The good shepherd. What can a bishop's vestment tell you?

The collection of fabrics and clothing stored in the Armory is a treasure of world significance. Until 1917, most of these treasures were in the Patriarchal sacristy, in the sacristies of the Moscow Kremlin cathedrals and in numerous churches.

Many fabrics and clothes are associated with some historical events or famous figures of their time.

The most ancient of the clothes available in the Armory date back to the 14th-15th centuries. and belonged to the first Moscow metropolitans - Peter, Alexei, Photius and Simon. They are made from very expensive fabric for that time - Byzantine satin and, nevertheless, are called sakkos.

The word "sakkos" translated means "hair shirt", i.e. simple, modest clothing. This name was retained for church clothes in the 16th-17th centuries, despite the fact that at that time they were richly decorated with pearls and precious stones.

The Armory Chamber houses the sakkos of the first Moscow metropolitan, Peter, known in history for the fact that he moved the metropolitan see from Vladimir to Moscow, thereby strengthening the political significance of the Moscow principality. Sakkos was sewn in 1322 from light blue satin woven with gold stripes with crosses in circles, and is distinguished by its strict, elegant beauty.

An interesting sakkos is that of a prominent political figure of the 14th century, Metropolitan Alexei, who in the youth of Dmitry Donskoy was actually the ruler of the state. Crosses are embroidered in gold on the sakkos, among which are placed round beads with cloisonné enamel made in Russia in the 13th century.

The sakkos of Metropolitan Simon (1496-1519), sewn from dark cherry-colored satin, with gold crosses, is unique. Such “christened” fabrics were intended specifically for the clothes of the higher clergy; It was considered very honorable to wear vestments made of them.

The sakkos of Metropolitan Photius (1408-1431) are interesting in that they are completely covered with embroidered images. On one of them there is an image of the Moscow Metropolitan Peter, on the other there are portraits of the Great Moscow Prince Vasily I, his wife Sophia Vitovtovna, daughter Anna, her husband, the future Byzantine Emperor John Palaiologos and Photius himself.

These embroideries, made by Byzantine craftswomen, testify not only to the political and cultural ties of the Russian state with Byzantium, but also to the increased authority of the Moscow princes.

In the 16th century, when diplomatic and trade relations between Russia and Iran and Turkey were established, oriental fabrics appeared in large quantities in Moscow.

Iranian and Turkish fabrics were sharply different from each other. The first was characterized by a soft combination of colors and small herbal or geometric patterns, in which the image of a carnation or tulip flower predominated. Often in the ornament of Iranian fabrics there were images of human figures, birds, and animals. Turkish fabrics were distinguished by sharp contrasts in color and large, heavy patterns. Oriental fabrics were readily used for secular and ecclesiastical clothing, for the upholstery of thrones and saddles, for curtains, bedspreads and blankets.

The surplice of Patriarch Hadrian is made from Iranian silk fabric. The fabric pattern consists of narrow chartreuse and gray stripes filled with small pink and blue flowers.

An excellent example of Turkish fabric from the late 16th - early 17th centuries. is an atlas of felonies ( Felony - clothing, priest's chasuble) 1602, invested by Boris Godunov in the Archangel Cathedral.

The sakkos of Patriarch Nikon is sewn from Turkish satin. It was presented to him in 1653 by Alexei Mikhailovich in the village of Kolomenskoye, which is why it is called Kolomenskoye. On the deep red background of the sakkos there are large golden stains and among them oval marks.

Another sakkos (XVII century) is made of Turkish velvet. Large gold circles with twelve-pointed stars inside form an original ornament.

The most valuable in the XVI-XVII centuries. Italian fabrics were considered. Italian velvet was most common. It was used to sew covers for royal tombs, mantles, sleeves, aprons and lapels of sakkos and phelonions, and sometimes entire clothes.

By order of Ivan the Terrible, a sakkos was sewn from Italian velvet for Metropolitan Macarius. The fabric's design consists of vertical stripes woven in gold and dark purple plant shoots.

The most expensive and therefore rarer in use were altabass - dense silk fabrics, in the production of which drawn gold was used, that is, metal wire pulled by hand to the thinness of a hair. Altabas have great strength, do not bend or fall in folds like ordinary fabrics. It seems that the clothes made from them are forged from a metal sheet.

The sakkos of the first Russian patriarch, Job (1589 -1605), was sewn from altabas. Sakkos is a soft scarlet color, with a large golden pattern of intertwined plant shoots and pomegranate flowers.

The Italian looped axamites were particularly magnificent. When producing looped axamites, spun gold was used, i.e., metallic gold thread, which was used to wrap a thin silk. Beautiful relief patterns were created from these threads, which gave the fabric extraordinary luxury and beauty. In the 17th century Aksamites were in great demand at the royal and patriarchal courts. They were used to make ceremonial royal and boyar clothes, as well as clothes of the highest clergy. In 1654, for example, the sakkos of Patriarch Nikon was sewn from double looped axamite. Its fabric pattern consists of wide leaves and shoots. A lot of gold plates, precious stones and pearls are sewn onto the sakkos.

Sakkos Nikon is very heavy - it weighs 24 kilograms. This is explained by the fact that the fabric itself is heavy and, in addition, jewelry is sewn onto it. The traveler Pavel Aleppo writes in his book: “Nikon took off his sakkos, which was very difficult to wear due to its weight. He made it recently from pure gold brocade, yellow-walnut color. An arshin of it costs more than 50 dinars (rubles - Ed.) ...Nikon suggested that we raise it, and we could not do it. They say that it contains a pound of pearls... They say that this sakkos cost 30 thousand dinars.”

Russian Church in the XVI-XVII centuries. owned colossal lands with many peasants. While calling for modesty and abstinence in their sermons, representatives of the higher clergy themselves drowned in luxury and wealth. For example, Patriarch Nikon was the richest man of his time. He had hundreds of vestments, with which only royal clothes could compete in wealth and splendor.

All decorations sewn onto Nikon's sakkos were transferred from the sakkos ordered by Ivan IV in 1583 in memory of his murdered son, Tsarevich Ivan. The chronicle embroidered with pearls on the collar tells about this. (After the death of his son, Ivan the Terrible made large contributions to monasteries and cathedrals. They significantly exceeded the amount of contributions that all the Romanovs made until the second quarter of the 17th century.)

In the middle of the 17th century. Heavy and expensive Italian fabrics began to be gradually replaced on the world market by lighter silk fabrics produced in France, especially Lyon. They were distinguished by bold colorful combinations and original patterns, in which the most common patterns were fruits, flowers and leaves.

Foreign fabrics were very expensive, so attempts were made repeatedly to organize our own domestic production of silk and brocade fabrics. At the end of the 16th century, for example, an Italian master was invited to Moscow (his workshop was located near the bell tower of Ivan the Great), and at the beginning of the 17th century, a master of the “velvet craft” from Holland. Finally, in the 30s of the 17th century. In Moscow, a “velvet yard” was established that produced expensive fabrics. It was located on the banks of the Moscow River, between the Tainitskaya and Vodovzvodnaya towers. It was headed by a foreigner, Efim Fimbrant, who had 36 Russian students. In 1636, this business was headed by a former student of Fimbrant, Zakhar Aristov. In the 80s of the 17th century. the production of silk fabrics was organized on a larger scale.

Regular production of Russian expensive fabrics was established in the 18th century, when a number of large factories emerged. The factories of Shakirov, Apraksin, Babushkin, Lazarev and Milyutin (the latter existed throughout the 18th century) were especially famous. In the 19th century Russian silk fabrics already occupied one of the first places in world production.

Expensive fabrics were often used for honorary gifts and awards. It is known that the famous armor master Nikita Davydov was awarded 4 arshins of cloth and 3 arshins of satin for making a ceremonial helmet for Tsar Mikhail Fedorovich in 1621. In 1618, for services to the state, Prince D. M. Pozharsky was awarded a silver gilded cup, saber and fur coat - “Tour atlas on sables”.

Clothes and fabrics, being very expensive things, were passed down from generation to generation, and they had to be altered depending on the height and build of the new owner. For example, the velvet dress of Tsar Fyodor Alekseevich was converted into the caftan of Tsar Ivan Alekseevich, and after his death, in 1696, into the sakkos of Patriarch Adrian. Rich royal clothes, which had fallen out of use, were also readily bought by noble boyars.

Collection of secular clothing of the 16th-17th centuries. gives an idea of ​​ancient Russian national clothing. Usually this Long Dresses, wide at the hem, with long sleeves. They hid the human figure and gave movements smoothness and majesty.

A unique example of Russian folk clothing of the 16th century. is the fur coat of Metropolitan Philip, which he wore when he was in exile. The fur coat is made from simple homespun wool fabric and trimmed with lamb fur.

By the beginning of the 17th century. refers to the nalatnik of Tsar Mikhail Fedorovich. It was worn over armor or mirror armor. The coverlet is made of red satin and almost entirely embroidered with gold.

The so-called ferezei of Tsar Alexei Mikhailovich is very curious in its cut, that is, formal winter clothing, the most favorite and fashionable in the second half of the 17th century. This is a long, straight and wide dress with very long sleeves, the armholes of which are not sewn up at the front. The sleeves were pulled back and sometimes tied behind the back in a knot. The Perezites usually sewed from cloth and lined with sable fur.

On especially solemn occasions, for example, during royal weddings or receptions of foreign ambassadors, the most formal clothes were worn - for a fee. This is a long straight dress with short wide sleeves, very similar in cut to a sakkos.

The board was decorated in abundance with precious stones and pearls. One of the foreigners in his memoirs writes with admiration that Ivan IV’s plat was “completely covered with diamonds, rubies, emeralds and other precious stones and pearls the size of a nut...” The most complete picture of the plat is given by the already mentioned sakkos of Patriarch Nikon in 1654 G.

Peter I's payment, given to him by Hetman of Ukraine Mazepa, looks modest. It is made of smooth axamite and decorated with silver woven lace.

Of great interest are the camp kaftans of Peter I. They are so named because they are sewn according to the waist, that is, according to the figure. Some of them are made of axamite, others are made of silk, velvet, etc.

In the 18th century, due to changes in the life and culture of the upper strata of Russian society, the types of clothing also changed. In 1700, a law was passed requiring everyone, except peasants and clergy, to wear a new, Western European costume. However, it did not immediately replace the ancient national dress, which the Russian people parted with as reluctantly as with the custom of wearing a long beard. In 1704 the decree had to be repeated.

Women's dress of the 18th century. had a bodice with a deep open neckline and a wide long skirt with a train attached to the back. The length of the train depended on what social status it was occupied by its owner: the more noble she was, the longer the train of her dress was. The Empress wore the longest train.

Clothes of the 18th century, presented in the Armory, provide an opportunity to get acquainted with the development of women's dress fashion in court life. The coronation dresses of Catherine I and Anna Ivanovna were made, for example, according to Spanish fashion: the first was made of crimson silk with magnificent silver embroidery, the second was made of crimson (now faded) brocade with blue, pink and gold flowers.

In the middle of the 18th century. coronation dresses were sewn in French fashion - with wide leggings, the width of which sometimes reached one and a half meters. The coronation dress of Elizaveta Petrovna (1742) and two dresses of Catherine II (1745, 1762), sewn from silver lace, are distinguished by the great pretentiousness of their forms. It is known from documents that the dress of Catherine II, in which she received the Turkish ambassador, was sewn with many diamonds and more than 4 thousand large pearls. Elizaveta Petrovna was particularly extravagant, after whose death 15 thousand dresses remained.

Dresses of Russian empresses of the 19th century. sewn from silver brocade in the so-called false Russian style. They are characterized by long folding sleeves, reminiscent of the sleeves of Russian costumes of the 17th century.

The new men's suit consisted of short, knee-length pants, a camisole and a narrow long caftan.

The earliest is the caftan of Peter I, sewn from blue silk fabric at the beginning of the 18th century.

By the first half of the 18th century. include the costumes of Peter II. Arriving in Moscow as a 15-year-old boy, he fell ill with smallpox and died. His clothes have been almost completely preserved to this day. These are caftans, camisoles and trousers made of brocade, satin, velvet and colored cloth, embroidered with gold or silver.

An indispensable decoration of women's and men's costumes was gold and silver lace, woven by hand or sewn with a needle. Venetian, French and Flemish lace were considered the best. They were valued for their unusually thin and soft thread. To keep the tow moist so that it could be spun into a thread as thin as a spider's web, lacemakers worked in dark and damp basements. They often lost their sight and did not have time to finish the work they started. If the lace was finished, it was called “lucky.”

Anna Ivanovna's dress and Peter II's costumes were trimmed with beautiful lace. The silver lace robe of Elizaveta Petrovna is of particular value. Her heavy train, more than 5 meters long and weighing about 5 kilograms, was supported by nine pages during the ceremonial procession.

All these luxurious secular and church clothes, amazing with the richness of the fabric and the splendor of the decorations, were created by the hands of simple Russian craftswomen who lived and worked in incredibly difficult conditions. A variety of decorations and decorations was a characteristic feature of Russian national clothing - from the dresses of peasants and townspeople to boyar and royal caftans and vestments of the highest clergy. But if the dress of a commoner was decorated with stripes made of painted canvas, embroidery with paper threads and copper buttons, then the clothes of the upper strata of Russian society amazed with their wealth and splendor.

Embroidery was one of the most beloved arts in Russia and has been known since the 12th century. Since ancient times, Russian women have been known as skilled needlewomen. Embroidery was practiced in nunneries, in peasant huts, in boyar and princely mansions. The workshops of the boyars Staritsky, Godunov, Galitsky, Stroganov were famous. But the best was the Tsaritsyn workshop, where about 100 of the most gifted embroiderers worked.

Craftswomen embroidered fabrics with silk, gold and silver, pearls and precious stones. Russian sewing techniques have changed over time.

In the XIV-XV centuries. Mostly multi-colored silks were used in sewing. In the 16th century They began to embroider with spun or drawn gold, laying threads on the fabric and attaching them with transverse stitches of thin silk. This was called "stitching".

In the 17th century gold embroidery covers the fabric almost entirely, creating the impression of a shiny, smooth metal surface. This sewing technique was called the “forged seam.” For example, the sakkos of Patriarch Nikon of 1655, sewn from canvas, seems to be brocade, since it is completely sewn up with gold. This sakkos testifies to the great skill of Russian craftswomen, and only a very experienced eye can distinguish embroidery from fabric.

Sometimes a covering of cord or thread was previously applied to the fabric. Relief embroidery of this kind imitated embossed metal products, which is why in ancient documents they were called “embroidery for embossing.”

Pearls were widely used in sewing. It softened the overall tone of gold or silk embroidery and at the same time gave it greater splendor. Ancient chronicles say that pearl embroidery has been known since the 10th century, but, obviously, it existed before.

Pearls were mined in the Black Sea near Kafa (now Feodosiya), which is why they were called Kafim. It was also brought from Persia and India. Gurmyzh pearls, which were mined in the Gurmyzh Sea (Persian Gulf), were considered the best. In the 19th century it was called oriental (from the word orientalis - eastern).

In Russia, according to written documents, pearls have been mined since the 15th century, mainly in Lake Ilmen and the Varzuga River.

To make pearls shine, they were subjected to diamond processing. It was then scattered on black velvet, sorted by size and color, pierced with a needle and sewn onto the fabric.

The technique of stringing pearls is quite complex. In the XI-XIII centuries. pearls were sewn on as separate grains. In the 15th century Whole pearl threads appear sewn onto the fabric. This type of sewing acquired particular splendor in the 17th century. The mantle of the phelonion placed by Tsar Mikhail Fedorovich in the Novospassky Monastery is very beautifully decorated. On a black velvet background around a large cross with diamonds and emeralds, a lush pearl pattern in the form of thick branches is embroidered, among which are placed small flowers made of diamonds.

By skillfully selecting small and large pearls and skillfully combining them with precious stones, Russian craftswomen achieved an exceptional effect. The magnificent clothes of the king or patriarch amazed foreigners with the art of execution and the abundance of jewelry. The ambassador of the German Emperor Maximilian G. Kobenzel conveyed his impressions of the reception given by Ivan IV: “In my life I have never seen the most precious and beautiful things! Last year I saw the crowns, or miters, of our most holy lord in the castle of St. Angela. I saw the crown and all the attire of the Catholic king, as well as the Grand Duke of Tuscany; saw many of the decorations of the King of France and his Imperial Majesty both in the Kingdom of Hungary and in Bohemia and other places. Believe me, all this below cannot be compared in the slightest with what I saw here (in Russia - Ed.).”

In the 18th century images of crowns and monograms appear in the sewing ornament, which was typical for Western decorative art. Pearls are used much less, and sewing becomes less artistic, although it is luxurious and rich. However, some things were done with great taste and skill. The pearl pattern on the velvet phelonion invested by Catherine II in the Trinity-Sergius Lavra is beautiful. It consists of intersecting branches, inside of which are placed pearl flowers and the monogram of Catherine II. In total, more than 150 thousand pearls are sewn onto this phelonion. St. Petersburg craftswoman Daria Likhnovskaya performed this wonderful work for two years.

The Armory presents numerous examples of Russian fine embroidery - covers, shrouds, airs and shrouds, on which images of individuals or entire complex compositions are embroidered in colored silk and gold.

Of particular interest are the embroideries of the 14th-15th centuries. They are characterized by expressiveness of images, rigor of compositions and restraint of colors.

The Puchezh shroud of 1441, which belonged to the Novgorod Archbishop Euthymius (1420-1458), is distinguished by its great elegance and remarkable selection of colors.

On the cover of 1519, a life-size image of Metropolitan Peter is embroidered on blue satin. The cover on the tomb of Metropolitan Jonah (1552-1553) is interesting.

These embroideries resemble paintings and are among the best examples of Russian and world fine embroidery.

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A. G. Barkov Great sakkos of Metropolitan Photius. Towards the attribution and reading of the compositional concept of Galina Sergeevna Kolpakova in blessed memory. The collection of the Moscow Kremlin Museums has been supported by D. A. Rovinsky 5, who considered the richest collection of ancient liturgical images of Anna Vasilyevna and Vasily Dmi- vestments, formed over the course of Trievich on a blue background, evidence that almost four centuries. A special place among them had already died by the time the sakkos was created. they are occupied by two front saccos, known to the Attribution of Archbishop Sava, the Great (ill. 2, 3) and Small (ill. 4) saccos were subjected to the sakkos of G. D. Filimonov, pointing to the tradition of the immetropolitan Photius 1. Close attention to the new heir by the emperor, even during his lifetime, researchers of the church antiquities of the ruling emperor came to them.6 (This idea subsequently began to be expressed already in the 19th century, but even now it was argued in detail by I. P. Medvedev, whose interest in them has not waned. ry suggested that John VIII was the crown- The basis for identifying the Great novan as a co-ruler already in 1414. 7) In addition, the sakkos with the vestments of Metropolitan Photius became G. D. Filimonov in his work expressed extreme inscription “Photius of the Metropolitan” embroidered with pearls, doubt regarding the possibility of depicting - as well as the image on it of Anna Vasilievna’s consecration after her death. Case lita. For the first time, as “sakkos Photius”, he was mentioned - that John was married two more times - in 1421 he is found in the inventory of the Patriarchal sacristy of 1631 2 on the Italian princess Sophia of Montferrat - In the first mention of sakkos in literature, and after her death in 1429 - on Mary in 1842. I. M. Snegirev determined the date of creation of Komnenos 8. The image of the long-dead first sakkos - 1408, the year of the enthronement of the metropolitan wife with other spouses G. D. Filimonov calculated Photius 3. This point of view was refuted by the archbishop, who found it unlikely and believed that the sakkos was Savva of Mozhaisk 4. He noted the obvious anakh - performed during the marriage of John VIII and ronism - the daughter of the great Anna Vasilievna depicted on the sakkos, i.e. between 1414 and 1417 It is important that Prince Vasily I Anna became the wife of the emperor to note that the point of view of G. D. Filimonov as John VIII Palaiologos only in 1414, i.e. subsequently received a different interpretation - several years after the arrival of Photius in Russia , the production of the sakkos began to be considered a wedding and proposed to date the sakkos to 1425–1431, so John VIII and Anna Vasilievna, and the sakkos was believed that depicting the married couple was allegedly presented to Metropolitan Photius by the emperor - in imperial clothes before the coronation of John rum precisely for this reason occasion; it is this attribute- VIII in 1425 it was impossible. This dating subsequently became generally accepted 9. However, 1 Great Sakkos. 1 These names appear in the public museum. M., 1876. No. 6–10. 9 See: Mitteilungen der Gesellschaft für Detail: Metropolitan Photius. even in the inventories of the Patriarchal sacristy of the 17th century. Materials. P. 2. altrussische Kunst. 1874, 45; Uspensky A. Constantinople. 1410s. and firmly attached to these sacco- 3 Snegirev I. M. Monuments of Moscow - Patriarchal Sacristy // World of Art. The Moscow Kremlin museums themselves were not associated with their symbolic antiquities. M., 1842–1845. P. 175. 1904. No. 10. P. 204–205, 240–241; Braun J. meaning or special conditions of mention- 4 Savva, ep. Mozhaisky. Index Die liturgische Gewandung im Occident und consumption, but designated only as- for viewing by the Moscow Patriarchate Orient. Nach Ursprung und Entwicklung, honest correlation of images of the (now Synodal) sacristy. M., 1863. Verwendung und Symbolik. Freiburg im on one and the other sakkos. According to our S. 18. Breisgau, Herder. 1907. S. 305; Lazarev V. N. opinion, the Small Sakkos was created at the end of 5 Rovinsky D. A. Detailed Dictionary of Moscow Painting, Sewing and Sculpture XIV - early XV centuries, and it does not follow the Svya- Russian engraved portraits. St. Petersburg, first half of the 15th century. // History of Russification with the name of Metropolitan Photius. See: 1889. T. 1. P. 46. Russian art: in the XIII volume / Under the general editorship. Barkov A. G. “Small sakkos of Metropolitan 6 Filimonov G. D. Icon portraits of I. E. Grabar, V. S. Kemenov and V. N. Laza-Fotius” from the collection of the Museums of the Moscow Russian Tsars // Bulletin of the Drevrev Society . M., 1955. T. 3. P. 192; Pisarskaya L.V. Kremlin. Problems of style and dating // non-Russian art at Moscow Monuments of Byzantine art Moscow Kremlin of the 14th century. Ancient public museum. 1874–1876. Vol. 6–10. V–XV centuries in the State Armory shrine and historical monuments. Collection - pp. 45–48. ward M.; L., 1964. S. 28–29. Table LVI – nickname of articles. M., 2009. pp. 349–375. 7 Medvedev I. P. Granddaughter of Dmitry LXI; Bank A.V. Byzantine art 2 Viktorov A.E. Inventory of the Patriarchs of the Don on the Byzantine throne // in the collections of the Soviet Union. L., 1966. sacristies of 1631 // Bulletin of the TODRL Society. 1976. T. 30. pp. 255–262. P. 23, 328. Ill. 285–288; Obolensky D. Some Old Russian art in Moscow - 8 Filimonov G. D. Icon portraits Notes Concerting a Byzantine Portrait of Russian Tsars. P. 46. John VIII Paleologus // Eastern A. G. Barkov 360 2 Great sakkos. Front side. Constantinople. 1410s. Museums of the Moscow Kremlin G. D. Filimonov never mentioned this, testifies to the idea of ​​​​the superiority of the Byzantines - considering that the sakkos was made during the marriage of the heir to the Byzantine rulers 10 He also suggested that the Saka throne and the Russian princess. kos was a personal gift from John VIII to the metropolitan Iconographic and theological program Photius for special merits 11. John Meyendorff sakkos almost did not attract any special attention came to the conclusion that the image of the three litas - the attention of researchers, but in the historiography of the martyrs, next to the portraits of Basil, a number of important remarks can be found . D. D. Obo-Dmitrievich and Sofia Vitovtovna Witness noted that the nature of the images indicates a short time of peace between Moscow and Lithuania and the unity of the metropolis12. E. Piltz Churches Review. 1972. T. 4/2. P. 141–146; Assumption Cathedral of the Moscow Kremlin. 11 Following E. E. Golubinsky (see: Medvedev I. P. Granddaughter of Dmitry Donskoy Materials and research. M., 1985. Golubinsky E. E. History of the Russian Church. on the Byzantine throne; Piltz E. Trois P. 194; Mayasova N. A. Medieval T. 2. Part 2. M., 1997. P. 367) D. D. Obolen- sakkoi byzantins: Analyze iconographique. facial sewing // Byzantium. Balkans. Sky assumed that Photius was sent Uppsala, 1976. P. 47–49; Tachiaos A.-E. N. Rus'. Icons of the late XIII - first half to Rus' with an important mission - to arrange a marriage The Testament of Photius Monembasiotes, XV centuries: Exhibition catalogue. State- between the heir of the Byzantine pre- Metropolitan of Russia (1408–1431): Byzan Tretyakov Gallery. M., 1991. Cat. table and daughter of Grand Duke Vasily tine ideology in the 15th century Muscovy // No. 10. P. 44–51; Byzantium: Faith and Power by Dmitrievich. Προςφορα to professor Dmitrij Sergeevich (1261–1557) / Ed. by H.C. Evans. New York: 12 Meyendorff J. The Three Lithuanian Lichachev (Cyrillomethodianum 8–9). Thes- The Metropolitan Museum of Art, 2004. martyrs: Byzantium and Lithuania in the salonique, 1984–1985. pp. 77–109; Mayasova P. 297–298. Fig. 10.6. R. 299. Fourteenth Century // St. Vladimir’s Theo- N. A. Monuments of the medieval obverse 10 Obolensky D. 1972. T. 4/2. P. 141–146. logical quarterly. 1982. Vol. 26. No. 1. sewing from the collection of the Assumption Cathedral // Great sakkos of Metropolitan Photius 361 3 Great sakkos. Reverse side. Detail A. G. Barkov 362 4 Small sakkos. Front side. Constantinople - Moscow. Late XIV - early XV century; end of the 15th - beginning of the 16th centuries. The Moscow Kremlin Museums suggested that the iconographic is limited only by general characteristics, the gram of the Great Sakkos reproduces the deco-related to the entire period of the Late Paleoloration of any of the court churches of Govian art 16. A. V. Bank in one of his imperial palace in Constantinople , made several brief works, but very important ones that have not survived to this day.13 The idea of ​​correlative comments regarding the style of depicting images on the sakkos with the frescoes of the Greater sakkos, noting related cycles, was subsequently supported by W. Wood-processes in monumental painting began by a Finn, who in his work noted the obvious - 15th century. 17 and the fact that the five-lobed arches, in which the saints are located on the side parts of the sakkos, the decoration of the cross-domed church 14, are close in shape to the marks on the frame of the icon of God. As for the program of the Great Sakkos at the present site of the creation of the sakkos, all researchers, today, are the work of M. Theoharis 15. Noting the excellent quality of sewing, the unified theological content, they researched it and attributed it to Constantinople. The lady made the assumption that the author of In recent times, two principled programs could only have been the metropolitan himself. rovings and accessories of the Greater Sakkos. A detailed stylistic analysis of Bolshoi I. M. Kachanova put forward the hypothesis that the sakkos sakkos was also not carried out. The only exception was the work of E. Piltz, but the cathedral of 1439 and belonged to Metropolitan Isi- due to the inaccessibility of the material being studied, it was expensive. 19 In her opinion, there could not have been 13 Piltz E. Trois on the saccos sakkoi byzantins... sionnel et diplomatique // Old Russian doba. Teach to be stingy. Resava. Beograd, 1968. R. 58–59. art: Byzantium and Ancient Rus'. K 100- pp. 49–60. Il. No. 3, 4. 14 Woodfin W. Late Byzantium Liturgical anniversary of A. N. Grabar. Digest of articles. SPb., 18 Ibid. P. 52. Vestments and the Iconografy of Sacerdo- 1999. P. 41–426. 19 Kachanova I. M. Two Byzantine tal Power. Ph. D. diss. University of Illinois 16 Piltz E. Trois sakkoi byzantins... sakkos from the collection of the Armory at Urbana-Champaign, 2002. R. 174–179. 17 Bank A. V. New features in Byzantium (new version of attribution and dating) // 15 Theocharis M. S. Le sakkos de Photios, applied arts XIV–6th Trienial Meeting for Baltic States Restor- metropolite de Kiev - un document Confessions - XV centuries // Moravian School and Jeno ers. Sacred Art Heritage: Investigations, Great Sakkos of Metropolitan Photius 363 images of the current (living) metropolitan artistic features were not given watering, since, according to the symbolism of the liturgical service, due attention. This situation can be explained in different ways. On the one hand, to the repentant 20. I. M. Kachanova suggests that the creation of the sakkos by the time of Metropolitan Photius, such a complex program vestment could not go unquestioned for a long time, and therefore not being created on the occasion of the wedding of John VIII required comprehensive argumentation 23. On the other hand, and Anna Vasilyevna, but for a reason on the other hand, it is not customary to study facial sewing; such an event could only be cer- from the standpoint of artistic style. If the forged cathedral, and therefore this vestment in the study of medieval painting widely belonged to Metropolitan Isidore, his stylistic analysis is not used, which is a mediocre participant. The researcher, along with technical and technological research, suggests that the metropolitan could appear niami is the most important instrument at the cathedral dressed in a sakkos, although there is no information about this in matters of attribution of monuments, or in sewing. G.D. Fili's point of view - the situation is different. Basically, the author did not consider the research of the Monova, concentrated on issues of liturgical The hypothesis of I. M. Kachanova was subjected to the purpose of the monuments, their existence, criticized by S. A. Belyaev.21 Unconditionally accepted in the sacred space of the temple, on the iconic thesis that Photius could not serve in the field of imagery, paleographic features with its own image 22, as well as those of inset inscriptions, technology. The study of the opinion that the reason for its creation could not be the wedding of John VIII and Anna Vasilievna is reduced to elementary characteristics, so the author reacted very negatively to the idea of ​​their applied nature, the importance of the sakkos to Metropolitan Isidore, a secondary one. role in relation to painting of the union with Catholics. In his opinion, as the main form of art. Meanwhile, the study of the reason for the appearance of such complex embroidered miniatures on the Kremlin Sakko-lovsky point of view of the monument, which itself shows the existence of a rich arsenal of essentially a compendium of Orthodoxy, could have artistic means and techniques, with only one event - the installation in Russia of which the main categorical see of Archbishop Jonah was transferred, and in this con- ria of fine art: space, text sakkos is a symbol of autocephaly volume, color and light. Their presence is difficult to explain to the Russian Church. The time of creation of the sakkos was only mechanical copying or attributed by S. A. Belyaev to the 1440s. reproduction of the “instructions” of the artist- So, the key aspect in dating the Bol- znamnik, they arose as a result of a conscious sakkos were and remain portraits of the historical use of the properties of sewing materials. In accordance with this, one of the main tasks of polit Photius, and the fact of his lifetime seems to be the study of sakkos as outstanding images by a number of authors of categorically monuments of medieval art. denied. It is precisely the portraits of historical It is important to realize that in the absence of direct evidence, they give researchers a reason to put forward claims about the time of creation of the work (subjectively opposed to attributions. writings or chronicle mentions), it itself Despite the fact that sakkos is a valuable source information. a central work of medieval liturgical- The study of the artistic features of embroidery and one of the most important monuments can provide arguments for considering those for understanding Orthodox art and divine or other historical versions. This blessed thought of the first third of the 15th century. In general, he is pleased that the Great Sakkos has been preserved by Conservation and Restoration. Vilnius, 21 Belyaev S. A. Afterword to article 23 This attribution influenced the identification of the customer of the Small Sakkos, which Art Museum Pranas Gudynas Restoration of the Moscow Kremlin in history and culture was also named Photius. Similar ten- Center. Vilnius, 2002. P. 207–210; Kachanov of Russia. pp. 217–225. The same article is reproduced in the works of the later I. M. About the time of the emergence of the sacco is presented in the book: Abelentseva O. A. Mitron’s time, where the conclusions regarding the owls associated with the name of Metropolitan Jonah and the establishment of autocephaly to one sakkos, by inertia transferred - Photius // Orthodox shrines of the Moscow-Russian Church. M.; St. Petersburg, 2009. They are going to another. Thus, S. A. Belyaev, regarding the Kremlin in the history and culture of Russia. pp. 295–316. Great sakkos to the time of the metropolitan Collection of articles. M., 2006. pp. 187–215. 22 The question about the possibility or, on the contrary, Jonah, without any argumentation, spread 20 The first doubt about this was the mouth, the impossibility of depicting a hierarch, this attribution was extended to Maly (See: expressed by I. P. Medvedev (see: Medvena his liturgical vestments arose Belyaev S. A. Several observations about the harm of I. P. Granddaughter of Dmitry Donskoy only in Lately . In the pre-revolutionary history of the creation and purpose of sakkos on the Byzantine throne). In literature, this fact did not cause Metropolitan Photius // Orthodox doubts neither among Archbishop Sava, the shrine of the Moscow Kremlin in history nor among secular scholars. and Russian culture. P. 303). A. G. Barkov 364 5 Big sakkos. Front side. Detail: John VIII Palaeologus, Anna Vasilievna, martyrs John, Eustathius and Anthony, Vasily Dmitrievich and Sofia Vitovtovna without serious interventions and renovations, and everything could be distributed as widely as its parts were embroidered at the same time. traditional cross sakkos and feloni. Despite this, there is a whole series of evidence about facial vestments, especially gical vestments, which have been studied quite recently in the late period of Byzantine art. in detail 24. However, it is extremely difficult to trace the process of formation, for example, in the Inventory of the sacristy of Hagia Sophia and the development of the tradition of decorating them with faces in Constantinople in 1397. - several phelonions and sakkos, embroidered with gold nila. This was primarily associated with everyday life and silk 29. The earliest surviving tion of the objects themselves: the fabrics wore out, examples of facial Byzantine vestments suffered during fires, were recut and are the Greater and Lesser sakkos, as well as the sak- ultimately lived out their century in the cathedral braids from the collection of the Treasury of the Holy Cathedral and monastery sacristies 25. One of the reasons, Peter’s in Rome 30. Its decoration was fundamentally, apparently, that the vestments were trace- different from the Kremlin saccos, representing the shafts of the coffin along with the body deceased bishop 26. constitutes a different direction in the iconography of divine- To date, the only attempt- of ceremonial vestments. It can be assumed that there was much more to systematize all the known examples of the varieties of compositional schemes of existing liturgical vestments. Indirect evidence is given to W. Woodfin 27. The material he collected can serve as evidence of this, both Greek and Russian of Byzantine and Western origin sakkos and phelonion of a later period 31. allowed him to conclude that the embroidered iso- In the Great sakkos the main scenes are placed fermentations appeared already in the 4th–6th centuries. The process of cross-stamping and surrounded by L-shaped making of facial vestments was extremely-stamping; the central parts with evangelical teas are expensive and technologically complex, and mathematical plots are flanked by images of sacred and time costs comparable to those in individual niches. The composition of the holidays with the construction of an entire temple 28. Therefore, they are not repeated on the front side by the Small Sakkos, it is 24 Literature on the history of vestments See, for example, the description of the Athonite risakkos - it took about three years. very extensive. In the context of this prostrate: Kondakov N. P. Monuments of Christians - To this it is necessary to add the time of work, we will cite only a few: Braun J. of Christian art on Athos. M., 2004. for the creation of a painting program and the work of Die liturgische Gewandung im Occident und P. 241, 244. bannerman. Orient. Nach Ursprung und Entwicklung, Ver- 26 This conclusion is confirmed by the whole 29 Guillou A. Byzantine civilization. wendung und Symbolik. Freiburg im Breisgau: nearby archaeological finds. Alone Ekaterinburg, 2005. pp. 283–287. Herder, 1907; Millet G. Broderies religieuses of the latest and most remarkable 30 Byzantium. Faith and Power. du style byzantin. Paris, 1947; Johnstone P. was the discovery of the relics of St. Arsenius Cat. No. 177. The Byzantine Tradition of Church Embroi-Elassonsky and parts found at the same time 31 For example, sakkos Rostov dery. London, 1967; Walter C. Art and Ritual stole, decorated with gold and shel- Metropolitan Jonah Sysoevich and kazan- of the Byzantine Church. London, 1982; kovy embroidery (see: Arseny Elasson Metropolitan Lawrence, created by Woodfin W. Late Byzantine Liturgical Vest - Archbishop of Suzdal. Collection of scientific Stroganov masters about ser- ments ... articles. Vladimir, 2008). Dynasty of the 17th century (see: Silkin A.V. Stroganov - 25 Sacristies where ancient 27 See: Woodfin W. Late Byzantium Litur- skoe face embroidery. M., 2002. pp. 90–96. vestments and other liturgical fabrics, gical Vestments... P. 45 - 67. Cat. No. 86, 95; The World of Byzantium no longer used in worship - 28 According to rough estimates Museum. Athens, 2004. No. 343). nii, were junk sheds. only for the process of embroidering the Great Great Sakkos of Metropolitan Photius 365 “Crucifixion” and “Descent into Hell”. In the corners of the main scenes - at the top - “Nativity” and “Candlemas”, at the bottom of the scenes there are L-shaped marks from the holidays - “Prayer for the Cup” and “Kiss of Judas”. In the corners there are nicknames, which in some cases depict a cross at the top - “Flight into Egypt” and “The Fall of the Wife” not in each individual brand, but in pairs. idols”, below in two medallions - the prophets Above the “Crucifixion” in two stamps - “Annunciation - Daniel and Gideon. On the sides of the cross are the prophets,” below them, also in two marks, “Entrance of Malachi and Micah with scrolls. In the lower group to Jerusalem"; above the “Descent into Hell” - “Thai- in L-shaped stamps on top - “Baptism” naya supper” and “Washing of feet”, below - portraits and “Resurrection of Lazarus”, below - “Descent of Emperor John VIII Palaeologus, Anna Vasily” Holy Spirit." In the corners of the cross at the top are two medallions, Grand Duke Vasily I and Sophia Vitovlion with Saint Theophan and Saint Joseph. tovny. The L-shaped marks are not adjacent to the main ones. On the sides of the cross are depicted Saint Cosmic scenes, as in the Small Sakkos, and Mayumsky and Saint John of Damascus are moved away. In the center to the edges, thereby forming a square group at the top - “Hospitality of Abraham”, in a gray shape. Cross marks are narrower, in connection with the Diné - “Transfiguration”. On the side parts of the rim, with each group freed from the spatial side, saints are depicted (in this way for additional scenes. In the corners of the crosses, the same order as on the front side): Dionysius placed medallions with semi-figured images- (Areopagite), Erofei - Sylvester Pope , the marriages of the prophets: four near the scene of the “Crucifixion” of Jacob Alpheus; Clement of Ancyra, Anthymius" (Solomon, David, Hosea, Zephaniah) 32, on the sides - Basil the Great, Metro - from the cross full-figure images of the prophets; Averky, Ignatius - Nicephorus, Pavel kov Isaiah and Jeremiah with scrolls, near “Soshe-Confessor; Eleutherius, Ambrose (Mediolans to Hell” in medallions - the prophets Job and Abbas) – Miletius of Antioch, John Milokum, and on the sides and above the portraits of the imperial queen; Polycarp of Smyrna – John the Faster; and the grand ducal couple - saints Constantine Ananias of Damascus - Blasius. On the side parts there is also Elena, holding in her hands ten-pointed wings - at the bottom there are two Old Testament scenes: “The Tree of Iesta. The compositional structure is completed by Seevo and The Burning Bush. The choice of saints in the front centerpiece is three scenes: at the top between it differs from the program of the Small Sakkos, where the stamps with the “Annunciation” - “Waking in addition to the Fathers of the Church and the Saints depict an eye”, in the middle “Christ in the tomb” and at the bottom - three Lithuanian martyrs: St. John, St. Eustathius and Saint Anthony. All scenes in the centerpieces on the front and back sides are framed with embroidered Greek text of the Creed. On the sides of the central part on the front side there are saints depicted (in pairs from top to bottom): Clement, Pope of Rome, Peter of Alexandria - Nicholas of Myra, Spyridon of Trimythous; Gregory the Theologian 33, John Chrysostom - Amphilochius of Iconium, Epiphanius of Cyprus; Ignatius the God-Bearer, Babyla, Bishop of Antioch - Gregory Decapolis, Gregory of Nyssa; Athanasius the Great, Cyril of Alexandria - Andrei of Crete, Gregory of Akragantia; Tarasius of Constantinople - Gregory Dvoeslov; Russian Metropolitan Photius (with a halo, but without the designation “saint”) - Triphyllius of Cyprus. Below on the sides are two Old Testament scenes: “The Sacrifice of Abraham” and “Jacob’s Ladder.” On the reverse side this pattern is repeated with some changes. The main holidays here are: “Ascension” and “Assumption” (unlike the Small Sakkos, where “Transfiguration” and “Ascension” are located). Above the upper cross mark in the corners there is 6 Small sakkos. Front side. Detail: Crucifixion 32 In the Small Sakkos the composition is different: Isaiah, 33 In N. A. Mayasova’s catalogue, Jeremiah, Moses, Zephaniah were allowed. There was a mistake - Gregory the Great was named instead of Gregory the Theologian. A. G. Barkov 366 apostles. In the Greater Sakkos, the apostles of the emperor will spread the ENT. His portrait, distinguished in scenes of holidays, and in the side marks from others, is poorly preserved, 34 but still only the fathers of the Church, saints and confessors. allows us to examine some details: a thin mustache and a short beard are visible on the sleeves of the sakkos in round medallions, and half-length images of martyrs are placed on the facial expressions. strict, slightly detached. Anna Vasya's clothes - On the front side on the left - Dmitry Solun-levna are completely gold and decorated with embroidered sky, Theodore Tyrone and Mina, on the right - Nestor, gems. Trapezoidal headdress Eustathius and Lupp; on the reverse side on the left there is a shape similar to the crown of St. Helena. In the hands of Procopius, Theodore and Nikita, on the right is Photius, Anna has the same attributes of power as her husband. Nikita and Mercury. Both of them, in contrast to the grand ducal couple. The images of all saints are emphasized individually and in accordance with their position, they are depicted stodually, there is not a single repeating type of boxes on special bases of rounded faces, each has characteristic recognizable forms, the same as those of the saints Constantine's features. Elena also seems especially “portrait-like.” The clothes of the Grand Duke and his wife, images of historical figures, including saints, are worked out in more detail. Vasily Dmitritykh Konstantin and Elena. The saints on the front are dressed in a short, above the knees, semi-kaf - on the left side (including Metropolitan Photius), a red tan, embroidered with gold, and narrow ones, and on the back - on the right, they are dressed in cross-shaped trousers of green color, embroidered with large sakkos and omophorions with crosses. On the other hand, with hundred wave-like stitches, which are reminiscent of all the saints in simple phelonions with the cross of woolen pile. A short omophorion is draped over the top. Everyone has the Gospel in their hands. ash cloak, decorated with a round ornament. Images of the emperor have their own characteristics - made of silk in a greenish-olive tone, with checkered and grand-ducal families. John VIII with that lining of the same color. On his feet, the prince is dressed in a scarlet robe, embroidered with gold and low red boots with gold clasps, decorated along the hem with embroidery in the form of jewels. His head is decorated with a tall cap of the same stones. His headdress is round and trapezoidal in shape. In his right hand, Vasily is also red and gold. In his right hand, Dmitrievich holds a cross, reminiscent of a scepter; the emperor holds a thin scepter, ending with the emperor’s peter. Sofia Vitovtovna's robe, shaped like a small equal-pointed cross, is not inferior in beauty and richness to her costume, which has extensions at the ends (this is the shape of the husband. Her dress is embroidered with gold and silver - better visible on his wife), through the left hand with threads, decorated with a diamond-shaped pattern 7 Large sakkos. Reverse side. Detail: Dormition of the Mother of God 8 Large sakkos. Front side. Detail: Crucifixion 34 There are minor losses, but no traces of replacements were found. Large sakkos of Metropolitan Photius 367 with red silk inserts. Even images of buttons or fasteners are visible. On shoulders Grand Duchess They will throw on a cloak with red crosses in gold circles. The headdress is the same as that of the spouse. Sofya Vitovtovna gestures to the Grand Duke. The boundaries of the marks, the spatial niches in which the saints are placed, the outlines of their figures and halos on the side parts and some of the most important characters in the holiday scenes, as well as the cross in the “Crucifixion”, crosses in the hands of the Savior in the “Descent into Hell” and in hands of Emperor Constantine, his mother Elena and Grand Duke Vasily Dmitrievich 9 Unsleeping Eye . Before 1418. Painting of the Trinity Church with pearl edges. Some researchers at the monastery of Resava, Serbia, noted its later origin, pointing out both that this technological central place is occupied by cross marks, a feature not characteristic of 15th-century sewing, and around which coal marks are concentrated, which are often lower The marks are quite rough. However, this is where the similarity of the sakkos ends in the images, concealing some of the images. Artistic and technological details 35. All inscriptions, including the text of the Symbol, sewing features show significant faith, are embroidered in Greek. The exception is the differences in their style, which only at first may seem formal. Before the princely couple. A paleographic analysis of everything, this concerns the understanding of the depiction, was carried out by B. L. Fonkich, who noted that there is a lot of space both within the scenes themselves, so that the text of the Creed, although it has, is different and has a general compositional structure. So, from the Small Sakkos, some inaccuracies in the Small Sakkos (ill. 4) all parts of the composition in writing are definitely embroidered in Greek, united into a single whole due to the maximum (by the Constantinople) master of the high qua- approximation of the charcoal stamps to the central lification from the original , which was pre- and even interpenetration of neighboring depicted, perhaps, by Photius himself 36. Slavic brides - angels from the Crucifixion scene placed the same inscriptions have characteristic errors, indicating - in charcoal stamps with the prophets; all the scenes indicate that they were also embroidered by a Greek, puppies in round medallions inscribed in a cross - apparently, he did not understand the pronunciation well, chatty forms, to which some Russian letters are closely moved 37. On the shoulders of the sakkos there are L-shaped stamps with images prophets Apo- there are two small inserts of blue satin, tables and martyrs in the side arches are facing which differs from the main fabric of the sakkos, in a three-quarter spread to the central ones with embroidered Russian inscriptions: “Photia mitro- parts of the front and back sides. Everything is in one place,” “Seraphim” and “Cherubim” and their (Seraphim ste creates a single illusory environment, in which Cherubim) images. They are made with pearl; all parts of the image directly interact with each other without prior gold embroidery. This character is difficult to read, since some of the features are reflected in the art of the border of the letters, which are mirrored. These insertions, apparently from the 14th–15th centuries, to which, in our opinion, apparently appeared during the renovation of the sakkos, also belong to the Small sakkos 38. Most likely, under Patriarch Nikon, who, as is known, the composition was built in the Great sakkos He was especially interested in Greek (ill. 5). There is no single artistic heritage here. of space, it is intelligible, consists of isolated parts connected with each other. At the first glance at the Great Sakkos with word constructions, a system of metaphors, it becomes obvious - its iconography and allegories. The central cross-stamp structure is related to the Small Sakkos, which is presented here in a “pure” form, without inscription, and made it possible at the very early stage of studying sledge round medallions, and coal marks to attribute them to the same time period. Both sak- strongly moved away from them. The resulting spits go back to the type of classical polystaurium: the gaps made it possible to include additional 35 Mayasova N. A. Monuments of the Middle Ages and assistance in writing the work. 38 For more information about this, see: Barkov A.G. of facial sewing... P. 194. 37 For example, the pronunciation of the letter “Small sakkos of Metropolitan Photius”... 36 We express our deep gratitude to “th”. So, the name of the Moscow prince is written S. 349–375. B. L. Fonkich for providing the consul - with a mistake: PRINCE OF VELIKY VASILIGE DIMITRIGEVICH. A. G. Barkov 368 10 Development of the vaults of the Church of Our Lady of Pantanassa in Mystras 11 Prophet Zechariah. Painting of the north-eastern dome of the church and diagram of the Great Sakkos of Our Lady of Pantanassa in Mystras image. Thus, between the scene “Blagove- The entire space of the Great Sakkos is clearly located”, located in two corners at once, is divided into several separate plans. stamps, there is “The Sleepless Eye”. Below First of all, this is expressed in the difference in the large scene “Entrance into Jerusalem” is divided by the order of the figures: the largest - the figure of the Savior Christ in the tomb, which is the center of everything in the central cross marks, holy compositions. On the reverse side there is a sakkos on the side parts and portraits of the historical “Descent of the Holy Spirit” consists of four persons; a little smaller - Saints Constantine and Helen, parts: the apostles are depicted in two corners - the prophets in medallions near the scene of the “Descent of scenes, between which there is a figure into hell”; even less - the prophets are tall in the medallion of the Cosmos, and the rays descend on the apostles from under them at the “Crucifixion”; finally, the smallest ones have a cross-shaped stamp with the “Assumption” (ill. 7). All figures depicted in corner scenes. It is important that the images are highlighted sharply and unambiguously, it should be noted that the marks where the portraits are placed make its surface look disunited - the imperial and grand ducal families, noah. This feature was pointed out by A. V. Bank, who noted in height, slightly higher than the other L-shaped ones, “the process of increasing fragmentation of the space-stamps. Their sizes coincide with the figures of the priesthood" and the strong congestion of those depicted on the side parts, which, of course, speaks of the desire to contain the maximum about the intentional highlighting of these images 40. The number of characters and scenes of holidays 39. This variety of scale affects the perception of the Composition It is impossible to embrace and read spaces that develop not only immediately, at once. The viewer needs height and width, but also depth. The figures, progressively unraveling complex meanings that appear at first glance to be in one flat weave, possess a certain “code” for beauty, are distanced from each other. For example, deciphering pictorial text. The system of images of Saints Constantine, Helen and Lithuanian images requires certain intellectual martyrs in relation to the imperial and great efforts, perfect knowledge of the sacred princely married couples, or the figures of the saints, the works of the holy fathers, as well as co-conspirators in the side niches in relation to all men theological works and political images of the middle on the reverse side. Russian context. In this regard, it is important in this spatial scheme, consisting of the fact that on the Greater Sakkos, in contrast to the several separate planes established by the Smaller, the prophets have no texts on the scrolls. The line itself is a strict hierarchical sequence, images and their location in relation to which the main and secondary scenes are clearly indicated should evoke certain sedate scenes and characters. In fact, we have different quotes. we see the layering of several spatial 39 Bank A.V. New features in Byzantium- 40 I.M. Kachanova in the reconstruction of sac- images were added later in the applied arts... P. 51. braid, indicating this discrepancy in time- (see .: Kachanova I.M. About the time of origin of brands, I came to the conclusion that these traditions of sakkos... P. 197). The Great Sakkos of Metropolitan Photius has 369 scenes, in one of which, the outer one, the viewer himself is located. Moreover, each plan is autonomous relative to the other and excludes their association or interpenetration. As an example, we can cite the full-length figures of the prophets on the sides of the main scenes (near the “Crucifixion”, “Ascension” and “Assumption”). Upon closer examination, it is clear that their gaze, although directed towards the center, seems to glide over the top. In the scene “The Sacrifice of Abraham,” Abraham’s gaze is not turned to the angel, but is directed at the central part of the sakkos, at the image of the crucified Savior. We see the same multifaceted space inside the holiday scenes. In the “Crucifixion” (Fig. 8), the Mother of God and John the Evangelist depicted in the arms of the cross are larger in height and located higher than the warriors at the foot of the cross. They stand before the Savior, but their presence seems distant, timeless. Thus, this composition can be the 12th Great Sakkos. Reverse side. correlated with the scene of worship of the King of Glory, Detail: Prophet Gideon placed on the gate of the sakkos on the reverse side. The outlines of the marks acquire special scenes, in a certain historical perspective - properties - these are not just the limits of the space of the depicted scene, but the boundaries of a unique complex compositional structure of a large window through which one can observe this or that sakkos is the basis for an extremely different fragment of sacred history . Especially developed iconographic program. This is clearly expressed in the main scenes, for example, the number of images makes it possible to compare this in the “Crucifixion,” where a warrior piercing the side of the Savior’s vestment with a full-fledged theological text is half hidden by the border of the mark, or inscription, captured in visible images. Undoubtedly, in the “Ascension” scene, where the limits of the mark are suppressed, this theme requires a separate scale-up of the figures of the apostles. All in all, a conscious study, therefore, this work provides a unique historical and spiritual we will only briefly note some key perspectives in which each specific aspect. In our opinion, the understanding of the program layer is no longer physically connected with another, but directly depends on the compositional structure of upcoming sacred events, vestments in general. The images on the sakne are direct participants in the spit and are not arranged in a linear chronological order of the ongoing action. We find a similar understanding of sequence, and volumetrically, similar to real spaces in works of a new architectural environment, where, for example, there are scenes close in time to the Great Sakkos. Before the Twelve Feasts, placed one for all, on the shroud, embroidered by order of the Metropolitan in the central under-dome space of Photius 41, where the angels with ripids, standing opposite each other, stood behind the Body of the Savior, significantly smaller than those joining in the dialogue. Each scene or group of stamps are located on the sides. In the paintings of the monastery there corresponds a certain semantic pair, Resava in Serbia (c. 1418) on the sides of the composition, which creates a kind of antiphonal sound “The Watchful Eye”, on the vaults, depicted. Reading the scenes is possible in a variety of prophets David and Solomon, their figures are significantly exaggerated in relation to scale and diagonal directions: vertical, horizontal. So, for example, along the horizon of the scene itself (Fig. 9). In the Church of Our Lady of Pantali, a group is read, consisting of scenes of the tanassa in Mystras (c. 1428) in the composition “The Annunciation”, “The Watchful Eye” and “The Crucified Supper” over the apostles, in a heap of tie”. “The Annunciation”, divided into two parts, architectural scenes, images are also placed, and contains in its space the prototype of the prophets of salvation. Their size, on the contrary, is reduced, the bodily death and Resurrection of Christ and for this reason they are perceived separately from the gospel scene itself. A similar comparison 41 Mayasova N. A. Medieval face- obvious when comparing similar fishing and are perceived as integral sewing... Cat. No. 7. P. 34. compositions from the Church of Our Lady of Periv - participants in the scene. 42 The difference in the understanding of the image-lepta (also in Mystras), where the prophets of one space becomes even more similar in size to the figures of the apostles - A. G. Barkov 370 13 Great sakkos. Front side. 14 Big sakkos. Reverse side. Detail: Crucified Christ Detail: Baptism is known in monumental cycles, starting the sequence of arrangement, specific from the mosaics of the Kiev Sophia, where the images of the archangel couple are all important for understanding - Gabriel and Mary, located in the east of the sakkos program. There are pillars that precede the space of the altar and this vertical is also visible in the depiction of the throne. Below is the composition “Entry into Jerusalem” by historical figures. Thus, the saints Con- are compared with the “Crucifixion” and the Holy Sepulcher, stantine and Helen are located above the imperial one with which, in turn, are also connected with the “Thai and Grand Duke’s couple, visually expressing the Supper” and “The Raising of Lazarus”. The scene “The idea of ​​succession of power, which took its place in the tomb” was not only composed in the sakkos by D. D. Obolensky and Fr. John the main center, as mentioned above, is on her endorf - the first Christian emperor, the rest of the images are focused on the face of John VIII, and Saint Helena is above the Moscow howl of the side of the sakkos. In “The Sacrifice of the Grand Duke as a reminder of the saint of Prince Abraham,” who is, as it were, on the periphery of the guine Olga, the first in the princely family to accept the composition, Abraham’s gaze is directed to the precious baptism. All together they are connected with the center, evoking specific associations with the sacrifice “Descent into Hell”. The Savior holds the Savior in his hands. An important role is assigned to the vertical cross, which he transfers to Adam, the same axis cross on which the main semantic lines are outlined; we see in the hands of Saints Constantine and Helen the lines: “Crucifixion” - “Descent into Hell”; “Nedre- and further at John VIII, Anna Vasilyevna and Vasimannoye’s eye” - “Christ in the tomb” - Lithuanian Lia Dmitrievich. In addition, it may be noted, martyrs; "Annunciation" - "Entry into Jerusalem." that Christ, leaning towards Adam, at the same time On the reverse side: “The Trinity of the Old Testament” - leaning towards the imperial couple, as if for the good - “Transfiguration”; “Baptism” - “Descent Blessing them. This detail places an important emphasis on that Spirit.” The same applies to the figures of saints depicted in the sign of imperial power, emphasized on the side parts. Their choice determines her authority in the Orthodox world 43. 43 In this context, one can recall the patriarch reminding the prince that the empire of nations. Six Byzantine portraits - a letter from Patriarch Anthony VI to the Great Thor - the head of all Christians (for more details, see: Comrade M., 1998. P. 281). Prince Vasily Dmitrievich, in which Obolensky D. D. Byzantine commonwealth - Great sakkos of Metropolitan Photius 371 We find the same vertical reading in the image of Metropolitan Photius, who is placed on a par with the ecumenical patriarchs, thereby emphasizing the fact of the succession of the Russian see from the constant - Nopol and other Christian Churches. Undoubtedly, worthy of attention is the placement of the image of St. Clement, Pope of Rome, at the top of this rank. The veneration of this saint has been especially widespread in Rus' since the time of St. Vladimir. The compositional structure of the Great Sakkos can be interpreted as a kind of volumetric-spatial diagram of a cross-domed church. The correlation of images on the sakkos with monumental painting was proposed by E. Pilz. However, in her work this idea was not developed - only a circle of analogies was outlined (the paintings of the Decani monasteries in Serbia and Dohiar on Athos, as well as the cathedral in Montreal in Sicily).44 In more detail, the relationship of the compositional structure of sakkos with the temple space and the identification of individual image elements with specific architectural forms was shown by A. V. Silkin in relation to the Stroganov 15 Saint Sergius of Radonezh. Detail. Cover. 1422–1425. sakkos of the 1660s, which, in turn, were Sergiev Posad Museum-Reserve focused on ancient Kremlin prototypes 45. To understand the program of painting, the sculptural volume did not provide for the Great Sakkos, it is also possible to offer a “literal” reproduction of the architectural similar option reading the composition. designs. This was not a drawing in the modern sense, but it was a symbol, idealized by visual means - one of the most important concepts about the forms of the Heavenly Temple. Therefore, the themes of Byzantine and Russian medieval art are sometimes enough to create such an image. It appears even in pre-iconoclasm - it was possible to introduce only a small era into the image and the architectural quotation, which should have been in the Middle Byzantine period, was especially widespread, when it was easy to “read” in the architecture, causing the cross-dome type of body to crystallize in the mind of the audience. system of images. This artistic building and at the same time a classical technique is taking shape finds analogies in the texts of the decoration system with its complex Sym- Byzantine authors who described the ancient volitional interpretation of spatial and contemporary temples 48. zones 46. At this time, a number of works were created in the Kremlin sakkos symbolic knowledge, in which this theme is expressed in a clear image of the temple space is visible and easily identifiable forms: miniatures - in the shape and location of the main and second-wall copy of the domed building, quadrifo- foam marks. In the Small sakkos it is conveyed through lia or niches with a semicircular completion 47. a combination of forms of cross-shaped stamps and round ones. Of these, striking examples are: the Sinai medallion, in the Large one - through the placement of the icon “Our Lady with the Prophets” (beginning of the 12th century), marriage and interaction between the Gospels and ancient history - miniatures of the Homilies of Jacob Kokkinovathsky and ancient scenes. There is no visual image here (second quarter of the 12th century), a miniature of the Ostromi circle inscribed in the cross. However, the image of the dome of the moat (1056) and the Mstislav Gospels (1103). When it does not completely disappear, it is relegated to the distance; it is important to understand that the image is on the sacred plane and is only guessed in the form of a small space on the plane or in small medallions, concentrated in the corners 44 Piltz E. Trois sakkoi byzantins... P. 58. 47 For more information about this, see. : Ethin- and writers, see: Sedov V. V. Kilisse 45 Silkin A. V. Stroganov facial art Goff O. E. The image of the Mother of God. M., 2000. Jami: Capital architecture of Byzantium. sewing. pp. 94–96. Cat. No. 86, 95. pp. 177–204 (with reference to literature). M., 2008. pp. 95–122. 46 Demus O. Mosaics of Byzantine temples- 48 On the peculiarities of perception and opi- ms. M., 2001. Sanitation of temples by Byzantine historians A. G. Barkov 372 and the schemes of the Great Sakkos shows their almost complete coincidence (ill. 10). This similarity is further strengthened by the fact that in both cases the medallion domes contain images of prophets (ill. 11). Other parts of the sakkos can be interpreted in a similar way. Thus, the location of stamps with images of the holy fathers can be interpreted in several aspects. W. Woodfin considers them as a reflection of the theme of the Great Deesis - the saints on the front and back sides are flanked by semi-figured images of the Mother of God Oranta and the image of Christ the King of Glory with the archangels and seraphim standing before them 50. Another option can be proposed - a reproduction of the “Service” Holy Fathers." (On the front side, the saints stand before the central image of Christ in the tomb.) Images of saints are traditional for altar paintings, but their arrangement in separate niches is not common, with one 16 Large sakkos. Reverse side. An example is the painting of the Church of God-Detail: Saints Nicholas and Spyridon of Mother Afendiko in Mystras, where the images are also enclosed in niches. Continuing the series of architectural cross marks. This allusion to the shape of the dome of spatial associations, it is important to note, is reflected in the real architectural special place in the decoration system of the Great Sac-forms. Examples include the spit dedicated to the images of saints Constantine, the system of vaults in the narthex and exonarthex of the church and Helena and the portraits of historical figures under them. Chora monastery, the five-domed completion of the church- They are located in the lower part of the front pillar of St. Panteleimon in Nerezi, the Assumption Rona, around the “Descent into Hell”, and also find churches in Gracanica, the Church of the Holy Trinity parallels in the real architectural space of the Resava monastery , the design of the cross properties, where the images of the Equal-to-the-Apostles saints and ktids of the Church of Pantocrator in Decani 49. Interests are located, as a rule, in the Western analogy of the compositional structure of the compartments of the temples. scenes on the Great Sakkos are monuments. I would like to emphasize that this trac- Mystras: the Church of Our Lady of Hodegetria (near the compositional structure, proposed - 1311) and Our Lady of Pantanassa (about 1428). Both are intended only as an auxiliary diagram, these temples represent a special diversity for understanding the complex relationships in the system, the visibility of the construction of the cross-domed type of painting of the Great Sakkos. with a strongly elongated longitudinal direction. Among other artistic features of the volume due to the increased space of the Great Sakkos, an important place is occupied by the vim and the presence of a narthex. Development of horizon-volume-plastic solutions. The proportions of the movement in the interior are also correct; all images are correct; there is no deliberate presence of a two-tiered circumambulation, which, in an elongation characteristic of painting, encircles the buildings from the western wall to the apses. swarm of the third of the 15th century. The figures stand firmly on their feet. In Pantanassa, the southern and northern galleries in the second - and their movements are deprived of freedom and the spontaneous tier ends in the east with small tiles, characteristic of the images of saints on the chapels, for the lighting of which there is a special Small Saccos. Here we see that two small domes are not arranged in a very dynamic way. In addition to them, life, but rather its symbol. The images are devoid of internal dynamics in the corners of the square-plan naos, above the choirs; they are driven by the external; four more chapters are placed, smaller ones. It is enough to compare the figures of the prophetically lateral eastern chapters, which, together with the full-length, for example, Malachi to the left of the “Ascension - the central dome form a traditional niya” and the Archangel Gabriel from the “Annunciation” with a five-domed diagram. Direct comparison with the prophets on the Lesser Sakkos. At the same time, the posture and architectural composition of Pantanassa, the gestures of the children in the “Entry into Jerusalem” are different 49 Here in the cross vaults, the principle of enveloping a rounded surface is divided into four segments, placed as parts of a single spherical ribs, placing - all images are deliberately curved shapes . Puppies have different stories. Characteristic horizontally and therefore, being placed - 50 Woodfin W. Late Byzantium Liturgical feature of their construction is next to each other, perceived - Vestments... P. 169–172. Great sakkos of Metropolitan Photius 373 with amazing verisimilitude. These are special interpretations of the figures. This is especially noticeable in the depiction of the images of the Great Sakkos; the absence of the clothes of those saints on the side parts of both are exceptional. The same re- sides that are dressed in saccos - their hem from the outside we find in others have a small oval curve at the bottom, re-works of the 1410s–1420s. Thus, in frescoes it gives a perspective distortion. The identification of Resava by the holy warriors only seems full of volume is facilitated by the active use of movements; their faces bear the stamp of special cut-off modeling. In contrast to peace and tranquility. The same dissonance from sewing in the second third of the 15th century, for example, is newly observed in the icon of the Annunciation from the Trinity Shrouds workshop of the Archbishop of St. Sergius Monastery 51 - the figure of the Archangel Gavriscopus Euthymius, where open silt was used, at first glance, It amazes with its rapidity - “whitewash” highlights, laid out in form, but in his face there is the same detachment. large light planes 54, in the Bolshoi From here, a jumble of intricate archi- texaccos, light is transmitted in a different way. Here, round forms (arches of different sizes, columns, por- shading of the edges of the shape of teaks, vellums are actively used), as in the “Crucifixion” from the Assumption and the eye sockets, as a rule, are slightly darker ocher- Cathedral of the Moscow Kremlin 52, the “Annunciation” is thick, and sometimes in a cold light blue tone (TG) or miniatures of the Assumption Gospel threads (ill. 12), but more importantly, the purpose of the cathedral 53. In the images on the Great Sakkos, reflective properties are used where there is practically no architecture, this is the silk itself and technical sewing features. presented slightly differently. Impact Unlike the Small sakkos, where the space itself is exposed to the surface of the environment, the faces are smooth and uniform, and the stitches are smoothly torn into individual components - changing their direction in shape, in the Big one the central cross marks and all the faces moved away are embroidered large, “in a split” , resembling squares towards the edges. painterly strokes. The thickness of the threads on the faces Another characteristic feature of the images on the Greater Sakkos, which is thinner than on the hair on the head and beard, is that it is extremely voluminous, which, due to the difference in texture, enhances the volume. 17 Big sakkos. Reverse side. Detail: Dormition of the Mother of God 51 State Tretyakov Gallery of the Moscow Kremlin // Russian-Balkan 54 Ignashina E. V. Old Russian Lyceum. Collection catalogue. T. 1. Old Russian cultural relations in the Middle Ages. war and ornamental embroidery in the collection of art from the 10th - early 15th centuries. Tretyakov Gallery M., Sofia, 1982. pp. 313–328. Novgorod Museum: Catalog. Velikiy 1995. No. 79. 53 Research and restoration of one Novgorod, 2003. No. 9; Mayasova N. A. 52 Ostashenko E. Y. Byzantine icon of the monument. Gospel of the Assumption Cathedral Old Russian facial embroidery. Catalog. “Crucifixion” from the Assumption Cathedral of the Moscow Kremlin. M., 2002. M., 2004. No. 7. A. G. Barkov 374 The stitches also repeat the anatomical structure of the form, but much sharper, revealing volumetric ones only in plastic (chasing, casting, glyptic edges. The cheekbones and frontal arches are highlighted by movement and in bone carving), where the volume is conveyed not by stitches reminiscent of vortex flows, only by the relief itself, but also by varying degrees of sharply changing their direction to the edges of the reflection of light from many surfaces. from horizontal to vertical. This feature- These technical techniques and their artistry make the edges of the form at some angles interpretable and allow us to speak of the saccos of the view as strongly shaded, although the tone of the threads is like a huge gold frame. Enhances this (flesh color) remains unchanged. The whole impression is that sakkos is used in sewing - the fact is that silk thread, depending on the different types of seams, reminiscent of directions, refracts and reflects both the basmen ornament and the high chased light in different ways, which creates the impression of a contrasting relief. This is most noticeable in the performance of cut-off modeling. This characteristic of especially significant figures, where the form is separated, is observed on all faces and especially from the golden background, not only by lines, but also by another ornamental type of seam on the figure of the Savior in the scenes of the “Crucifixion” (ill. 13). Thus, “Baptism” (ill. 14), where in this way the structure of the body is highlighted in the Great Sakkos technique of sewing with silk linen. The stitches don’t just fall like threads, it looks more like “silk embossing”, on the surface, repeating the outlines of the form, than like “painting with a needle”, and in this - one of the but creates a kind of “turbulent” swirl - its fundamental differences from the rhenium sewing technique, on which the light plays when the Small Sakkos changes. The abundance of gold enhances the viewing angle. A similar effect can be difficult to perceive, especially in other sewing monuments, for example, from a long distance. Apparently, this was the reason for the 18th Great Sakkos. on the first sewn cover with the image of the reverend - a reason to highlight the contours of the brands, arches and the front side. St. Sergius of Radonezh (1422–1425) (ill. 15), the most significant figures in the holiday scenes Detail: Epigonation Emperor with the “Assumption” from the Putna Monastery with a pearly edge. The preserved site of John VIII Palaiologos from the early 15th century. 55 or stole from the monastery probably dates back to the 17th century. and a noticeably rugged John the Evangelist on Patmos 56. The drawing of the images is visually striking. Whether there was a comparison with picturesque works from the very beginning is an open question. This knowledge of the first third of the 15th century, where the intensive possibility cannot be excluded for the reason that cut-off modeling is the main thing is that the practice of decorating facial embroidery with pearls - a means of creating an emphatically voluminous foreign underside was widespread 61. interpretation of figures and faces. The most striking In addition, the use of pearls was associated with analogies are the icons “The Apostles Peter not so much with aesthetic beauty, but with his and Paul” 57 (see ill. 2 on p. 144) and “The Crucifixion” (see ill. 5 deep symbolic meaning. Pearls, so on p. 348) from the Assumption Cathedral in Moscow are like gold and silver, in the Byzantine system of the Kremlin 58, miniatures (Morozovsky) of the Gospel symbols were perceived as an image of the uncreated, or Assumption Cathedral 59, the Apostle from Cyril-divine light , was his “absolute Belozersky monastery (Other gr. 20) 60, a Gospel metaphor” 62. In this context, highlighting the pearls of 1429 (F I 591). Some of the most significant figures, mainly Active use of halos in the Great Sakkos of the Savior, in addition to the decorative function of silk, allows it to be perceived as the radiance of the divine to speak about their conscious use of energies. Therefore, it can be assumed that a special artistic technique, an unknown late one, was reproduced by painters who worked with paints. leads an earlier one, which was important 55 Musicescu M. A. La broderie medivale 57 Barkov A. G. Icon “Apostles Peter and Byzantine civilization. P. 285). Also roumaine. Bucarest, 1964. No. 5. Fig. 7–8. Paul” from the Assumption Cathedral in Moscow it is known that the setting of the Gospel of the Assumption 56 Byzantium. Faith and Power. Kremlin. The problem of style and dating // of the cathedral (Morozovsky) originally Cat. No. 184. R. 308–309. Unfortunately, the Orthodox shrines of Moscow had a pearly edge, which, inappropriately embroidered here in the very bad Kremlin in the history and culture of Russia. It is believed that it was an important element of the overall preservation, but the existing fragments are a collection of articles. M., 2006. pp. 105–113. artistic design of the monument (see: show similar artistic 58 Icons of the Assumption Cathedral Moskov-Osipov Yu. A. Restoration of the frame of the Evan-and technical techniques: shading of the regional Kremlin. XI - early XV centuries. Catalog. helium of the Assumption Cathedral of the Moscow form in a darker tone, sewing “in dis- M., 2007. No. 19. Kremlin // Proceedings of the Department of Scientific Restoration” with a change in the direction of the stitches, 59 Research and restoration of one radio and conservation of the State use of a thinner thread for the monument. Gospel of the Assumption Cathedral of the historical and cultural museum-reserve of sewing faces in comparison with hair and the Moscow Kremlin. "Moscow Kremlin". M., 2004. Issue. 1. beard. Although the epitrachelion has in the literature 60 Vzdornov G.I. The Art of the Book in the Ancient S. 124). ture earlier than the Great Sakkos of Rus'. Handwritten book of North- 62 Averintsev S. S. Gold in the dating system (second half of the 14th century), re-Eastern Rus' of the 12th–15th centuries. 1980. No. 68. symbols of early Byzantine culture // numerical features indicate 61 This, for example, is evidenced by the Poetics of Early Byzantine Literature. about their obvious stylistic kinship. the already mentioned Inventory of Constantino-St. Petersburg, 2004. pp. 404–425. Polish St. Sophia Cathedral (see: Guillou A. Great Sakkos of Metropolitan Photius 375 element of the original system of decoration of the sakkos. The saints in the side sakkos. niches, prophets, apostles in the scenes of the celebration are easily recognizable. In the Great Sakkos, the solemn decorations. However, the greatest interest among researchers - the activity expressed in the abundance of precious lei is caused by images of historical figures of materials, in large quantities depicted in the lower part of the front side.In them, there are significant characters and sacred scenes, their characteristic compositional structure and large-scale individual features are clearly discernible. Even in the very early theological program, the abundance of the first precious materials was used during the study of sakkos G. D. Filimonov, when he drew attention to the obvious similarity 19 Pisanello. Medal with incredibly fine painting. From a distance she published portraits of John VIII (ill. 18 ) on the Great Sakkos with a portrait of John VIII is not noticeable, and only upon closer examination is it in the manuscript with the works of Pseudo-Dionysius Palaiologos. Around 1438–1439. friction, amazingly beautiful images from the Louvre (1403–1405) 64 are revealed, where he is depicted with his French National Library, Paris, the images noted above by his father, Emperor Manuel II, become noticeable (see ill. 3 on p. 26). technical features of sewing. There are many of them - Indeed, despite the poor preservation, the complexity is comparable not only with miniature embroidered images, these two portraits are very close, but also with icon paintings and even with the only difference that in the Parisian miniature - with monumental works. A huge picture of the future emperor still in his adolescence is given attention here at first glance to his age, as indicated by the absence of a beard and minor details. Most of all, this is noticeable in the mustache, and on the sakkos it is depicted as a completely grown-up young man in the depiction of faces, hairstyles, beards, and clothes. For comparison, you can see saints and historical characters, where you can see another portrait of the emperor, which is every detail, every strand of hair, gestures. No ry, without a doubt, has the greatest similarity of any repeating type, everywhere its own with the original. This profile image has features that give the specific images on the medal by Pisanello (Fig. 19) individuality. You can often find gray hair interspersed with light brown hair during the Ferrara-Florence Council, for example, in 1438–1439. 65 In it, the emperor is represented by St. Nicholas of Myra (ill. 16), flax already in adulthood, slightly stooped, with and sometimes with cold, bluish strands, stern facial features, a pointed beard, like the prophet Malachi. Heads of angels and archaine lengths. Juxtaposing two early portraits of the gels adorned with lush hairstyles made of re- with Pisanello's relief, one can confidently have braided curly locks. All the faces are slightly asymmetrical, which speaks of almost documentary accuracy, which gives them greater realism of the picturesque and embroidered images and their uniqueness. Each character has a mimetic temporal intimacy. An interesting point that expresses his condition and specific features is that John’s clothes and emotions. This is especially noticeable in the central ones in which it is presented on the sakkos, identical compositions. Thus, in the “Crucifixion,” the facial expression of the robe of his father Manuel II on another Parisian and the gesture of the centurion Longinus conveys the moment to his miniature (grec 309) (1409–1411) 66. If on spiritual conversion, comprehension of the miniature from the Louvre, the father and the son depicts the current event. In the “Assumption” there are two groups of apostles in dark-colored clothes, but here both the clothes of the saints and the saints on the sides of the bed of the Virgin Mary are red, embroidered with gold and decorated with each other, and their faces, especially with precious stones. This fact, indirectly in the image of Peter, depicted with a censer on the left, fully indicates that sewing sakkos is close to inconsolable grief (ill. 17). In “The Last Supper”, in time to the portrait of Manuel II (1409–1411). “The Ascension” and “Washing of the Feet” are emphasized Portrait of Anna Vasilievna (ill. 20), on the contrary, the confusion of the apostles, they are excitedly discussing - it seems more stylized, in comparison they give what is happening. In this case, it is necessary to have a picture of your spouse. It is known that this is only due to the fact that the sizes of the images are very small, the faces are her exact image. height - no more than two centimeters! The images of Vasily are no less expressive. Let us emphasize once again that all without exception are Dmitrievich (ill. 21) and Sofia Vitovtovna (ill. 22). These images are deeply individual, portraits. Unfortunately, other images of the great prince conveyed the subtlest nuances of the physiognomic family were not preserved 67, so the proto-features and peculiarities of the psychological state comparative analysis does not seem to be the case. This feature undoubtedly plays an important role. However, if we take into account the role in understanding the style of the images of the Bolshoi, the extreme similarity of the imperial 63 Filimonov G. D. Icon portraits 65 Byzantium. Faith and Power. Fig. No. 2.8. research of the remains of the Grand Duchesses of the Russian Tsars. R. 21. and reconstruction of their portraits; it is quite possible - 64 See: Moravian School and Jeno Doba. 66 Ibid. No. 1. P. 26. It is possible that in the process of this work there will be scientific stinginess. Resava. Beograd, 1968. 67 Currently, the appearance of Sofia Vitovtovna has been recreated in the Moscow Museums. Anthropological A. G. Barkov 376 portraits are being conducted in the Kremlin, then the image of Vasily Dmitrievich, with its diversity and complexity of execution, and his wife can be considered equally reliable. Thus, in the “Crucifixion” the warriors’ clothes are covered. This is facilitated by their excellent detailed design, in contrast to the half-figures - preservation, which allows us to examine in detail the images of the Virgin Mary and John the Evangelist, characteristic portrait features. Thus, in those depicted emphatically symbolically outside of measures, in the person of the prince we can note the lungs of time and outside of real space. In very Asian shades: high cheekbones, slightly smaller in size composition “Hospitable eyes. The expression on his face seems more like that of Abraham,” the master portrayed as rather concentrated rather than stern. The portrait of a table with three arches, complex in design, of Sofia Vitovtovna, on the contrary, amazes with its severity on which it placed not only a bowl with a head. Judging by the way these lambs are made, they also have different shapes of tableware. portraits, it can be assumed that the author of these We see the same thing in “The Last Supper”, where, in addition to the images, he also knew what such a wok looked like, various high-ranking persons were scattered around the table. Particular attention to food. In the scene “The Sacrifice of Abraham”, attention is also paid to clothing. For the imperial couple, a tethered lamb, firewood burning with all its solemnity and wealth, a hearth and even sparks from the fire are embroidered. the robes are likened to the clothes of the saints Constant-Extraordinary portraiture and authenticity and Helena, which is why they look more stylized in conveying the objective world - characteristic. The clothes of the grand ducal couple are a typical feature of the art of the first third of the 15th century. Noticeably, they amaze with their “documentary” nature. There are a lot more reasons for this. This and the paintings of G. D. Filimonov noted that the vestments of Vasily Resava (c. 1418) 69 and Kalenich (after 1418) 70 in Ser-Dmitrievich are “very dandy” and that it is beyond, where the variety of robes of holy warriors is extremely detailed for an “iconic portrait” 68. despite the fantasy of their forms, it is striking if the clothes of the emperor and empress are in reality with their images (ill. 23). Unfortunately, close to the clothes of the saints, which is consistent with the idea, in sewing similar analogies are practically with their sacred title, the attire of the great has not been preserved. The shroud ordered by the title could shed light and support the prince as a person who does not bear the sacred. Our conclusions could be as realistic as possible. This is a remark by Metropolitan Photius, but personal sewing on it seems quite justified. Indeed, much has been lost. Therefore, perhaps most importantly, there is more freedom in their depiction, even the already mentioned fantasy can serve as an example, they are richly ornamented, the taller first cover of St. Sergius of Radonezh is colored in light green and red tones, 71. His (alleged) high portrait-embroidery reproduces the smallest details, such similarity is due, on the one hand, to the pattern of the fabric on the half-caftan, the cloak and the fact that it was created shortly after the death of the saint, the lining, the trim of the sleeves, precious stones, and on the other hand, to the general orientation of the era on the under- and buttons on the princess’s clothes, and even highly illusory images are conveyed. Over time, wool fluffs appear on the prince's pants. The exact “realistic” type will be smoothed out and idealized; the same “woolen fabric” can be found sculpted. As an example, we can cite in other images, for example, in the “Assumption” the second cover of St. Sergius, created near the angel cutting off the hand of the wicked Athos - mid-15th century. 72 niya, in the clothes of a shepherd in “Nativity” or in children. Summarizing the above, we highlight the most in “Entry into Jerusalem”. In the same composition, important stylistic features of the images are strikingly realistic poses and movements of the Great Sakkos. These are: children spreading their clothes in front of the Spa - a special perception of space, a volumetric tractor. In addition, even flowers and figures are embroidered here using special technically rather complex forms, with buds and leaf techniques and light and shadow modeling, reactions thrown at the feet of the Lord. lism, “portraitness” in the faces, elaboration Increased realism of tracing the smallest details, emphasized interest in all images of the Great Sakkos, to the material, objective world, applying, whether it is the image of a saint, with extremely fine penetration of complex shades. For sakkos nerdy face or gospel scenes. Each is characterized by a special understanding of light: not the original image can be examined for a long time, emerging from within matter, but falling from the outside, finding in them the smallest details that amaze not dissolved in color, but the existing 68 Filimonov G. D. Icon portraits 70 Simiћ-Lazar D. Kaleniћ - slikar- Old Russian art: Sergius of Rado-Russian Tsars. hood, history. Kragujevac: Kaleniћ, 2000. Nezhsky and the culture of Moscow in the 14th–15th centuries. 69 Todiћ B. Manastir Resava. Beograd, 71 Mayasova N. A. Image of the Venerable St. Petersburg, 1998, pp. 40–53. 1995. Sergius of Radonezh in Old Russian 72 Ibid. P. 45. sewing (On the issue of iconography) // Great sakkos of Metropolitan Photius 377 20 Great sakkos. Front side. 21 Big sakkos. Front side. 22 Big sakkos. Front side. Detail: Anna Vasilyevna Detail: Vasily Dmitrievich Detail: Sofya Vitovtovna separately. We find all these features in the revealed features of the style of sewn documents of the 1410s–1420s and partly in the early 1430s. miniatures on the Great Sakkos contradicts - As the closest analogies to the Sakkos chat, later dates. In our work we can name: the paintings of the Church of Our Lady regarding the Small Sakkos, we brought the circle of Pantanassa in Mystra 73 (ill. 24), Resava and Kale; counteranalogies to his painting 79: Puchezhskaya Nicha in Serbia 74; The icons “Crucifixion” 75 and “The Apostles of the Shrush (1441) 80, the cloakie of Novgorod Peter and Pavel” from the Assumption Cathedral of the Moscow Archbishop Evfimiya 81, the Romanian cloakie of the Bogo Kremlin 76, the “resurrection of Lazarus” from timing 77, from the Nyamt monastery (1437). For the Great Sakkos, an embroidered cover with an image St. Sergius this argument is relevant. Radonezh; frame and miniatures of the Gospel Let us recall that in recent times there were pre- Assumption Cathedral 78, gold frame of the icon of Vladi- attempts were made to revise the dating of the worldly Mother of God, with minted holidays of the Great Sakkos; the main argument is in the margins and the monogram of Metropolitan Photius. tive of attributing it to the time of the Metropolitan. The study of sewn and painted works of Photius is his own portrait (ill. 1). Deny suggests that in Moscow I. M. Kachanova and S. A. Belyaev appeal to the idea that Greek painters could also work and even the whole symbolism of this vestment, which is an embroiderers’ workshop. This assumption, according to Theodore Balsamon, the Byzantine art (relating to the workshop engaged in the canonist of the 12th century, goes back to the scarlet garment of Christ) can only be accepted as a hypothetical and is a “clothing of sorrow” 82. This initial thesis, since it is unknown other works, the image, perceived as an axiom, were made by these masters. dil the authors to make a number of very categorical 73 Mouriki D. The Wall Painting of the 75 Ostashenko E. Y. Byzantine icon 79 Barkov A. G. “Small Sakkos Metropolitan- Pantanassa at Mistra: Models of a Painter’s “Crucifixion” ... lita Photius "... P. 371–372. Workshop in the Fifteen Century // The 76 Barkov A.G. Icon “Apostles Peter 80 Mayasova N.A. Old Russian Twilight of Byzantium: Aspects of Cultural and Paul” in the Assumption Cathedral of Moscow facial embroidery. No. 7. pp. 90–93. and Religious History in the Late Byzantine of the Kremlin... P. 105–113. 81 Ibid. P. 55. Ill. 27. Empire. Papers from the Colloquium Held 77 Byzantine Art in Collections 82 Quoted. by: Woodfin W. Late Byzantium at Princeton University 8–9 May 1989. USSR. Exhibition catalogue. Part 3. M., 1977. Liturgical Vestments... P. 106. See also: New Jersey, 1991. P. 217–231. No. 958. P. 91. Dmitrievsky I. I. Historical, dog- 74 Todiћ B. Manastir Resava; Simiћ- 78 Research and restoration of one mathematical and mysterious explanation by Lazar D. Kaleniћ. monument. Gospel of the Assumption Cathedral Divine Liturgy. St. Petersburg, 1884. P. 80. Moscow Kremlin. A. G. Barkov 378 22 Holy warrior. Painting of the Trinity Church 23 Entrance to Jerusalem. Painting of the church in the monastery of Resava, Serbia of Our Lady of Pantanassa in Mystra sayings 83. However, the documented prohibition of a possible customer cannot be compared with such images, which are not traced anywhere, for example, with the ban on depicting God, it is, as it were, implied, inferred log- Father (Deut. 4: 12, 15–17; Ref. 20:4; 2 Cor. III 6). from general practice and symbolism of liturgical services. On the contrary, in the thousand-year history of Byzantium. At the same time, the fact of placing portraits of secular people on the vestments of Russian and medieval art does not cause any such “inadmissible” doubts and objections, although this would also be quite justified from the point of view of ideal theology. If we assume that sacred life images, including those in special braids, were embroidered in the late 1430s or 1440s, sacred zones 84. Here are just a few of them: other questions arise, for example: is it possible portraits of Emperor Justinian and Theodora were depicting the emperor with a long-dead person in the altar of the church of San Vitale in Ravenna; portraits of his wife and father-in-law, while he was married two more times to the customers standing before Christ in the conchs of the apses? If the sakkos was embroidered for the patriarch of the churches of Santa Agnes (VII century), Santa Prassede Joseph for the Florence Cathedral (according to Santa Cecilia (IX century) in Rome; portrait of Emperor I. M. Kachanova), then why is it so the bright speaker of Leo VI before the Savior over the south represents the theme of the relationship between Constantinople and the entrance to the Church of Hagia Sophia in Constantinople, Moscow and Lithuania? Why is there a field after death (c. 912); in Sophia of Kiev, Photius (1431) and Vasily Dmitrievich (1425) are depicted, after the entire family of Prince Yaroslav at the same level as the results of the Council of Florence, when in the main scene of the Eucharist (thereby they are equated with the Russian Greeks retreated from Orthodoxy, to communing apostles). In paleologists, suddenly the idea of ​​continuity of this period, this tradition of depicting ctitos, from Byzantium to Rus' arises again? What kind of attitude towards autokers is spread extremely widely85: the falia of the Russian Church (according to S. A. Belyaev) the portrait of Fyodor Metochites in the mosaics of the monastery is of Photius, who at one time held the Russian Chora; portraits of Serbian kings (Milutin, the metropolitanate from the schism, who preserved it in the bosom of Stefan Uros III, Stefan Uros IV, Djurzh of the Mother Church of Constantinople? Brankovic) in the paintings of the churches of Gracanica, The idea of ​​​​the impossibility of lifetime iso- Studenica, Virgin Mary of Leviska, Dečan 86 and on the fight of Photius as the owner of the sakkos or his icon “Saints Peter and Paul” from the Vatican 83 “Metropolitan Photius could not (italics liturgical practice; such examples 85 See: Velmans T. Le portrait dans l'art mine. - A. B.) to place your image on a par with the saints of God, the Church does not know, it is simply not possible. Venise, 1971, pp. 91–148. and you can turn to yourself with prayers” (Belyaev S. A. Afterword to the article Pl. XXXV–LXIV. (Kachanova I. M. About the time of the emergence of I. M. Kachanova... P. 297). 86 Todic B . Serbian Medieval Painting. The Sakkos... 2006. P. 191–192); “This is not enough - 84 Just listing all Age of King Milutin. Belgrade, 1999, pp. 31–74. It is permissible that neither the canons of the Church nor similar examples could become an independent study. Great sakkos of Metropolitan Photius 379 Pinakothek 87; on the frame of the icon of the Mother of God Odina- An additional argument in favor of the Prizhiz-Gitria (GTG) 88 among the evangelists and the martyred image of Photius is that Constantine Acropolis and his wife Maria Komnenos are depicted on the reverse side of the sakkos on the right hand. During his lifetime, the image of the martyr Photius was depicted—thesoimeters were placed, among other things, on the liturgical saint of the Moscow metropolitan fabrics and vestments: on the Romanian epitra- An analysis of the compositional chili (1427–1431) depicts Prince Alexander of the construction of the Great Saccos, stylistic with his wife Marina 89, on another epitrachelion from the characteristics of embroidered miniatures, taking into account their monastery of Putna (1457–1497) the prince is depicted in a unique state of preservation, allows us to say with confidence that the sakkos was conceived and wanted I would like to emphasize that in all the examples created with the direct participation of the Metropolitan, we have Photius’s lifetime watering in the artistic depiction of the customers close to him. In most cases the environment. As for the reason for making - this is confirmed by the presence of precise dating of the sakkos, here we share the point of view of the monuments, and sometimes the portraits themselves help to determine the time of their creation. In this regard, the Tiyan throne with the Moscow princess depicted on the Great Sakkos Metropolitan was hardly the main motive. This event, Photius and other historical figures did not seem - most likely, was one of the components of the supernatural or “unacceptable”. general plan. The main reason, in all likelihood, this tradition had such visibility can be called unifying widespread for the reason that the cathedral, but without a specific connection to Ferraro - for these people, as well as for their contemporary - Florence Cathedral. The fact is that the idea of ​​nicknames, it was important to feel and realize that they were restoring the unity of the church by convening those involved in sacred events. This idea church cathedral present in the consciousness lies at the basis of the perception and understanding of both Orthodox and Catholics, starting from the process of worship, when every believer is in schism. holiday), is a witness and the question arose sharply about the military and financial participation of the sacred history 91. assistance to Byzantium from the West to counter the Great Sakkos in itself is the only cause of Turkish aggression. However, this movement from the “rules”, about which we only have a vision, did not imply the achievement of the most general ideas. The goal presented by the Greeks at any cost (union with Rome) - on it a complex of images can be a truck - on the contrary, in monastic circles there was a desire to convince the “enemy” of his rightness through the Church in its entirety as an image of the unity of Heavenly and Earthly. All characters of the pre-dogmatic dispute. It was at the beginning of the 15th century. sacred events stand here outside of time, the first anti-Latin collections appear, since everyone is alive for the Lord. In addition to the complex works 93. Among them was the “Tale of origin-theological content, in his program of waiting for the Holy Spirit” of the Moscow Metropolitan, a certain historical litan Photius 94 is clearly visible, in which he opposes the political aspect that gives the sakkos of the Stalatin Symbol faith, citing sayings from a historical document. Here, the holy fathers, whose images are included in the painting, show two branches of power: spiritual - from the Lord, vestments under study 95. The Greater itself through the holy patriarchs to the Russian metroposakkos can be considered as an autonomous lita, and secular - from the Tsar Glory, through the saints, a polemical text, expressed in the visible Constantine and Helen to the emperor and great images, supported by the abundance of the gospel to the prince. The images of the Lithuanian martyrs reflect Old Testament and Old Testament quotations pointing to the unity of the Russian Metropolis and the direct sub-dogmatic traditions of the Church before the schism, confirming that the Russian Church - not of which the main principle was the conciliar integral part of the Byzantine Mother Church. unity. 87 Byzantium. Faith and Power. Cat. No. 23. 90 Millet G. Broderies religieuses du style 93 Ibid. pp. 330–331. 88 Ibid. Cat. No. 4. byzantin. No. 8. 94 Photius, Metropolitan of Kiev 89 Epitrachelion to our time 91 It would not be an exaggeration to compare all of Rus'. The book of the verb Photios. has not survived, but it is known about these processes from Western European tra- Works. M., 2005. pp. 77–114. according to archival photographs (see: the tradition of placing biblical 95 Of the 39 saints (excluding Musicescu M. A. himself. La broderie medivale rou- subjects in real landscapes and modern Photius) in the text a coincidence can be traced - maine. No. 7). new interiors. meeting with the 14 holy fathers. 92 Florya B.N. Research on the history of the Church. Old Russian and Slavic Middle Ages. Collection. M., 2007. P. 328.

Continuation of publication of questions from the 2014 Kremlin test for guides and translators and answers to them.
Start in articles:
.
.
This review is devoted to some items from the collection of the first floor of the GOP.
STATE ARMORY CHAMBER
First floor
COLLECTION OF LIGURARY VESTMENTS

– What fabric is the waist of Sakkos Metropolitan Peter made of?
a) Turkish gold satin
b) Iranian fabric
c) Italian fabric
d) Byzantine atlas
Correct answer: Turkish gold satin.

Sakkos of Metropolitan Peter

Sakkos. North-Eastern Rus', 1322 (?); braid – Byzantium, late XIII – early XIV centuries; gold satin – Türkiye, late 16th century. (?); crushers - Moscow, XIV–XVII centuries. Gold satin, satin, damask, silver, pearls; weaving, basma, sewing, embossing. Made for Metropolitan Peter of Kyiv and All Rus'.

– Country of origin of the “Pokhvalsky” sakkos of Patriarch Nikon?
a) Byzantium
b) Türkiye
c) Italy
d) Russia
Correct answer: Russia.

“Pokhvalsky” sakkos of Patriarch Nikon

– What fabric is Nikon’s sakkos made of?
a) Turkish gold satin
b) Iranian fabric
c) canvas
d) Italian Aksamit
Correct answer: canvas.

On one side of Patriarch Nikon’s sakkos the composition “Praise of the Mother of God” is embroidered, which is why it is called “praise.” Gift to the Patriarch from Tsar Alexei Mikhailovich.

(“Pokhvalsky” sakkos. Moscow, 1655. Workshops of Queen Maria Ilyinichna. Canvas, gold threads, pearls, embroidery. Belonged to Patriarch Nikon” - quote from the book by I.V. Faizova).

COLLECTION OF SOCIETY COSTUME

– For whom was the payment, stored in the Armory Chamber, made?
a) Mikhail Fedorovich
b) Alexey Mikhailovich
c) Fedor Alekseevich
d) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: for Peter I Alekseevich.

– For whom were the barmas that we see on the Petra toll made?
a) Fyodor Ioannovich
b) Fedor Alekseevich
c) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: for Tsar Fyodor Ioannovich.

Barmas of Tsar Fyodor Ioannovich, the last tsar from the Rurik dynasty, are exhibited along with the plate of Tsar Peter I Alekseevich Romanov.

– Paid Peter I used:
a) for coronation,
b) royal weddings,
c) ceremonial occasions,
d) receiving ambassadors,
It’s difficult to name the only correct answer. Most likely, this is point c), for special occasions. Below are explanations.
I quote from the book I.V. Faizova: “The dress with barmas was the main ceremonial attire of the king, it belonged to the Great Dress and had the meaning of regalia. It was intended for royal wedding ceremonies and ceremonial exits.” “The dress of Peter I ... was sewn in Moscow in 1691 from Italian axamite, presented to the Tsar by the Hetman of Ukraine Mazepa. According to the Inventory of the Royal Treasury, in addition to the preserved silver lace, it had a sable edge and thirteen gold buttons with emeralds and rubies.” “The ceremonial royal dress, intended for the crowning ceremony, large festive appearances in cathedrals and ceremonial receptions of foreign ambassadors, was multi-layered.”
Thus, of the above reasons to wear it for a fee, point a) is clearly incorrect - it was NOT used for a fee for coronation.
Agent #2 Note:
“In a private conversation with a Kremlin employee during training, a question was asked about the appointment of a fee. The answer was as follows:
– Imagine that Peter I was crowned king in it. This is impossible - Peter was very young then. Made for a fee for an adult. Of course it was used for special occasions.”
That's what I answered in the test. Although I didn’t see my mistakes, judging by their number, I think that this should be the correct answer.”

– Who owned the ferezia from the collection of the Armory Chamber?
a) Alexey Mikhailovich
b) Fedor Alekseevich
c) Peter I Alekseevich
d) Ivan Alekseevich
Correct answer: Alexey Mikhailovich.
According to I.V. Faizova: “Ferezeya. Kremlin workshops. End of the 17th century. It was part of the wardrobe of Tsar Alexei Mikhailovich.”
I couldn’t find a photo of the feresea. Maybe someone knows where to get it?

First part: . In it, we addressed our colleagues with an introductory speech and covered the general historical questions of the test.
Second part: . The publication is devoted to the history of Kremlin architecture, Kremlin cathedrals and iconographic features.

Literature:
I.V. Faizova “Methodological recommendations for a sightseeing tour of the State Armory Chamber of the Moscow Kremlin”, Moscow, 2011.
The article uses photographic materials from the “golden guide” to the Armory. “The Armory”, Moscow, 2000

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Vestments. Change of style January 27th, 2014

In the comments to the previous post, a discussion ensued on the topic of style preferences. The mention of the competition for the temple project said: “it was indicated that there should be a Russian style (as the patriarch blessed).” What is “Russian style” in relation to modern church architecture? And in relation to contemporary church art in general...(?)
Tastes change. And the understanding of the style by the leadership of the Church (the same style - the Russian church) changes depending on many reasons, including personal tastes, knowledge, moods...

The style of vestments provides very interesting material for understanding the moment - this is an item of daily personal use, so it clearly reveals the taste of the owner. ( all photos taken from the site http://www.patriarchia.ru/).

The late Patriarch Alexy preferred the soft texture of velvet combined with gold embroidery and rich floral patterns.
His vestments are true works of art.
Miters were usually of the same color, material and style.

After his enthronement, Patriarch Kirill was clothed in the same sakkos of Patriarch Alexy.
Miter is more ancient. The large omophorion (in the top photo of Patriarch Alexy is a small omophorion from the same set).

But very soon the style of vestments changed radically.

Patriarch Kirill prefers polystavrion - sakkos with large crosses of the simplest geometric shape. Sometimes without a border along the cuffs and hems (as depicted in ancient frescoes). On the omophorion there are crosses of the same shape.
But the miter here... is from some other set.
Here's another example:

If a border is used on a miter, it is with a very large geometric pattern.
The texture of the fabric is hard, all the contour lines are almost straight (the vestment does not “fit” the figure, but “stands”...).

Recently, details have appeared that reproduce the same elements on the icon vestments of the saints: for example, a border with red and green stones, on which highlights are embroidered in the same way as it is depicted on the icons.
The golden lines of the assist are also reproduced with embroidery (but apparently by machine, too mechanically).
Mitra - know-how :)) No one has had anything like this before. I wouldn't say that this adorns His Holiness...

But this sakkos almost literally reproduces the sakkos of Metropolitan Peter from the icon of Dionysius (although there is neither a club nor a miter on the icon, so they were added as best they could))).

Maybe this is RUSSIAN STYLE?