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

Italy has a long and interesting history of charity.The number and variety of charitable societies or fraternities was so great that in the 16th century in the History of Florence Benedetto Varсhi presented their elaborate typology. He emphasised their distinctive features: from those intended for a wide audience, massively receiving religious and ecstatic pleasure, including from realising themselves as part of a large and influential organism, to societies of fl agellants, reclusively scourging themselves in private chapels. Varсhi was not greatly interested in religious diff erences between charitable societies, but in social ones, for example, some were more “noble”, others more “vulgar”. In this study, an attempt is made to present the main charitable societies that existed in Florence in the 13th — 14th centuries. Their description takes into account certain features. First, the types of charitable fraternities are given in accordance with Benedetto Varсhi’s fi ndings and modern studies, in particular by Professor John Henderson, and secondly, with the aim of proving that these societies used arts to designate for society various aspects of their activity. Thus, one of the most memorable and vivid examples of such a “union” was the frescoes “Captains of Mercy transfer abandoned children and orphans to the family and adoptive mothers” by Niccolo di Pietro Gerini and Ambrogio di Baldese, as well as “Misericordia Domini” by Bernardo Daddi.

Bernardo Daddi, Orsanmichele, confraternity, art, fresco, fl agellants, laudesi, cross, Andrea Orcagna, Niccolo di Pietro Gerini, Ambrogio di Baldese, Misericordia, “Misericordia Domini”

1. Balakin V. (transl., ed.) (2004) P. Antonetti. Povsednevnaia zhizn' Florentsii vo vremena Dante [P. Antonetti. Daily Life in Florence in Dante’s Time]. Moscow (Russ. translation).
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6. Hughes-Johnson S. (2014) “I Buonomini di San Martino: Patrons and Facilitators of the Visual Arts in Quattrocento Florence”. Confraternitas 25th Anniversary Issue (25:1), Sep. 29, 5‒31.
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15. Veselovskiy A. (transl.) (1955) G. Boccaccio. Decameron. Moscow (Russ. translation).

Parfenova Elena

This article represents an attempt of a comparative analysis of melismatic formulae in Byzantine and Old Russian chants. In contract to the syllabic and syllabic- neumatic melodic formulae, Old Russian фиты (thetas) and similar Byzantine thematismoi (or ‘great hypostases’) were not studied before. The article examines two examples of parallel transformations of such formulae in the same chants in Byzantine and Old Russian singing hymnography. The fi rst example belongs to the Old Russian melodic formula, namely theta “khabuva” in manuscripts of the 12th — 17th centuries. In all likelihood, in the Old Russian tradition of the 12th — 13th centuries, this formula in the complex of relevant chants was close to the corresponding melismatic formula from the dictionary of Byzantine melos. By the end of the 15th century, when the new graphic version of Znamenny chant was completely developed (which was probably caused by the change in its melodic content as well), on the basis of this archaic formula, two new ones emerged, i.e. theta and litso; they were diff erent in their melodic content. In the textual content of the Old Russian melismatic formula, “khabuva” also demonstrates changes over the centuries. A further example of comparing the same chants in Old Russian and Byzantine traditions allows one to claim that the unusual in its melodic content “theta with a snake” could be related in its origin to another symbol which shows a graphic similarity with “thematismos”, i.e. “phthora”, which indicated a change in the modal content. The cases discussed demonstrate the crucial significance of comparative studies of Byzantine and Russian singing relations and can help to explain certain unusual phenomena.

melismatic formulae, Byzantine-Russian chant relations, theta, litso, thematismos, great hypostases, Sticherarion, Heirmologion

1. Anastasiou G. (2005) Ta kratemata sten psaltike tehne [Τhe Kratemata in Psaltic Art]. Athens (in Greek).
2. Βrazhnikov Μ. (1984) Litsa i fi ty znamennogo raspeva [Litso and Theta of Znamenny Chant]. Leningrad (in Russian).
3. Floros C. (1970) Universale Neumenkunde. Band 1: Entziff erung der ältesten byzantinischen Neumenschriften und der altslavischen sematischen Notation. Bärenreiter, Kassel, ss. 252–281.
4. Rogov A. (1973) Muzykal'naia estetika Rossii ΧΙ–ΧVIII vekov [Musical Aesthetics in Russia of the 11th — 17th Centuries]. Moscow (in Russian).
5. Shkol'nik M. (1996) Problemy rekonstrukcii znamennogo rospeva XII‒XVII vv. [Problems of Reconstruction of Znamenny Chant of the 12th — 17th Centuries]. Moscow (in Russian).
6. Stathis G. (1978) E eksigisis tes palaias vizantines semiografi as [The Eksigisis of Ancient Semiography]. Athens (in Greek)
7. Tutolmina S. (2004) Russkie pevcheskie Triodi drevneishei traditsii [Russian Chant Triodion of the Old Russian Tradition]. St Petersburg (in Russian).
8. Tutolmina S. (2008). “Russko-grecheskie paralleli v pevcheskikh Triodiakh” [Russian-Greek Parallels in Chant Triodion], in Greko-russkie pevcheskie paralleli [Greek-Russian Chant Parallels]. St Petersburg, рp. 77–79 (in Russian).

Starikova 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.

The article is dedicated to the first comprehensive study of the chased “Annunciation” icon from Moscow Kremlin museum. The icon, originating from Transfiguration cathedral of Solovetskiy monastery, has an exceptional value in the history of the jewelry art of Moscow of the XVI century and the study of works of western European masters in the workshops of Kremlin. Numerous iconographic and stylistic analogies that we have found in the European art of Italy and Holy Roman Empire of German nation end of XV-mid of XVI century, as well as technical and technological features of icons’ execution cogently prove that masters of this region has worked on this masterpiece. The nearest analogues of the Jewelry Art of Moscow of 80-90s of the XVI century, primarily, the golden icon of Tzarina Irina Godunova, dated 1589, allowed us to specify the attribution of the icon, which before was considered to be the work of XVII century. The analysis of the iconographic program of the engraved images on the margins of the icon also proves the connection with the court order. Second fully chased icon “Annunciation” of the similar size was located at the royal court temple – Annunciation cathedral of Moscow Kremlin. In our opinion, both icons, that had similar decorative execution, could have been created at the same time, by the same master.

European masters, XVI century, Kremlin workshops, Moscow court, jewelry technology, icons,

1. Batalov A. (2016) Sobor Pokrova Bogoroditsy na Rvu: Istoriia i ikonografi ia arkhitektury [Cathedral of Pokrov Bogoroditsy na Rvu: History and Iconography of the Architecture]. Moscow (in Russian).
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3. Dekorativno-prikladnoe iskusstvo Novgoroda XVI–XVII vv. (2008) [Decorative and Applied Art of Novgorod of 16th — 17th Centuries]. Moscow (in Russian).
4. German Masters of the Sixteenth Century: Jost Amman: Intaglio Prints and Woodcuts (1985). New York.
5. Ikony Arkhangel'skogo sobora Moskovskogo Kremlia XIV — nachala XX veka: katalog (2016) [Icons of Archangelskiy Cathedral of Moscow Kremlin of 14th — Early 20th Centuries: Catalogue]. Moscow (in Russian).
6. Kruse P. (1999). Hoch Renaissance im Vatikan: Kunst und Kultur im Rom der Päpste I 1503–1534. Hatje Cantz Verlag.
7. Martynova M. (2002) Moskovskaia emal' XV–XVII vekov: katalog [Moscow Enamel of 15th — 17th Centuries: Catalogue]. Moscow (in Russian).
8. Martynova M. (1999). “Oklad ikony «Bogomater' Smolenskaia» i chernevaia graviura XVI veka” [Frame of the Icon “Theotokos of Smolensk” and Niello Engraving of the 16th Century], in L. Shchennikova (ed.) Blagoveshchenskii sobor Moskovskogo Kremlia: Materialy i issledovaniia [Annunciation Cathedral of Moscow Kremlin. Materials and Studies]. Moscow, рp. 318–335 (in Russian).
9. Meniailo V. (2005) Ikony iz Voznesenskogo monastyria Moskovskogo Kremlia [Icons from Voznesenskiy Monastery of Moscow Kremlin]. Moscow (in Russian).
10. Mosco M., Casazza O. (2004) The Museo degli Argenti. Collections and Collectors. Florence.
11. Opis' tserkovnoi kazny Blagoveshchenskogo sobora Moskovskogo Kremlia 1721 goda (2018) [Inventory of Church Treasury of Blagoveshchenskiy Cathedral of Moscow Kremlin, 1721]. Moscow (in Russian).
12. Paolozzi Strozzi B., Bormand M. (eds.) (2013) The Springtime of the Renaissance. Sculpture and the Arts in Florence 1400–60. Florence.
13. Sokhranennye sviatyni Solovetskogo monastyria: katalog vystavki (2003) [Preserved Relics of Solovetskiy Monastery: Catalogue of the Exhibition]. Moscow (in Russian).
14. Sterligova I. (2011) “Dragotsennye ikony sviatitelia Nikolaia v Drevnei Rusi” [Precious Icons of St. Nicholas in Ancient Rus’], in Dobryi kormchii. Pochitanie sviatitelia Nikolaia v khristianskom mire [The Kind Helmsman. Veneration of St. Nicholas in Christian World]. Moscow, рp. 382–408 (in Russian).
15. Sterligova I. (2014) “Vvedenie k chasti vtoroi «Sviatyni gosudarstvennoi kazny i riznits kremlevskikh khramov»” [Introduction to the 2nd Part of “Relics of State Treasury and Reliquaries of Vestments of Kremlin Churches], in S. Beliaev, I. Vorotnikova (eds.) Moskovskii Kreml' XVI stoletiia. Drevnie sviatyni i istoricheskie pamiatniki [Moscow Kremlin of the 16th Century. Ancient Relics and Historical Monuments], vol. 2. Moscow, pp. 282–297 (in Russian).
16. Vorontsova L. (2008) “Oklad na ikonu «Prepodobnyi Sergii Radonezhskii» iz sobraniia Sergievo- Posadskogo muzeia” [Frame of the Icon “St. Sargiy Radaonezhskiy’ from the Collection of Sergiev-Posad Museum], in Troitse-Sergieva lavra v istorii, kul'ture i dukhovnoi zhizni Rossii: Materialy VI mezhdunarodnoi konferentsii [Troitse-Sergieva Lavra in History, Culture, and Spiritual Life of Russia. Proceedings of the 6th Conference], pp. 289–304 (in Russian).
17. Ziuzeva S. (2009) “Ikonnye oklady vtoroi poloviny XVI v. s drobnitsami iz masterskikh Moskovskogo Kremlia” [Icon Frames of the Latter Half of the 16th Century with Plaques from Workshops of Moscow Kremlin], in Batalov A., Smirnova E. (eds.) Ideia i obraz. Opyty izucheniia vizantiiskogo i drevnerusskogo iskusstva: Materialy Mezhdunarodnoi nauchnoi konferentsii [Idea and Image. Essays in Art of Byzantium and Rus’. Conference Proceedings]. Moscow, рp. 443–455 (in Russian).
18. Ziuzeva S. (2017) “Stilisticheskie i tekhnologicheskie novatsii v khudozhestvennom oformlenii ikonnykh okladov kak otrazhenie mezhdunarodnykh sviazei russkoi kul'tury XVI v.” [Stylistic and Technological Innovations in Decoration of Icon Frames as Refl ection of International Links of Russian Culture of the 16th Century]. Vestnik RGGU. Ser.: Filosofiia. Sotsiologiia. Iskusstvovedenie, 2017, vol. 3 (9), pp. 106–118 (in Russian).
19. Ziuzeva S. (2018) Tipologiia ikon v okladakh s litsevymi izobrazheniiami na poliakh 2-i pol. XVI – nach. XVII v. [Typology of Icons in Covers of the Second Half of thе 16th — Early 17th Centuries with Holy Figures on Frames]. Vestnik PSTGU. Ser. V: Voprosy istorii i teorii khristianskogo \aiskusstva, 2018, vol. 30, pp. 78–95 (in Russian).

Zyuzeva Svetlana

This article deals with melodic formulae of the great chant, one of the chant styles of Old Russian church music. The oldest and one of the most prominent examples of the great chant is the cycle of Gospel Stichera, the melos of which is built primarily on the basis of melismatic formulae, i.e. litso and theta. During several years, the author of the article have been working on compiling “Kokiznik ??? of Gospel Stichera” which will contain all melismatic formulae of the cycle with their note explanation, as well as with variants of graphic forms according to various copies. This article analyses several melodic cliches included in the “Kokiznik” which seem to be most interesting in certain respects. It provides a detailed analysis of these melodic lines and draws on various sources from 15th — 17th centuries. In this analysis, melodic and rhythmic, modal and compositional features have been identifi ed and described, namely non-traditional way of employing and recording scale modulation; the use of the modal melodic idioms from a non-related mode; inclusion of very long and complex formulae composed from the fragments of two and more other formulae known in the Znamenny chant; recognisable stylistic patterns from other chant styles (namely, from “Putevoi Rospev”). Many examples given in the article illustrate not only the diff erent characteristics and modifi cations of the melos of these formulae, but also their early graphic versions in manuscripts of the 15th and 16th centuries.

Russian mediaeval chant, Znamenny chant, “Bolshoi Rospev” (“Great Chant”), “Putevoi Rospev” (“Chant of the Path”), Znamenny notation, melismatic singing styles, melodic formulae, modulation

1. Brazhnikov M. (ed.) (1974) Fedor Krest'ianin. Stikhiry [Fedor the Peasant. Stichera]. Pamiatniki russkogo muzykal'nogo iskusstva, 3. Moscow (in Russian).
2. Brazhnikov M. (1984) Litsa i fity znamennogo raspeva [Litso and Theta in Znamenny Chant]. Leningrad (in Russian).
3. Grigor'ev E. (2001) Posobie po izucheniiu tserkovnago peniia i chteniia [Manual for the Study of Church Singing and Reading]. Riga (in Russian).
4. Lozovaia I. (2011) “O soderzhanii poniatii «glas» i «lad» v kontekste drevnerusskoi monodii” [On the Content of Notions glas and lad in Context of Old Russian Monody], in Aktual'nye problemy izucheniia tserkovno-pevcheskogo iskusstva: nauka i praktika [Issues in the Study of Church Singing Art. Science and Practice]. Moscow, pp. 344–359 (in Russian).
5. Tiurina O. (2006) “Stikhiry Evangel'skie. Novyi vzgliad na istoricheskii put' razvitiia tsikla i sootnoshenie redaktsii” [Gospel Stichera. New Look at the Historical Way of Development of the Cycle and the Correlation of Edition], in «Idu v nevedomyi mne put'». Pamiati Eleny Filippovoi. Moscow, pp. 53–61 (in Russian).
6. Tiurina O. (2008) “Tsikl Stikhir Evangel'skikh: stilevye redaktsii po rukopisiam kontsa XV — serediny XVII veka” [Cycle of Gospel Stichera: Stylistic Versions according to Manuscripts of the Late 15th — Mid-17th Centuries], in Ustnaia i pis'mennaia transmissiia tserkovno-pevcheskoi traditsii: Vostok — Rus' — Zapad [Oral and Written Transmission of Church Singing Tradition: East — Rus’ — West]. Moscow, pp. 171–176 (in Russian).

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.

Theta-formulae in Serbian menaions of the early Jerusalem tradition have never been studied so far. This article examines three text fragments from three stichera provided with theta-complexes, which I discovered in two Serbian menaions of the 14th century in services to St. Savva and St. Arseniy of Serbia. These fragments were at first included in the context of other South Slavonic manuscripts with similar or identical theta-complexes. They are analysed in diachronic and comparative perspectives using two Serbian menaions of the 14th century, seven Serbian-Greek sticherarions from Athos of the 14th, 18th, and 19th centuries, and 24 Russian sticherarions of the 16th — 19th centuries. Results of the analysis demonstrate musical affi nity of the Serbian menaions and Russian sticherarions on the level of the presence of theta in identical text fragments. In Serbian-Greek sticherarions, this affi nity is absent in these fragments. Analogies between Serbian menaions and Russian sticherarions may point to transmitting not only Serbian hymnographic texts to Rus’ during the prolonged process of adopting the Jerusalem Statute and the accompanying liturgical reform in the Russian Orthodox Church, but also to archaic versions of their chant, which received further development in Old Russian art of church singing, having become part of Russian musical tradition.

theta, theta-complex, theta-formula, Znamenny Chant, menaion, sticherarion, stichera

1. Bogdanović D (1980) Naјstariјa sluzhba Svetom Savi [The Oldest Service to Saint Savva]. Belgrade (in Serbian).
2. Brazhnikov M. (1984) Litsa i fi ty znamennogo raspeva [Litso and Fita in Znamenny Chant]. Leningrad (in Russian).
3. Јakovljević A. (1986) “Naјstariјi neumski zapis stikhire u chast Svetog Save” [The Oldest Neumatic Record of Stichera to Saint Sava], in Ep. [Bishop] Zhichki Stefan, A. Јeftić, D. Kashić (eds.) Osam vekova Studenitse [Eight Centuries of Studenitsa]. Belgrade, рp. 215–218 (in Serbian).
4. Јakovljević A. (2004) Antologiјa sa neumama iz doba kneza i despota Stefana Lazareviћa [Anthology with Byzantine Musical Neums from the Era of Serbian Prince Stefan Lazarevic]. Krushevats (in Serbian).
5. Kliuch razumeniia Tikhona Mar'evskogo, issledovanie pamiatnika i rasshifrovka znamennoi notatsii N. V. Mosiagiina. M.; SPb., 2015.
6. Kozhukharov S. (1974) “Notni nachertaniia v Orbelskiia Triod — sredno-b"lgarski knizhoven pametnik ot XIII v.” [Musical Notations in Orbelskiy Triodion — Middle Bulgarian Literary Monument of the 13th Century]. B"lgarski ezik, vol. 24/4, рp. 324‒343 (in Bulgarian).
7. Kozhukharov S. (1980) “Paleografski problemi na Θ notatsiiata v sredneb»lgarskite r»kopisi ot 12‒13 vek” [Paleographic Problems of Theta-Notation in Middle Bulgarian Manuscripts of the 12th — 13th Centuries], in Slavianska paleografi ia i diplomatika. Dokladi i s"obshcheniia. Sofia, рp. 228‒246 (in Bulgarian).
8. Pentkovskii A. (2001) “Liturgicheskie reformy v istorii Russkoi Tserkvy i ikh kharakternye osobennosti” [Liturgical Reforms in the History of Russian Church and their Characteristic Features]. Zhurnal Moskovskoi Patriarkhii, 2001, vol. 2, pp. 72–80 (in Russian).
9. Pentkovskii A. (2018) “Slavianskoe bogosluzhenie i tserkovnye organizatsii v serbskikh zemliakh v X‒XII veke” [Slavonic Divine Service and Church Organisations in Serbian Lands in the 10th — 12th Centuries], in Vladar, monakh i svetitelj Stefan Nemanja – Prepodobni Simeon Mirotochivi i srpska istoriјa i kultura (1113‒1216) [Ruler, Monk and Saint Stefan Nemanja — St. Simeon Myrrh-Streaming and Serbian History and Culture (1113‒1216)]. Belgrade, pp. 43‒69 (in Russian).
10. Rashković A. (2017) “Posledovanja srpskim svetima u ruskim bogosluzhbenim rukopisima XV‒XIX veka kao јedan aspekat rusko-srpskikh kulturnikh veza” [Services to Serbian Saints in Russian Liturgical Manuscripts of the 15th — 19th Centuries as One of the Aspects of Serbian-Russian Relations in Culture], in V. Vukashinović (ed.) Ochuvanje rukopisnog i starog shtampanog nasleća Јugoistochne Evrope — identitetska istrazhivanja [Preservation of Manuscripts and Old-Print Heritage of South-Eastern Europe — Studies of Identity]. Belgrade, pp. 48–62 (in Serbian).
11. Smirnov S. (1936) “Serbskie sviatye v russkikh rukopisiakh” [Serbian Saints in Russian Manuscripts], in Iubileinyi sbornik russkago arkheologicheskago obshchestva v Korolevstve Iugoslavii [Anniversary Collection of Papers of the Russian Archaeological Society in Kingdom of Yugoslavia]. Belgrade, pp. 161‒264 (in Russian).
12. Tutolmina S. (2008) “Fitnye nachertaniia v nenotirovannykh Triodiakh (po materialam serbskikh i bolgarskikh rukopisei XII‒XIII veka)” [Theta-Characters in Non-Notated Triodia (based on Serbian and Bulgarian Manuscripts of the 12th — 13th Centuries]. Vestnik PSTGU. Muzykal'noe iskusstvo khristianskogo mira, 2008, vol. 1 (2), pp. 15‒30 (in Russian).
13. Zabolotnaia N. (2001) Tserkovno pevcheskie rukopisi Drevnei Rusi XI — XIV vekov: osnovnye tipy knig v istoriko-funktsional'nom aspekte [Church-Singing Manuscripts of Ancient Rus’ of the 11th — 14th Centuries: Main Types of Books in Historical and Functional Aspects]. Moscow (in Russian).

Rashkovich Anna

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

Metropolitan Philip is one of the prominent fi gures in the history of Russian Orthodox Church. The development of hagiographic complex dedicated to him still poses certain questions. This article discusses problems associated with the date of his canonisation, history of formation of his Vita, time of compiling the service and its singing embodiment. At present, it is known that the singing copies of service to Metropolitan Filipp appear in the mid-17th century and are represented by several versions, i.e. the early and late ones from Moscow, as well as the one from Solovki. This article mainly deals with poetics of the hymnigraphic and musical texts of the sticheron on the 50th psalm and with slavniki of the service to St. Filipp, Metropolitan of Moscow, in the early Solovki edition according to the newly-found copy of 1661 from the State Archive in Tobolsk. The study of the structure of the liturgical text is based on the technique developed by R. Picchio. The analysis of the musical text follows traditions of poetics of Ancient Russian church singing and rhetoric established in Russian musical medieval studies. The study of verbal and musical components of the relevant chants allowed us to fi nd the principles of the correlation on the level of compositional structures and rhetoric techniques. This, in turn, makes it possible to claim that this version is authentic and represents a specimen of original hymn-writing of monks of Solovki monastery.

Metropolitan of Moscow and All Rus’ Filipp, Zmamenny Chant, hymnographic text, poetics, melodic formula, edition, textology

1. Alekseeva G. (1983) Drevnerusskoe pevcheskoe iskusstvo: Muzykal'naia organizatsiia znamennogo rospeva [Old Russian Art of Singing. Musical Structure of Znamenny Chant]. Vladivostok (in Russian).
2. Bogoslovsko-liturgicheskii slovar' [Theological and Liturgical Dictionary] (1983), in Nastol'naia kniga sviashchennosluzhitelia [Priest’s Handbook], in 7 vols. Moscow (in Russian).
3. Dergacheva-Skop E., Romodanovskaia E. (1975) “Sobranie rukopisnykh knig Gosudarstvennogo arkhiva Tiumenskoi oblasti v Tobol'ske” [Collection of Manuscript Books of the State Archive of Tyumen’ Region in Tobolsk]. in Arkheografiia i istochnikovedenie Sibiri [Archaeography and Source Criticism in Siberia]. Novosibirsk (in Russian).
4. Grigor'ev E. (2001) Posobie po izucheniiu tserkovnogo peniia i chteniia [Manual for the Study of Church Singing and Reading]. Riga (in Russian).
5. Kazantseva T. (2016) Pevcheskie rukopisi XVII–XX vekov Gosudarstvennogo arkhiva v g. Tobol'ske: katalog [Singing Manuscripts of the 17th — 20th Centuries of the State Archive in Tobolsk: Catalogue]. Novosibirsk (in Russian).
6. Kazantseva T. (2016) “Solovetskii Stikhirar' iz fondov Gosudarstvennogo arkhiva v g. Tobol'ske: k voprosu o lichnosti pistsa” [Solovetskiy Sticherarion from the State Archive of Tobolsk: On Personality of the Scribe], in Dukhovnaia kul'tura i obshchestvennaia mysl' Rossii v literaturnykh i istoricheskikh pamiatnikakh XVI–XXI vv. [Spiritual Culture and Social Thought of Russia in Literary and Historical Monuments of the 16th — 21st Centuries]. Novosibirsk, pp. 3–20 (in Russian).
7. Khachaiants A., Ziuzin A., Popkova N. (eds.) (2001) Pevcheskie rukopisi XVII–XIX vekov: Katalog [Singing Manuscripts of the 17th — 19th Centuries]. Saratov (in Russian).
8. Kositskaia A. (2010) “Pervonachal'naia redaktsiia sluzhby na pamiat' mitropolita Filippa (Kolycheva)” [Initial Version of the Service for the Memory of Metropolitan Filipp (Kolychev)], in Knizhnye tsentry Drevnei Rusi. Knizhnoe nasledie Solovetskogo monastyria [Centres of Booklore of Ancient Rus’. Book Heritage of Solovetskiy Monastery]. St. Petersburg, pp. 337–360 (in Russian).
9. Kruchinina A. (2002) “Popevka znamennogo rospeva v russkoi muzykal'noi teorii XVII v.” [Melodic Formula of Znamenny Chant in Russian Musical Theory of the 17th Century], in Pevcheskoe nasledie Drevnei Rusi (istoriia, teoriia, estetika) [Heritage of Ancient Russian Singing (History, Theory, Aesthetics)]. St Petersburg, рp. 46–150 (in Russian).
10. Kruchinina A. (2011) “Pesnopeniia ravnoapostol'nomu velikomu kniaziu Vladimiru v russkoi pevcheskoi knizhnosti XVI–XIX vekov (istochnikovedenie, tekstologiia, poetika)” [Chants to Saint Prince Vladimir in Russian Singing Booklore of the 16th — 19th Centuries (Source Criticism, Textology, Poetics)]. Drevnerusskoe pesnopenie. Puti vo vremeni, 5. St. Petersburg, pp. 140–170 (in Russian).
11. Lobakova I. (2006) Zhitie mitropolita Filippa: Issledovanie i teksty [Vita of Metropolitan Filipp: Study and Texts]. St Petersburg (in Russian).
12. Panchenko F. (ed.) (2001) Pevcheskie knigi vygoleksinskogo pis'ma. XVIII — pervaia polovina XIX v. [Singing Books of Vygoleksinskoye Pis’mo. 18th — First Half of the 19th Centuries]. St. Petersburg.
13. Picchio R. (2003) Slavia Orthodoxa: Literatura i iazyk [Literature and Language]. Moscow (in Russian).
14. Putsko V. (2007) “Sviatitel' Filipp mitropolit Moskovskii i vsia Rusi v ikonopisi i litsevom shit'e XVII v.” [St. Filipp, Metropolitan of Moscow and All Rus’, in Icon-Painting and in Embroidery of the 17th Century]. Al'manakh “Solovetskoe more”, 6 (available at http://solovki.info/?action=archive&id=383, 28.05.2019, in Russian).
15. Ramazanova N. (1997) “«Russkogo svetil'nika, Filippa premudrago, voskhvalim» (sluzhba Sviatomu v istochnikakh XVII–XVIII vv.)” [“Let us Praise the Russian Lantern, Filipp the Wise” (Service to the Saint in Sources of the 17th — 18th Centuries)]. Rukopisnye pamiatniki. Publikatsii i issledovaniia (St. Petersburg), vol. 4, pp. 7–18 (in Russian).
16. Ramazanova N. (2004) Moskovskoe tsarstvo v tserkovno-pevcheskom iskusstve XVI–XVII vekov [Tsardom of Moscow in the Art of Church Singing of the 16th — 17th Centuries]. St. Petersburg (in Russian).
17. Ramazanova N. (2013) “Vospevanie sviatitelia Filippa v muzykal'no-poeticheskom tvorchestve solovetskikh inokov” [Praising of St. Filipp in Musical and Poetic Art of Monks of Solovki], in N. Zabolotnaia (ed.) Muzykal'naia arkheografi ia [Musical Archaeography]. Moscow, pp. 14–33 (in Russian).
18. Shekhovtsova I. (1994) “Gimn i propoved': dve traditsii v vizantiiskom gimnografi cheskom iskusstve” [Hymn and Sermon: Two Traditions in Byzantine Hymnographic Art], in Muzykal'naia kul'tura pravoslavnogo mira: traditsii, teoriia, praktika: Materialy nauchnykh konferentsii 1991, 1993, 1994 gg. [Musical Culture of Orthodox World: Traditions, Theory, Practice. Proceedings of Conferences of 1991, 1993, 1994]. Moscow. Pp. 8–33 (in Russian).
19. Spasskii F. (2008) Russkoe liturgicheskoe tvorchestvo [Russian Liturgical Art]. Moscow (in Russian).
20. Taranovskii K. (2000) O poezii i poetike [On Poetry and Poetics]. Moscow (in Russian).

Kazantseva Daria

The chants with the remark “Opekalov”, “Opekalovskoe” have more than once caused controversy among specialists regarding their authorship and provenance. At present, many scholars share the view about Tver’ origin of “Opekalovskiy” chant, associating it with Opekalovo-Voznesenskiy monastery. Newly-found hook lists of “Opekalov” chants make us reconsider the established opinion as they indicate that these chants were created and circulated in the milieu of Moscow master-singers. The main argument in favour of the new version is the indication of the author of the “Opekalov” chant Придете ублажим Иосифа [“Come to Praise Joseph”], namely Леонтий диякон [“Leontiy Deacon”]. This master-singer is known in the history of Old Russian church singing as the creator of one of the systems of cinnabar indexes. Other archive materials testify to his acquaintance with priest Luka from Moscow church of Nikola Yavlenny at Arbatskie Vorota. Later, Leontiy became monk of Tolgskiy monastery, Yarloslavl’, which was the reason why his name was not included in the list of singers of Сказание о зарембах. Time of creation of “Come to Praise Joseph” in “Opekalovskiy” chant is the second third — middle of the 17th century, as evidenced by the features of notation, system of cinnabar indexes in the hook copies of “Come to Praise Joseph”, as well as by paleographic features of manuscripts in which they are included.

«opekalovskiy» rospev, masteropevets Leonty, «Pridete ublazhim Iosifa», cinnabar letters, letter system, Old Russian chants, znamenny chanting

1. Bezuglova I. (1979) “Opekalovskii rospev” [Opekalovskiy Chant]. Pamiatniki kul'tury. Novye otkrytiia. Leningrad, рp. 196–204 (in Russian).
2. Bezuglova I. F. «Dostoyno yest'» Opekalovskogo rospeva // TODRL. L., 1981, рр. 308–319.
3. Bogomolova M. (2005) Znamennaia monodiia i bezlineinoe mnogogolosie na primere velikoi panikhidy [Znamennaya Monody and Non-Linear Polyphony with the Great Threnody as Example], issues 1, 2. Moscow (in Russian).
4. Drozdetskaia N. (2005) “Opekalovskii raspev: imenovanie i bytovanie” [Opekalovskiy Chant: Naming and Circulation]. Drevniaia Rus'. Voprosy medievistiki, 1 (19), 80–91 (in Russian).
5. Findeizen N. (1928) Ocherki po istorii muzyki v Rossii [Essays in History of Music in Russia], Moscow; Leningrad, vol. 1/2 (in Russian).
6. Grigor'eva V. (2017) “Novye dannye o rannikh (otnositel'nykh) pometakh (na materiale riadovykh pevcheskikh rukopisei 1 pol. XVII v. iz S.-Peterburgskikh sobranii)” [New Data on Early (Relative) Indexes (based on material of ordinary singing manuscripts of the former half of the 17th century from St Petersburg collections)]. Vestnik PSTGU. Seriia V, 2017, vol. 26, pp. 76–95 (in Russian).
7. Guseinova Z. (1995) «Izveshchenie» Aleksandra Mezentsa i teoriia muzyki XVII veka. [Izveshchenie (“Notifi cation”) by Alexander Mezenets and Theory of Music of the 17th Century]. St. Petersburg (in Russian).
8. Parfent'ev N. (1991) Drevnerusskoe pevcheskoe iskusstvo v dukhovnoi kul'ture Rossiiskogo gosudarstva XVI–XVII vv. Shkoly, tsentry, mastera [Old Russian Art of Singing in Spiritual Culture of the Russian State in the 16th — 17th Centuries. Schools, Centres, Masters]. Sverdlovsk (in Russian).
9. Parfent'ev N. (2011) “Maloizvestnye mastera Moskovskoi shkoly tserkovno-pevcheskogo iskusstva XVI–XVII vekov” [Little-Known Masters of Moscow School of Church Singing of the 16th — 17th Centuries], in Aktual'nye problemy izucheniia tserkovno-pevcheskogo iskusstva: nauka i praktika [Current Issues in Art of Church Singing: Theory and Practice]. Gimnologiia, vol. 6, pp. 191–202 (in Russian).
10. Pozhidaeva G. (2007) Pevcheskie traditsii Drevnei Rusi: Ocherki teorii i stilia [Traditions of Singing in Ancient Rus’: Essays in Theory and Style]. Moscow (in Russian).
11. Shabalin D. (2003) Pevcheskie azbuki Drevnei Rusi. Teksty [Old Russian ABC-Books in Singing. Texts]. Krasnodar (in Russian).
12. Shek A. (2008‒2009) “Znaki «chashka polnaia» i «kriuk s oblachkom» v pevcheskikh rukopisiakh i teoreticheskikh rukovodstvakh po znamennoi notatsii XV–XVI vekov” [Signs “Full Cup” and “Hook with Small Cloud” in Singing MSs and Theoretical Manuals in Znamennaya Notation of the 15th — 16th Centuries]. Bogoslovskii vestnik, 2008‒2009, vol. 8–9, pp. 376–380 (in Russian).
13. Uspenskii N. (1971) Drevnerusskoe pevcheskoe iskusstvo [Old Russian Art of Singing]. Moscow (in Russian).

Grigorjev Yury

Grigorjeva Veronika

*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 previously unpublished article was discovered in the personal archive of V. A. Bulkin. It was probably written in the late 1980s — early 1990s. The text deals with one of the late periods in the history of construction of the cathedral of St. Sophia in Polotsk, erected as early as the 11th century and subsequently reconstructed several times. The author of the article characterises briefl y the main issues associated with this monument and highlights several controversial questions, in particular the dating of western apses of the cathedral and of the northern part of the existing cathedral. Results of archaeologial studies confi rm that the western apses and the northern part of Sophia’s cathedral were bulit before the middle of the 18th century. In order to make the date more precise, the author addresses the cultural context of this period, as well as the church-related and political controversies of that time. The renewed orientation of the building might have been related to the struggle between Catholicism and Orthodoxy, which was especially intensive in the 17th — 18th centuries. A parallel is drawn between the dating of the western apses and the new orientation of the cathedral with its altar towards the north. To substantiate this claim, the author uses various written sources that contain data on both the condition of the cathedral and its reconstructions during the period in question, and analyses building materials and techniques.

cathedral of St. Sophia in Polotsk, Old Russian architecture, archaeology, history of building, western apses, new orientation of cathedral, architecture of White Russia

1. Aleksandrowicz S. (1971) “Nove źrodlo ikonografi czne do obleźnia Polocka w. 1579 r.”. Kwartalnik Historii Kultury Materielnej (Warszawa), vol. 19/1.
2. Bulkin V. (1988) “Sofi iskii sobor v Polotske (k voprosu o zapadnykh apsidakh)” [St. Sophia’s Cathedral in Polotsk (on the issue of western apses)], in A. Komech, O. Podobedova (eds.) Drevnerusskoe iskusstvo. Khudozhestvennaia kul'tura X — pervoi poloviny XIII v. [Old Russian Art. Artistic Culture of the 10th — First Half of the 13th Centuries]. Moscow, pp. 59–61 (in Russian).

Bulkin Valentin

*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 materials of archives of Prince V. F. Odoyevsky, the remarkable Russian musician and scholar, the author of the fi rst publications on the theory of Znamenny chant. Expounding on Odoevsky’s MSs, the author of the article focuses on those which are kept at the Russian State Library: excerpts from the musical-theoretical treatise by Johann Georg Albrechtsberger, a letter to A. F. Lvov, Музыкальные беседы (“Musical Conversations”) by V. F. Odoyevsky, his musical compositions and, in particular, the play Запрещенные квинты (“Forbidden Quints”).

Prince V. F. Odoyevsky, archives of V. F. Odoyevsky, piano works by V. F. Odoyevsky, church singing, theory of church singing, studies in Mediaeval music, Znamenny chant, Old Russian art

1. Baiuk D. (1999) “Matematicheskaia teoriia temperatsii. Kniaz' Vladimir Fedorovich Odoevskii i ego «engarmonicheskii klavesin»” [Mathematical Theory of Temperament. Prince V. F. Odoevsky and his “Enharmonic Cembalo”]. Istoriko-matematicheskie issledovaniia, vol. 4, pp. 288‒303 (in Russian).
2. Bernandt G. (ed.) (1956) Odoevskii V. F. Muzykal'no-literaturnoe nasledie [V. F. Odoevsky. Musical and Literary Legacy]. Moscow (in Russian).
3. Kudriavtsev I. (ed.) (1960) Sobraniia D. V. Razumovskogo i V. F. Odoevskogo. Arkhiv D. V. Razumovskogo. Opisaniia [Collections of D. Razumovsky and V. Odoevsky. Archive of D. Razumovsky. Descriptions]. Moscow (in Russian).
4. Liapunova A. (2005) “N. G. Rubinshtein i V. F. Odoevskii”, in Kniaz' Vladimir Odoevskii. Dnevnik. Perepiska. Materialy [Prince V. F. Odoevsky. Diary. Correspondence. Materials]. Moscow, pp. 15‒68 (in Russian).
5. Shevtsova O. (ed.) (2008) Odoevskii V. F. Drevnerusskoe pesnopenie. Opyt rukovodstva k izucheniiu osnovnykh zakonov melodii i garmonii dlia ne-muzykantov, prisposoblennogo v osobennosti k razrabotke rukopisei o nashem drevnem pesnopenii [V. F. Odoevsky. Old Russian Chant Singing. An Attempt of a Manual for the Study of Main Laws of Melody and Harmony for Non- Musicians, Particularly Designed for the Study of Manuscripts about Our Ancient Chant Singing]. Vestnik PSTGU. Ser. V: Istoriia i teoriia khristianskogo iskusstva, 2008, vol. 1 (3), pp. 121‒153 (in Russian).
6. Shevtsova O. (2018) “Arkhivnye materialy V. F. Odoevskogo: Obshchii obzor. F. 210 i 380 RGB” [Archival Materials of V. F. Odoevsky: General Overview]. Vestnik PSTGU. Ser. V: Istoriia i teoriia khristianskogo iskusstva, 2018, vol. 31, pp. 126‒135 (in Russian).

Shevtsova 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.