can only tentatively speak of the form of these staircases, as they have not been preserved anywhere; moreover, no trace of their foundations have been found. The study of buildings of other centres of Old Russia of the late 13th — 15th centuries has demonstrated that there are no complete analogies with Novgorod staircases in the Old Russian architecture of that period.

Old Russian architecture, Rus’ in 13th-15th centuries, staircases, building constructions, Novgorod the Great, the constructive technology, church interior

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Antipov Ilya

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

The article is written in 2018 within the framework of the project "The architecture of Veliky Novgorod in the XI–XV centuries: building materials and structures" supported by RFBR Foundation.

This article is devoted to some aspects of Charles Borromeo’s Instructiones fabricae et supellectilis ecclesiasticae published in 1577. It deals with the Instructions in connection with their relationship to the decrees of Trent Council (1545‒1563) and changes in the arrangement of churches that were introduced by Reformation. The article demonstrates the actual bases on which the architecture of European Catholic churches emerged in the latter half of the 16th century. They are dealt with in a historical perspective, because a number of important changes in the arrangement of churches (for example, the position of the tabernacle) had become visible prior to the Council. As is known, it did not accept any normative documents as to church architecture. The manual by Charles Borromeo made it possible to distinguish the main principles of church construction that were in accord with the spirit of the Council and determined the system of construction and arrangement of European Catholic churches for several centuries to come.

Charles Borromeo, Trent Council, Baroque architecture, Baroque art, history of European architecture, Italian architecture, tabernacle, liturgy space, european church architecture, Reformation

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Kim Ekaterina

In 2013, 37 Nikolai Diletsky’s (Russ. Николай Дилецкий) four-part concertos were made public by the author of this article. Their texts represent a wide variety of sources that attracted attention of masters of the Baroque period. These compositions established a part-song style (партесный стиль), which was new in Russia and formed the aesthetics of the Baroque period. This is the reason why their verbal framework, which became the starting point for the author of music, is of particular interest. This article proposes to divide all the texts of Diletsky’s concertos into four groups: I. Texts of the Old Testament: 1) The book of Job; 2) The Psalter; II. Texts of the New Testament: Acts of the Holy Apostles; III. Texts of liturgical hymns: 1) hymns of the Twelve Great Feasts and Easter; 2) hymns of the Lenten Triodion; 3) hymns in honor of the saints (from the liturgical singing book “Trezvony” and akathists); 4) hymns of the burial service; 5) hymns of canons and prayers; 6) hymns against heretics; IV. Paraliturgical spiritual texts. The article is supplemented with two tables: the fi rst refl ects the verbal sources of 32 concertos; in the second, all the concertos are grouped according to the proposed criteria. The structure of each group is examined; the texts of some concertos are quoted in full. The diff erences between the texts and their modern variants are identifi ed, with reasons for choosing a particular text. Of special interest are the texts of the concertos Кто Ти, Спасе, ризу раздра (‘Who tore Thy chasuble, o Savior’) and Иже образу Твоему (‘Those, who to Thy image’), related to the theme of denunciation of heresies. The author of the article also considers some principles of paraphrase, realised in paraliturgical sacred texts.

Nikolai Diletsky, part-song concerto, Russian musical Baroque, paraphrase

1. Alekseev A. I., Strigol'niki: obzor istochnikov, available at: www.sedmitza.ru/data/2012/11/26/1235539493/2012_3_4_06.pdf.(10.01.2018).
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3. Gerasimova I. V., “Partesnyi kontsert Nikolaia Diletskogo «Izhe obrazu Tvoemu»: istoki i istoriia sozdaniia”, in: Lietuvos Didiosios Kunigaiktysts kalbos, kultros ir ratijos tradicijos, 2009, 415–429.
4. Gerasimova-Persidskaia N. A., “«Postoiannye epitety» v khorovom tvorchestve kontsa XVII — pervoi poloviny XVIII vekov”, in: Russkaia khorovaia muzyka XVI–XVIII vekov, GMPI im. Gnesinykh, sb. tr., 83, 1986, 141–144.
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7. Kastsiukavets L. P., “Stikhira Bogoroditsi na prokliatie geretykov”, in: Pytannі kul'tury і mastatstva Belarusі, 13, 1995, 54–58.
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9. Plotnikova N. Iu., “Kontserty Nikolaia Diletskogo na tri golosa: voprosy atributsii, zhanra i stilia”, in: Muzyka i vremia, 8, 2016, 11–25.
10. Plotnikova N. Iu., “Tvorchestvo Nikolaia Diletskogo: novye otkrytiia”, in: Muzykal'naia akademiia, 2, 2013, 77–82.
11. Ilariona (Alfeeva), arkhiep., per. Prepodobnyi Simeon Novyi Bogoslov, «Priidi, svet istinnyi», Izbrannye gimny, St. Petersburg, 2010.
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14. Sinaksar' v nedeliu Torzhestva Pravoslaviia, available at: http://lib.pravmir.ru/library/readbook/1865#part_22790 (27.12.2017)
15. Tolkovaniia Sviashchennogo pisaniia, available at: http://bible.optina.ru/old:ps:046:02 (27.12.2017).

Plotnikova Natalia

*According to ISCED 2011, a post-doctoral degree called Doctor of Sciences (D.Sc.) is given to reflect second advanced research qualifications or higher doctorates.

In Old Russian singing manuscripts of the later period (17th–18th centuries), there existed a widespread tradition of cinnabar marks-headings that introduced the chant and indicated the style and character of the melos. The article deals with one of these indications, namely the term “little chant” (Russ. малый роспев). The scope of the study is limited to the singing book Obikhod (Russ. Обиход). The article examines a number of chants which consistently bear this defi nition, analyses their melos and makes a comparison with more ancient versions of these chants in MSS of the preceding period. The main fi nding of the article is that the term малый роспев does not imply melodic and stylistic unity. Part of the chants that in older copies have the indication “little chant”, are in terms of their style parameters completely identical to the examples of oktomodal Stolp Znamynny chant. At the same time, a few other examples represent a non-modal succinct type of melos, similar to many short hymns from the repertory of the Obikhod.

Russian medieval chant, singing manuscripts, Znamenny chant, Znamenny notation, ''stolpovoj rospev'', ''malyj rospev'', melodic formulas

1. Vladyshevskaya T. F., Muzykal'naya kul'tura Drevnej Rusi, Moscow, 2006.
2. Grinchenko O. S., “Molebnyj zadostojnik Vladychice priimi v kryukovom Obihode Antonievo-Sijskogo monastyrya (GIM. Sin. Pevch. 1243, 70-e gg. XVII v.)”, in: Vestnik PSTGU, 2005. I, n. 14, 169–177.
3. Tyurina O. V., “O grafi cheskom voploshchenii Evangel'skih Stihir bol'shogo rospeva: ot tajnozamknennoj formy zapisi — k rozvodu drobnym znamenem”, in: Vestnik PSTGU, 2015. Ser. V, n. 3 (19), 41–51.
4. Tyurina O. V., “Ob odnom obrazce drevnerusskoj melizmatiki: cikl Svetil'nov voskresnyh”, in: Vestnik PSTGU, 2008. Ser. V, no. 2 (3), 7–22.
5. Tyurina O. V., “Formirovanie grafi cheskogo oblika melizmaticheskih pesnopenij : cikl Svetil'nov voskresnyh po spiskam XII — konca XV vv.”, in: XIX Ezhegodnaya Bogoslovskaya konferenciya PSTGU, II, 2009, 202–213.
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Tyurina Olga

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

This article provides an analysis of iconography of the two icons “Exaltation of the Holy Cross” (1700 and 1756) from the iconostasis of the church of Exaltation of the Holy Cross at Kiev-Pechersk Lavra Near Caves. As an analogy, we refer to the icon of St. Varlaam’s Life (1691) from the old iconostasis of the underground church of St. Varlaam of Pechersk in the Near Caves and the engravings from books of the 17th century printed at Kiev-Pechersk Lavra. As a result of the study, we have identifi ed the features characteristic of the iconography of the Exaltation of the Holy Cross in the icon-painting of Kiev-Pechers Lavra of the late 17th — 18th centuries. The icons’ variation of composition has a narrative character. Painting narrative unfolds in the seven stamps, each of them presenting an episode from the narrative about the search and acquisition of the Life-Giving Cross. The picturesque stamps are grouped around the central composition with the image of St. Constantine and Helen, standing before the Cross. St. Anthony, St. Theodosius and St. Varlaam of Pechersk and the picture of the monastic assembly in the stamp “Exaltation of the Holy Cross” are imaged in the lower part of the icon, which is connected with the fact that metropolitan Varlaam (Yasinsky) established the feast of the Councils of the Reverend Fathers of the Near (on the fi rst Saturday after the feast of the Exaltation of the Cross of the Lord) and the Far Caves. This circumstance indicates the desire of the author of the iconographic programme of the icon to incorporate events of the history of the monastery into the history of Christianity and, by means of this, to relate to the dominant scheme, namely the Glorifi cation of the Cross. And, conversely, the primary theme, which is refl ecting the history of the veneration of the Cross, is linked to the history of the monastery. Taking into account all the above-mentioned, one can claim that the narratology and historicism as conceptions of the visual narrative constitute a characteristic feature of the iconography of the icon-painting of Kiev-Pechersk Lavra of the late 17th — 18th centuries. The literary foundation of the visual narrative is “The Legend of the Exaltation of the Honest and Life-Giving Cross of the Lord” by St. Dimitry of Rostov. The narratological scheme of composition in icon-painting of Kiev-Pechersk Lavra developed under the infl uence of engravings in Lives of saints. The closest iconographic analogies to the compositions of the icon stamps are plots of the fresco cycles of Cyprus churches of the 15th — 16th centuries, namely the churches of the Monastery of the Holy Cross near Platanistasa (1494), the Church of the Exaltation of the Cross in Kiperunda (1521), the Church of the Blessed Virgin Hrisopantanassa in Paleochori (16th century).

Exaltation of the Holy Cross, Kiev-Pechersk Lavra, icons, iconography, engraving, frescos, Cyprus churches of 15th-16th centuries

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10. Litvinenko Ia. V., “Іkonostasi і monumental'nii zhivopis lavrs'kikh pecher. Datuvannia, atributsіia, vtrati, ponovlennia”, in: Lavrs'kіi al'manakh, Kiev, 27, 2012, 306–337.
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Ryzhova Olga

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

This article deals with a little-known work by D. V. Razumovsky (Russ. Д. В. Разумовский), devoted to the study of signs of Greek ekphonetic notation and published in 1863 in the journal Известия Императорского Археологического общества (“Proceedings of Imperial Archaeological Society”) by A. F. Bychkov (А. Ф. Бычков). For the fi rst time in musicology, D. V. Razumovsky gave a detailed description of this notation, provided their musical interpretation, identifi ed their sources and outlined the direction of their further study. The history of this publication is related to the Athos expedition of 1859–1860, organised by the prominent archaeologist and collector P. I. Sevastyanov (П. И. Севастьянов). Among the numerous photographs obtained by the expedition, there were also copies of noted Greek manuscripts, including those containing ekphonetic notation. D. V. Razumovsky studied and described these photographs that were submitted to the Public Library in St Petersburg by request of V. V. Stasov, who in the 1850–1860s was also interested in Greek church singing tradition. In the events described, the following fi gures were also involved: Prince M. D. Volkonsky (князь М. Д. Волконский), the librarian of the monastery of St. Panteleimon on Mount Athos Azariah (Poptsov; Азария (Попцов)), and bishop Porfi ry (Uspensky) (Порфирий (Успенский)), who also studied manuscripts with ekphonetic signs. This article briefl y describes the subsequent history of studies of this notation and provides data on the availability of Greek sources that contain it and are kept in Russian collections.

Greek ekphonetic notation, D. V. Razumovsky, P. I. Sevastianov, V. V. Stasov, Bishop Porfi ry Uspensky, M. D. Volkonsky, Byzantine musicology

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10. Shekhovtsova I. P., “Po sledam afonskoi ekspeditsii P. I. Sevast'ianova”, in: Vestnik PSTGU, V, 2 (26), 2017, 109–130.
11. Shlihtina Ju. R., Materialy po vizantij sko-russkim muzykal'no-teoreticheskim svjazjam iz arhiva D. V. Razumovskogo, in: Hymnology, Moscow, 2000, 1 (in 2 parts), 2000, 19–25.
12. Velimirović M. M., Father Razumovsky and Byzantine chant. Hymnology, Moscow, 1 (in 2 parts), 2000, 13–18.

Shekhovtsova Irina

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

On September 30, 1808, in the Church of the Holy Sepulchre there was a fi re that lasted two days and destroyed almost two thirds of the building. When the question arose about the restoration of the shrine, the authorities of the Ottoman Empire gave permission to carry out the work to the Greek architect Nikolaos Kalfas Komnenos, who served at the court of the Sultan. The fi re caused enormous damage to the building, and it was impossible to restore it without constructive additions. Before, a comparable fi re had happened several times in the church according to written sources: in 614, during the conquest of Jerusalem by the Persians, and in 1008(9) by order of caliph Al-Hakim. The church was rebuilt in the fi rst half of the 12th century, presumably since 1119, under the auspices of kings of the Latin Kingdom of Jerusalem. This paper deals with the restoration of the Church of the Holy Sepulchre during 1809–1810; it also discusses the attitude to the renewed building. Komnenos restored diff erently the structural composition of the Rotunda Anastasis, expanded the space of Golgotha, removed the Latin kings’ burials, rebuilt the vaults at the deambulatorium (Peridromos) of the Katholikon, and restored the eastern apse in the contemporary style of the Ottoman Baroque. Clearly, such decisions caused a great outrage of the public. Many experts could not accept positively the fact that most of the interior and exterior of the building were changed. Among them were E. Boré, M. de Vogüé, and others. In the fi rst half of the 20th century, this stance was taken by P. Baldi, L.-H. Vincent and F.-M. Abel. Critical reviews of this restoration could also be found in literary circles, particularly French, e.g. in the works and personal correspondence of F.-R. de Chateaubriand, M. S. de Vaulx, G. Flaubert. Nowadays, in the Church of the Holy Sepulchre one can see only few fragments from the work of N. K. Komnenos: interior decoration of the Aedicule (Holy Canopy), the iconostasis, the walls of the deambulatorium, the exterior of the eastern apse.

restoration of Church of Holy Sepulchre, Nikolaos Kalfas Komnenos, katholikon, Anastasis, architecture of Jerusalem

1. Baldi P. La questione dei Luoghi Santi in generale. Torino: Tip. V. Bona, 1919. de Chateaubriand F.-R. Itinéraire de Paris à Jérusalem / J.-C. Berchet, ed. Paris: Gallimard, 2005. P. 336.
2. Corbo V. C., Il Santo Sepolcro di Gerusalemme. Aspetti archeologici dalle origini al periodo crociato. Parte I, Testo, Jerusalem: Franciscan Printing Press, 1982.
3. Degout B., “The Holy Sepulchre Reconstructed. Chateaubriand, from Pilgrimage to Book”, in: Trésor du Saint-Sépulcre: ouvrage publié à l'occasion de l'exposition ''Trésor du Saint-Sépulcre. Présents des cours royales européennes à Jérusalem'' présentée au Château de Versailles et à la Maison de Chateaubriand (Châtenay-Malabry), du 16 avril au 14 juilet 2013 / sous la direction scientifi que de Bernard Degout. Milan: Silvana ed.; Châtenay-Malabry: Maison de Chateaubriand, 2013, 93–101.
4. Krautheimer R., “Introduction to an Iconography of Medieval Architecture”, in: Journal of the Courtald and Warburg Institutes, 5, 1942, 1–33.
5. Pringle D., The Churches of the Crusader Kingdom of Jerusalem: A Corpus. Vol. III: The City of Jerusalem, New York: Cambridge University Press, 2007.
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Lavrentyeva Elena

This article traces the history of the formation of the Kursk episcopal choir in the first half of the 20th century. Archival documents of the Soviet period constitute the historical background of the study. The Episcopal choir was one of the most prominent and professional choirs in the Kursk diocese. Despite the fact that the practice of the famous Russian conductor and composer Alexander Archangelsky (Russ. Александр Архангельский) was widespread throughout Russia in the early 20th century, the choir did not accept the new direction. The choir maintained the tradition of male-voice choral sound and did not include female voices. As a result of radical changes in the state policy in 1917, the manner of church singing culture of the choir changed. In particular, the era of male-voice sound ended in 1932 when Znamensky Cathedral of Kursk (Знаменский кафедральный собор) was closed down and all its structural units were liquidated. The restoration of the see in Kursk in 1943 led to the revival of the Episcopal choir. However, it now had a diff erent line-up and new technical capabilities. In the fi rst half of the 1940s, the Episcopal choir, conducted by Gavriil Ivanovich Orlov (Гавриил Иванович Орлов), started the practice of mixed church-choir chanting at Sergievo-Kazansky Cathedral (Сергиево-Казанский собор) of Kursk. There arose a necessity to restore the sheet music archive lost during the repressive events of the 1930s. The article examines the features of the liturgical practice of Kursk Episcopal choir in the Soviet times. It considers the problems of the stylistic and repertory content of the sheet music archive which was restored thanks to numerous donations from collections of parish churches and connoisseurs of church singing. The article also analyses the features of the repertoire of the Episcopal choir, illustrated by the inventory of singing papers of the Orlov family of episcopal cantors. The dynasty of the cantors Ivan Matveevich Orlov and Gavriil Ivanovich Orlov is closely connected with the historical limits of Kursk Episcopal choir in the early 20th century and, to a certain extent, reflects the features of the regional element in the art of church singing of Kursk region.

culture of church singing, episcopal choir, choir conductor, sheet music archive, sheet music manuscript, church hymn, Kursk

1. Arkhierei kurskogo kraia: XVII–XX vek, available at: http://old-kursk.ru/book/razdorsky/r005.html (data obrashcheniia 11.11.2017).
2. Iz istorii khramov Kurskoi eparkhii, Kursk, 2013, 17, 28.
3. Kurskii Znamenskii muzhskoi monastyr'. K 400-letiiu osnovaniia. Po blagosloveniiu Vysokopreosviashchenneishego Germana, mitropolita Kurskogo i Ryl'skogo, Kursk, 2013, 11.
4. Zhuravlenko I. A. , ed., Po pervym slovam. Svod sochinenii i napevov Pravoslavnoi tserkvi. Izdano v Rossii, Moscow, 2002, 48.
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Sidorova Marina

This article is devoted to the principles of variation in the adaptations by Archimandrite Matthew (Mormyl) (Russ. архимандрит Матфей (Мормыль)). The material for analysis is constituted by a few samples of the Cherubic Hymn (Херувимская песнь) from the collection of hymns of the Divine Liturgy composed by Archimandrite Matthew. The article considers the genre varieties of adaptations of authorised tunes in the heritage of this outstanding church musician. Besides, the article deals with the specifi city of variation in the sphere of church singing. It cites the statements of authoritative theologians about the priority in church singing of the liturgical component over the artistic. Various forms of musical variation are mentioned, of which the most important for the church-singing culture is the existence of variants. In particular, the article points up signifi cant diff erences in the structure of the verbal text of the Cherubic song in its various versions. Among the main principles of variation in the samples of the Cherubic song from the collection of Archimandrite Matthew, the following are distinguished: change in pitch support in connection with rhythmic changes in the verbal text; the renewal of harmony due to the introduction of new contrapunctal voices; the re-harmonisation of the melody (or its fragment) upon its repetition. The article claims that a characteristic feature of the variation in the adaptations by Archimandrite Matthew is the sequence of accumulation of the renewed elements. As a result, the music is saturated with internal movement but does not change the nature of the sound essentially. Paradoxically, the systematicity and sequence of the introduced changes in the compositions by Archimandrite Matthew reveals a similarity to the so-called “developing variation” method. This method involves the gradual accumulation of changes in a multi-faceted dissonant harmonic complex, which at the same time would remain recognisable. Signifi cantly, the Russian church musician found this method by intuition and successfully refracted it in conditions of the consonant harmony of liturgical tunes.

variation, Cherubic song, Archimandrite Matthew, counterpoint, variant, harmonization, harmonic function

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8. Pylaev M. Ye., “Voprosy muzykalnoy logiki v rabotakh Karla Dalkhauza”, in: Vestnik KGU im. N. A. Nekrasova, Kazan, 3, 244–247.
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Starostina Tatiana

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