Moskovskij Kremlʹ XVII stoletija: drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach Kniga 2
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Содержание М.А. Маханько IV ЧАСТЬ Почитание святого Лонгина Сотника в Московском Кремле. Русская книжная КУЛЬТУРА И ПИСЬМЕННОСТЬ XVII Реконструкция истории царского КОВЧЕГА-МОЩЕВИКА XVII ВЕКА столетия 119 Е.В. Исаева М.В. Вилкова 10 Введение Богослужебные облачения и предметы тканевого убранства
Благовещенского собора. И.В. Поздеева Московская половине Опыт ИСТОРИЧЕСКОЙ РЕКОНСТРУКЦИИ печать в первой 141 XVII века и РОССИЙСКАЯ С.Г. Зюзева ГОСУДАРСТВЕННОСТЬ Оклад иконы «Богоматерь Знамение». 15 Т.С. Борисова История Миниатюры и орнаментальные УКРАШЕНИЯ НАЧАЛА XVII ВЕКА в Евангелии 1575 года
создания и проблема атрибуции 159 М.В. Вилкова Дробницы «Годуновской» фелони из Архангельского собора 35 С.П. Орленко 171 Источники ПО ИСТОРИИ СОЗДАНИЯ «Книги О ИЗБРАНИИ. С.Г. Зюзева ЗОЛОТОЙ СКЛАДЕНЬ ПРИДВОРНОГО эмальера Юрия Фробоса Михаила Федоровича» 67 181 A. В. Сиренов И.А. Бобровницкая
Исследование А.И. Успенского ПО ИСТОРИИ ЦАРСКИХ БИБЛИОТЕК Серебряный посох — атрибут «царского чина» XVII ВЕКА в России 85 B. П. Пушков, И.И. Соломин Традиция «подноса» новоизданных МОСКОВСКОГО ПЕЧАТНОГО ДВОРА ПЕРВЫМ ЛИЦАМ ГОСУДАРСТВА 195 Т.В. Житкова О ДВУХ ДРАГОЦЕННЫХ КОВЧЕГАХ СО СВЯЩЕННЫМИ
ВЛОЖЕНИЯМИ книг 205 93 С.Г. Зюзева Новые исследования об Алмазных венцах царей Ивана и Петра Алексеевичей V ЧАСТЬ Святыни ЦАРСКОЙ КАЗНЫ И КРЕМЛЕВСКИХ ХРАМОВ 217 И.А. Стерлигова VI ЧАСТЬ Введение 102 И.А. Журавлева Серебряная рака 1601/1602 года из Благовещенского собора в Сокровищнице резиденции
баварских герцогов в Мюнхене 107 Памятники культуры и искусства XVII века И.А. Стерлигова Введение 226
С.В. Зверев, А.М. Колызин E.B. Щербина Весовые гирьки из фонда археологии Экзотические раритеты в Сокровищницах русских царей 425 И ПАТРИАРХОВ А.М. Колызин 231 М.П. Голованова Небесные покровители на знамени Сторожевого полка царя Алексея Михайловича. К ВОПРОСУ ОБ ИКОНОГРАФИЧЕСКОЙ ПРОГРАММЕ 275 М.П.
Голованова Знамя царя Алексея Михайловича «с печатями государств по коймам» Средневековые глиняные игрушки из раскопок в Московском Кремле 433 H.A. Павлова «Чулки вязеные, шолк лазорев с серебром»: онучки и чулки в костюме допетровской Руси. ПО МАТЕРИАЛАМ НЕКРОПОЛЯ ВОЗНЕСЕНСКОГО монастыря
Московского Кремля 437 291 Приложения Е.В. Когут Предметы парадного конского Приложение к статье А.В. Сиренова «Исследование А.И. Успенского убранства в посольских дарах РУССКИМ ЦАРЯМ 301 B. В. Игошев Развитие традиций кремлевских мастеров в строгановском серебре 315 Д.А. Чуркина О портретных
медальонах à l'antique НА ПРОИЗВЕДЕНИЯХ НЕМЕЦКИХ СЕРЕБРЯНИКОВ XVII века из казны РУССКИХ ГОСУДАРЕЙ 331 C. П. Орленко Золотая натруска с часами из собрания Музеев Московского Кремля и история даров персидскому шаху 1662 года 351 по истории царских библиотек в России» 448 Приложение к статье Е.В.
Когут «Предметы парадного конского убранства в посольских дарах русским царям» 532 Приложение к статье А.М. Колызина «Средневековые глиняные игрушки из раскопок в Московском Кремле» 536 Summary 544 И.М. Соколова Семейная реликвия Шереметевых 365 Список сокращений 574 С.В. Зверев Жалованные «золотые»
за Крымские походы 1687 и 1689 годов. Судьба невыданных «остаточных» монет 373 С.В. Зверев Клад монет времени осады
Московского Кремля в 1612 году «tí 391
545) ( Parti M.V. Martynova On the ceremonial of coronation Inauguration of a monarch was the most important act in the official ceremonial of Muscovy in the 17th centuiy. First coronation of a Moscow sovereign in accordance with documentary formalized procedure took place on 4 February 1498 during the coronation of Dmitry, grandson of Ivan III. After that the procedure became more and more complicated. Serious innovations were made during the crowning of Ivan IV, called Ivan the Terrible. Thus, there was included anointing. By the end of the 16 th centuiy there was formed the complex of Old Russian symbols of power. The ceremony of accession to the throne of the first representative of the Ro manov dynasty Mikhail Fyodorovich on 11 July 1613 was held following the formal ized tradition. As Germogen the Patriarch deceased in incarceration, the coronation ceremony was enacted by Ephraim, Metropolitan of Kazan and Sviyazhsk. The set of regaliae used during the ceremonial could be identified quite well. M.G. Rakitina Communion of Russian sovereigns IN THE l6th-17th CENTURIES The theme of communion of Russian sovereigns in the years after the ceremony of crowning has never been studied well enough. The present article is dedicated to the series of particular questions, i.e. in which Kremlin cathedrals and when there took place the Eucharist of sovereigns in the i6th-i7th centuries, who administered the Sacrament, what symbols of power and vestments were used. Particular attention is paid to the comparison of traditions of Russian and West-European monarchs. Interesting
question is for which sins Christian sovereigns could not receive the Eucharist. After the study of the present question the author came to the conclusion that the Eucharist did not become a public official ceremonial. All the attempts to trans fer the Sacrament to the Kremlin Assumption Cathedral and receive the Commun ion wearing the complete Royal Vestment took place in the reign of Tsar Alexei Mikhailovich. Later on they have refused from this practice.
546) ( Summary T.D. Panova On the family of Tsar Boris Godunov according to WRITTEN SOURCES AND ARCHAEOLOGICAL DATA There is no precise information about the family of Boris Godunov in the scholarly literature. Even editions dedicated to the personality of the tsar include the names of his two children, i.e. Ksenia and Fedor, born in the family of Boris Fedorovich and Maria Grigor’evna, daughter of a famous person of the time of Ivan IV, i.e. Grigoriy (Malyuta) Skuratov-Belskiy. There is no complete information about the children of Tsar Boris even in reference literature, plenteously published in the latest decennaries. Analysis of written sources allows to enrich the list of children of Tsar Boris Godunov. The first child (Boris?) might have been born in the second half of the 1570s. However this child died. The second baby was daughter (1581-1622). The third child was daughter Matryona (1585, died in babyhood), the fourth child was Ivan (1587, died in baby hood), the fifth son was tsarevich Fedor (1589-1605), later there was born a boy Mina (1591, died in babyhood ), later came daughter Irina (1597, died in babyhood). One should notice poor survival of babies in Godunov family. Thus, Boyar Dmitriy Ivanovich, uncle of Boris Fedorovich, lost all his children in three spousals, though there were born circa eight babies (possibly twelve). They all died in their babyhood. Tsarina Irina Godunova also did not manage to give birth to a healthy child, which led to the change of the ruling dynasty in the late 16th century. Five children of Boris Godunov also died. Early death of
babies might have been linked with some genetic peculiarities of the members of Godunov family. The article presents a genealogical table with a complete list of members of the family of Tsar Boris Fedorovich. Historic situation and genetic malfunction led to the break of the branch of one of the famous Russian dynasties. T.D. Panova Burials of members of the family of Boris Godunov: HISTORY AND MATERIALS OF STUDY Among the events of the Time of Troubles the burials of Tsar Boris Godunov and members of his family are described in rather a short way. However, the placement of their remains (there were changed several necropoli) as a result of tragic fight for the royal throne in 1605-1606 represent the complexity of historical events of those years. Russian historiography has no detailed publication on this theme, which is of certain interest for the study of the Godunovs clan. In accordance with the tradition, in 1605 Boris Fyodorovich was buried in the royal necropolis — the Archangel’s Cathedral of the Kremlin. His spouse Maria Grigorievna (daughter of Malyuta Skuratov) and son Fyodor were initially buried (after violent death) not as members of the royal family, but in the “miserable” Varsonofiev monastery. This very cloister soon housed the desecrated remains of Tsar Boris. Ceremonial burial of their remains in the Trinity-Sergius Lavra was made under Tsar Vasiliy Shuyskiy in October 1606. In the western porch of the Assumption Cathedral in 1622 there was buried Ksenia (Olga as a nun), daughter of Boris Fyodorovich. This necropolis earlier — in 1590s — housed the son
and daughter of boyar Boris Godunov. Tsarina Irina, sister of Tsar Boris, and his niece Tsarina Feodosia were buried in the most honourable way, i.e. in the Kremlin Ascension Cathedral, women’s necropolis of the ruling family.
Book i. Part i 547) ( The study of burial places of this royal family in the Trinity-Sergius Lavra (in 1945) and in the Moscow Kremlin (in 1929 and 2001-2003) allowed finding out details of burial ceremonial of the highest nobility in the late 16th — early 17th centuries, studying the remains of Irina Godunova (there has been recreated the look of the tsarina) and her daughter as well as enrich museum collections with valuable pieces of material culture of the time. T.A. Tutová, E.V. Isaeva Approved letter of the Assembly of the Land on THE ELECTION OF TSAR MlKHAIL FYODOROVICH ROMANOV (essay on history of the piece) The article is dedicated to a very important and crucial document of the 17th cen tury, i.e. Approved letter of the 1613 Assembly of the Land on the election of Tsar Mikhail Fyodorovich Romanov from the collection of the Armoury Chamber. The authors have traced the use of the piece (two similar original exemplars) from the moment of their execution till nowadays. A series of sources have been read in a new way. There have been introduced a new concept of the document’s use as well as totally new and earlier unknown documents on the creation in the Moscow Kremlin in the mid-igth century of the State Archives of charters, manuscripts and seals. The dominant was the Letter of the election of Tsar Mikhail Fyodorovich Romanov. M.G. Rakitina Selection of royal brides in Byzantium and iSth-iytli century Russia The article is dedicated to the poorly studied topic connected with private life and everyday life of Russian Tsars in the i6th-i7th centuries, i.e. selection
of a bride for a tsar. This peculiar topic is linked with the theme of forming of autocracy in Russia, which became apparent in settlement of luxurious court ceremonial and etiquette. Some scholars connect the appearance of the custom of royal brides-viewing with Byzantium and the name of Sophia (Zoe) Paleologina. However, the first ceremonial took place in 1505 after the death of the Great Princess. Besides, in Byzantium the brides-viewing tradition is mentioned only in the 8th-gth centuries. In the article there have been analyzed and compared the survived information on the selection of brides by Byzantine Emperors and Russian sovereigns as well as made an attempt to find out the origin and peculiar features of this tradition in Rus’. D.A. Petrov Royal table: the use of heraldic Figures in culinary dishes The article includes data from the documents of palatial archives and testimonies of foreigners about the dishes with depictions of heraldic figures served up the royal table in the second part of the 17th century. The majority of heraldic figures were two-headed eagles of different dimensions and materials (possibly, cast in sugar or baked of flour). There have been indicated possible connections with sugar figures characteristic for European “banquets” in the i6th-i7th centuries and tradition of preparation of Russian spice cakes in the late i7th-20th centuries.
548) ( Summary S,P. Orlenro, G.K. Mei’nik The 17th century Court Workshops Makers of the “State Coat-of-Arms” (To the Jubilee of the Grand State Seal 1667) The article is dedicated to the question who were the authors of State Seals of the Russian Tsars in the 17th century, i.e. makers who created the design and carved the matrix. Analysis of the literature and archival sources on the history of jewellery court workshops allowed to find out that the authorship of the State Seals belonged to the best royal silversmiths, creators of the most precious artworks belonging to the personal treasuries of the Russian Tsars, the richest and high-status donations to particularly venerated monasteries. Thus, a particular maker of matrixes of seals of Tsar Alexey Mikhailovich 1655 and the Grand State Seal 1667 and the so-called Evdokimovskaya Seal of Malorossiyskiy Office (Prikaz) 1670 was the famous maker of the Silver Chamber Gavriil Ovdokimov (Evdokimov). S.V. Zverev On the Old Money Court “under the Embankment garden” at the Moscow Kremlin (according to the inventory OF I699) There has been published and commented the document of 1699 comprising de scription and measures of the Money Court located in the Kremlin “under the Embankment garden”, which played an important role in realization of monetary reform in 1698-1704, one of the most important reforms of Pyotr I. In 1700, this very Money court was the place of mass issue of copper coins on the European pattern. The name “court under the Embankment garden” or “Embankment court” was linked with its location on the slope of the
Borovitskiy Hill to the Moscow river, in stone chambers shaped as П and long crossbeam with trees in kegs. The building was constructed under Boris Godunov as an alternate court. In the time of Tsar Mikhail Fyodorovich there was located Monetaiy court. The document of 1699 shows that the work in the building was stopped long time ago. Most likely the building was standing without any use for a long time, ruined and filled with rubbish. Needless to say that organization of the new Monetaiy court for issuing of round copper coins was to be started with capital repairs and cleaning of the premises.
549) ( Part շ D.G. Davidenko Repair and Reconstruction op fortííícatíons op Moscow Kremlin in the Arst half of the ittbe the century After the exile of interventionists from the Kremlin and strengthening of the new dynasty in the second decennary of the 17th century there were continued works on the Kremlin fortifications, including works under walls and towers. In 1620s, Frolovskaya Towerm as the main tower with a through֊passage was adorned with a clock and a marquee top. The latter construction might have been caused by either representative or ftmctional reasons, i.e. the necessity of placing of a clock mechanism. The Frolovskaya Tower of 1620 became the first marquee-topped construction in the Russian profane with a marquee topped not with a cross but with an eagle as the state coat-of-arms. In the late 1620s — early 1630s on the other part of the Kremlin wall, at the Neglinnaya-River, there was reconstructed the water-supplying system. Construction of the clock and raising of the Frolovslciye Gate, linked with these works, as well as the reconstruction of the water-supplying system was supervised by British maker Christopher Halloway with the participation of Russian specialists. In 1610s — 1620Տ the main works on the repair of the Kremlin wall were carried out by the Office of Stone Works. Since the late 1620s, the Pushlcarskiy Office started participation in these actions. In the mid-i640s, it already took a central part in the maintenance of the Kremlin fortifications and fixation of present defects. Particularly important role belonged to the Kazennyi Yard
(Office), that watched after the clock, the technical condition of alarm mechanisms and often paid the labours of various specialists. D.A. Petrov Works by English makers in the Kremlin under Tsar Mikhail Fyodorovich (ending of Spasskaya (Saviour) Tower construction, the Filaret’s Annex) The work presents a survey of architectural specifics of the Spasskaya (Saviour) Tower and the Filaret’s Annex, monuments of the early 17th century. These were first
550) ( Summary constructions of the Romanov family. Thus, they had deep political and ideological meaning stipulating the authority of the new Tsar Mikhail Fyodorovich. The ending of the Spasskaya (Saviour) Tower (made two times higher than the old one constructed by Pietro Antonio Solari in 1491) was erected by English maker William Graf in 1623-1626. The article presents composition and decorative elements of the tower’s architecture which could be seen in English architecture of the time of Queen Elizabeth I and King James I. The English features are combination of the passage (main entrance) with one or two-tier clock tower and the last tier shaped as a round eight-faceted or quadrangular rotunda (pavilion) often housing the clock bell. These features were widely spread in English Royal palaces and noblemen’s palaces in 1540-1620, i.e. tropeie shape of arches, blind arcading, shells, pinnacles of three types, sculpture, order and décor of columns, arc-boutants, and marquee (steeple). The Filaret’s Annex constructed by English maker John Thaler in 1623 for the large bell of the Assumption Cathedral has other features of the English architecture of the epoch, i.e. quadrangular tower with rustic stones in the corners, marquee top crowning the quadrangular tower with massive pinnacles in the comers, enablement of Tuscan order with triglyphes and metopes in the lowest tier, and arches with two round niches on each side. For the décor of the Spasskaya (Saviour) Tower with Gothicism the author has come to the conclusion that there had been infusion of English architecture of
Elizabethan era, for the Filaret’s Annex —Jacobean time. Yu.N. Tarabarina The Terem Pałace of the Moscow Kremlin. Problems of STUDY AND MONUMENTS OF THE CIRCLE The Terem Palace in the Moscow Kremlin is a building of three-storeys constructed under the two storeys of the early 16th century in 1635-1636. ft is very important for construction of objective ideas on the development of Russian architecture of the first part of the 17th century as this point is poorly studied. The present article is an attempt to collect all the interpretations of the palace’s architecture and study the palace in the context of Russian architecture of 1620s — 1630s when Moscow architecture adopted technique of the late Renaissance. V.F. Korshunov The Terim Palace as living quarters of Tsar Mikhail Fyodorovich. In accordance with the studies of 2000s The Moscow Kremlin Terem Palace was erected in 1630s as a palace for Tsar Mikhail Fyodorovich, first Russian Tsar of the Romanov dynasty. The survived stone building of the Terem Palace is a significant monument of the 17th century Russian architecture. On the basis of known and recently found archival documents as well as field observations there have been precízed the initial composition and use of the premises. There have been ascertained most likely patterns used during the construction of the palatial interiors. The article presents designs of the 18th century and most recent data of field observations.
Book i. Part 2 (551) LA. Maslennikova Murals in the Tsarina’s Golden Chamber of PALACE the Kremlin The native historical science pays much attention to the study of the forming, transformation, power representation of its image and ideology. Traditional field of power embodiment in the Muscovy of the i6th-i7th century were murals, including those decorating the main residence of Great Princes and later tsars, i.e. the Kremlin palace. The article traces the history of poor studied monuments of the Moscow Kremlin, the throne hall of Russian sovereigns, the Tsarina’s Golden Chamber in the Grand Kremlin Palace. The outstanding wall-painting of this monument make it belong to the best Russian murals of the first half of the 17th century. Their thematic is an attempt to create a composite image of an Orthodox sovereign, protector of faith and sacred objects. The article tells about the main stages of creation and restoration of murals in the throne hall. The subjects of wall-painting are described in details, including their literaiy and historical base and idea content. D.G. Davydenko The Church of Peter the Metropolitan of the Kremlin enceinte in the tower According to written sources, the Church of Peter the Metropolitan appeared in the tower of the Moscow Kremlin not later than in the late i6th centuiy. According to figurative sources, the church was not architecturally marked out and the look of the Petrovskaya (Peter’s) Tower did not differ from other Kremlin towers. In 1680S, the Petrovskaya Tower like all the other Kremlin towers was adorned with a marquee top, which was
marked both in written and figurative sources. Arrangement of a marquee over the tower church was made in order to unite the ensemble of the Kremlin fortifications in artistic and stylistic way. Thus, the author admits earlier scholars’ conclusion that limitation of marquee shapes in church construction in the second half of the 17th century was not total. The church in the Kremlin wall functioned till the second part of the XVIII century and the tower itself till 1812 because it was destroyed as the Kremlin was blown up. Soon the tower was restored in forms close to initial. The latter circumstance together with the principle of cathedral belfries’ reconstruction allows thinking that the idea to make the Kremlin ensemble look original was realized in 1810s with several objects. D.A. Petrov On decorative elements of the monumental title INSCRIPTION OF THE MID іуТН CENTURY FROM the Moscow Kremlin Museums During archaeological excavations in the Kremlin there were found stone blocks with inscriptions set in decorative cartouches linked with each other with palmettos and crowns. The inscription includes the title of Tsar Alexey Mikhailovich (with the list of lands, regained from the King of Poland by 1656) and supposedly dated back
552) ( Summary list of lands, regained from the King of Poland by 1656) and supposedly dated back to 1656-1660(1667). The cartouches have a form characteristic for the Northern mannerism of 1580-1650S. The design of the elements linking cartouches are analogous to the décor of Italian and Turkish precious textiles used for sewing ceremonial church vestments of Nikon the Patriarch and the Tsar. The shape of a long linear inscription consisting of decorative cartouches with luxurious connecting elements is unusual for the Russian epigraphic tradition. The article includes analogies from architectural and decorative tradition of 15801640s mannerist monuments of Poland and England. The small height of the inscription allowed considering it to be used in interior. I.V. Konovalov Bells of the іутн century in the Moscow Kremlin The article is dedicated to the bells and bell architecture, types of bell ringing and suspension of bells in the 17th century. The author tries to recreate and precise the complete image of bell life in the Moscow Kremlin using survived data and examples from other Moscow churches as well as cathedrals in other towns and monasteries of Russia. For the first time the article comprises data of instrumental measures of large 17th century bells calling for church. On the basis of scholarly studies of Russian bell architecture the article presents conclusions on the origin of architectural forms of the Assumption Belfry of the Moscow Kremlin, the largest of existing belfries.
553) ( Part 3 О.A, Zakharova Iconography of murals dedicated to the Mother of God in the Assumption Cathedral The article is dedicated to the study of iconography of circles of the Life of Our Lady and Akathistos of Our Lady, laying in the foundation of the murals’ program of the Moscow Kremlin Assumption Cathedral. The composition and iconography of the circles helped to analyze the correspondence of the current compositions of the murals 1643 and their protograph known out of documents, i.e. the first so-called “complete” wall-painting of 1513-1515. In accordance with the royal order 1642 on the continuation of the wall-painting, the ancient murals were “removed for copying” as they were to become patterns for the new murals 1643. Analysis of iconographical context of the early 16th — ist half of the 17th century, the composition and the iconography of the circles allowed to see that the both circles were included into the original wall-painting, however, while their renovation there was used mostly modern iconography. The iconography of the major part of the scenes of all the circles finds analogies in monuments of 1630-1640. The circle “Akathistus of the Virgin” has a particular redaction, possibly, finally settled after the Time of Troubles. Peculiarities of their location in the cathedral space allow us talking about creativity of makers in 1640 and the task of renovation of the ancient wall-painting of the main cathedral of the country. Yxj.N. Buzykina Little-known circles of Archangel’s Cathedral murals in the Moscow Kremlin Among the unexplored circles of the wall-
paintings in the Archangel’s Cathedral particularly interesting are separate depictions of saints located in window reveals, pillars and wall archs. These depictions belong to groups due to various ranks of sainthood. Thus, on the pillars one can see mostly depictions of saint warriors and saint rulers, on wall
Summary 554) ( arks there are depicted Apostles of the Seventy, in the window reveals there are depicted various saints, including martyrs, elders, holy fools and Russian saints, which is a particularly important feature for the whole iconographie program. Every circle has its own program that cannot always be definitely explained due to multiple changes while multiple restoration works in the cathedral. The concept of the iconographical program belongs to the idea of historical memory belonging to the days of the saints' memory and important events of the Russian history, taking into consideration the fact that many of these seemingly unintentionally selected saints are heavenly patrons of the royal family members buried in the Archangel’s Cathedral. O.A. Tsitsinova Marks on history of the main iconostasis of the Archangel’s Cathedral Creation of the new main iconostasis of the Archangel’s Cathedral became one of the largest and most remarkable events in the Kremlin cathedrals in 1679-1682. Creation of the cathedral iconostasis can be traced thanks to survived written sources and a series of publications. The facts collected together and confirmed documentary allow to reconstruct the story of the grandiose plan of Tsar Theodore Alekseevich, realized in the Kremlin burial place. Capital reconstruction of the main iconostasis of the Archangel’s Cathedral was started in May 1679 from the royal order that the iconostasis in front of the altar should be “repaired again”. The documents tell the stages of creation of the new iconostasis as well as the names of makers who worked
under the construction. The sources allow us to find out that the realization of the initial project needed eminent corrections. In the very beginning there was planned to use both new icons of the local and deisis rows and old icons reconstructed for the new frame of the iconostasis. The inappropriateness, found after the installation of the new construction in the new iconostasis construction needed urgent replacement of ancient icons, so their major part was painted in 1681. T.S. Borisova The Iconostasis in the of the Cruciííxion Church Grand Kremlin Palace The Church of the Crucifixion (also named the Church if Exaltation of the Cross) was erected in the royal palace of the Kremlin in 1681. Peculiarity of its interior are unique icons executed in the technique of fabrics glue appliqué on wood. The author of the first historical description of this church, archpriest Nicholay Izvekov, considered that initially the icons were placed in a copper chased iconostasis created under the supervision of painter Karp Zolotarev. Nikolay Izvekov believed that the copper iconostasis was replaced for the present wooden iconostasis in the 18th century. The conclusions of N.D. Izvekov were repeated in scholarly and educational literature of the 20th century and were not denied even by those authors who studied archive documents. However, the work with the sources showed that not all the documentary sources were analyzed by the scholars thoroughly and some archival acts did not appear to come in their sight. Analysis of the most part of archival documents belonging to the “erecton” of
the copper iconostasis shows that it was created under the supervision of painter Karp Zolotarev in 1682 for nine icons,
Book i. Part 3 (555) aimed for decoration of the Cubiculum over the Holy Sepulcher — new Golgotha constructed in 1681 near to the Church of the Crucifixion. The construction survived till 1683 when the iconostasis was donated to Prince Golitsyn. The article includes the analysis and study of documents from the archive of the Armoury Chamber on the construction of a wooden iconostasis from the Church of the Crucifixion. The construction of the iconostasis and icon-cases at the choir places was started in May 1681. Analysis of peculiarities of the survived iconostasis of the church in comparison with the data of archive documents allows dating it back to 1681. L.A. SCHENNIKOVA Icon of Our Lady of Vladimir “with the legend of THE MIRACLE-WORKING IMAGE” FROM THE CHURCH OF LAYING of Our Lady's Holy Robe. Iconography and composition OF THE PLOTS. The article is aimed to analyze the peculiarity of marginal scenes of the Kremlin icon and get the idea of its concept. That is why the marginal scenes of the published icon are compared with analogous depictions in order the author could identify iconographical and compositional peculiarities. The first part of the article is dedicated to the identification of plots with the image of Our Lady of Vladimir, illustrating the legend of her miracles in the Illuminated Compiled Chronicle. There have been analyzed analogous plots on icons, appeared out of the illustrative circle of the Saying (“Luke the Evangelist is writing the icon of Our Lady of Vladimir”, “Meeting of the Miracle-Working Image of Our Lady in 1395”). The author has paid
particular attention to the analysis of these compositions and the image of Our Lady ofVladimir, its place and meaning in a certain artwork. The survived icons of Our Lady of Vladimir with scenes of legend are dated back to the last decennaries of the 16th centuiy. Illustrations of the legend there appeared earlier: the whole circle here appeared in 1570s in “Tale on the Meeting of the Icon of Vladimir” in the Illuminated Compiled Chronicle. Partricular plots there appeared in the late 15th — early 16th centuiy. The icon of Our Lady of Vladimir in a cover (okiad) with 26 scenes, illustrating the legend of the miracles of the ancient relic and one of the most eminent and interesting icons of the 17th centuries. The “protagonist” in the illustrations of the legend on the icon cover is the miraculous icon of Our Lady of Vladimir. It is depicted in 21 scenes of 26, its depiction is large and central in the major part of the marginal scenes. The image is following the iconography of ancient miraculous icon of Our Lady of Vladimir and published copied icon inserted into the frame. Symmetrical and accurate construction of the marginal fields shows the ceremonial character of the depicted events. The customer and the icon-painter might have planned to glorify the ancient sacred icon of Vladimir. The compositions of the marginal fields might reflect the impressions of icon-painters from ceremonial cross processions in the Feast days of the Icon of Our Lady of Vladimir in Moscow in the 17th century. The icon might have been painted on the order of Joasaphus the Patriarch on the
occasion of his election as Patriarch in front of the miraculous icon of Our Lady of Vladimir in 1642. The icon-painter could be the royal isograph Tretjak Gavrilov Kuschnikov.
(55б) Summary Т.V. Tolstaya The burial icon of Philip II the Metropolitan and VENERATION OF THE HOLY HIERARCH IN THE MOSCOW KREMLIN Assumption Cathedral The southern part of the local tier of the main iconostasis of the Assumption Cathedral houses the icon of Philip II Kolychev. It was painted on a panel with a rounded top and is placed in arcosolium from the eastern part of the shrine in the lower part of the shrine. The icon has been studied, cleared away from the layer of dark oil varnish and later painted layers in the conservation workshops of the Moscow Kremlin Museums by conservator L.V. Guschina. Thus, there has been introduced for scientific use one more eminent icon of the mid 17th centuiy. Archival documents publish by LE. Zabelin and A.I. Uspenskiy helped to find out the author, i.e. patriarchal and royal painter Gavriil Kondratjev as well as the date of execution —1655-1656. The recently open icon is published in the present article for the first time. It allowed the author to pay peculiar attention to the history of veneration of Philip II Metropolitan of Moscow in the Assumption Cathedral and the whole Rus’ in the 17th century. Thus, we could pay attention to the ftmdamental questions of the 17th century history and culture such as the relations of the head of the Russian Church and the State Power, addressing of Nikon the Patriarch to his antecessors, in particular, to St Philip as a model for valuation of his own role in the state as a main tutor of the Tsar and a “Zealot of Piety”. The study of iconographical tradition of Philip II the Metropolitan and
pretty early use by the painter of new tendencies of the 17th century painting, including ideas of “painting following the nature” declared in theoretical works and artistic practice by Joseph Vladimirov and Simon Ushakov help to trace the amplitude of new trends in the mid of the 17th century. T.V. Zhitkova On the time of creation of the “Selected Saints” the Kremlin Assumption Cathedral icon from The article is dedicated to the first publication of the icon of Selected Saints from the Assumption Cathedral of the Moscow Kremlin. In the museum documents it was dated back to the first part of the 18th century. On the basis of analyzed sources, selection of heavenly patrons and analysis of iconographical peculiarities there has been precised cised the date of the icon’s creation — circa 1681-1682 — as well as its location in the wall iconostasis of the Moscow Kremlin Assumption Cathedral. Yu.N. Zvezdina Lily and Rose on the icon of the enthroned Mother of God with the Child from the Ascension Convent The icon “Our Lady with the Child enthroned” was created in the late 17th century for the Prophets tier of the iconostasis of the Ascension Cathedral. The image includes unusual details for the icon-painting, i.e. the white lily in the hand of Our Lady and a red rose in the hand of Christ. Depictions of plants are characteristic for medieval European painting, particularly in the i6th-i7th centuries. One could explain symbolic meaning of flowers on the icon of Our Lady with the Child
Book i. Part 3 (557) enthroned by parallels in Catholic art. However, it is impossible to link the meaning of plants with particular phenomena in the spiritual culture of Russia. In the second part of the 17th century there were spread theological texts demonstrating wide use of symbols and allegories. Irreplaceable sources are sets of sermons “The key of comprehension”of Ioannikiy Galiatovskiy (Kiev, typography of the KievoPecherskaya Lavra, 1659), “Ogorodok of Mary the Mother of God” and “Crown of Christ” by Antoniy Radivilovskiy (ibid., 1676 and 1688). Interpretation with the help of the texts helps to comprehend deep symbolics of flowers on late icons. They turn to be bright and joyful signs of Incarnation, Heavenly glory and Triumph of Christ over Death and Devil, show love and tight connections of the Church of the Earth and the Heavenly fiancé (Christ). V.A. Meniaiio The Main church icon of the Church of Laudation Mother of God in the Amusement Palace of the In January 1648, 20 year old Tsar Aleksei Millchailovich married Maria Ilyinichna Miloslavskaya. The Tsar presented to the father of the bride — Ilya Danilovich Miloslavskiy — a place for construction of Chambers in the Moscow Kremlin near to the Troitsky (Trinity) Gate. On the first September 1652, there was consecrated the home church of the Laudation of Our Lady in the recently constructed Chambers of Ilya Miloslavskiy. The article is dedicated to the church icon of Laudation of Our Lady with scenes of Acathistus, i.e. peculiarities of its style and iconography. N.N. Chugreeva On the veneration of the icon of
Our. Lady of Kazan in the Moscow Kremlin The article is dedicated to peculiarities of veneration of the icon of Our Lady of Kazan in the Moscow Kremlin in the 17th century. According to the inventories of the Kremlin cathedrals and monasteries the author provides the data of Kazan icons and their description. The images of Our Lady of Kazan took a particular place in the Assumption Cathedral — at the place of Philaret the Patriarch and in the head part of his burial place, in the Archangel’s Cathedral — over the burial places of the first Romanovs, in the Annunciation Cathedral — at the Royal Praying Seat, in the Chudov Monastery — over the burial vault of St Alexis the Metropolitan. Many of these icons have survived (Moscow Kremlin Museums). There have been analyzed two icons executed on the Aleksei Mikhailovich (an icon of Our Lady of Kazan with heavenly patrons of the family of Tsar Aleksei Mikhailovich; the icon of Our Lady of Kazan from the living quarters of Tsarina Natalia Kirillovna painted by Simon Ushakov). The article comprises ten depictions of icons of Our Lady of Kazan of the 17th century from the collection of the Moscow Kremlin Museums, the Andrei Rublev of Early Russian Culture and Art, the State Hermitage Museum.
558) ( Summary T.E. Samoilova The Kremlin iconographical tradition and history OF CREATION OF THE PANTOCRATOR ICON FROM the Novodevichy Convent The icon of the Saviour from the Novo-Devichiy Convent embodied both the idea of the Saviour’s royalty, linked to the new ideology of the royal power in the late 17th century, and a concrete historical stage of the ideology forming. Patriarch Joachim, who crowned two rulers, Peter Alekseevich and Ivan Alekseevich, in 1682 participated in creation of the new ideology. Compromising decision about duality of power as well as the idea to crown both rulers was developed by the Patriarch in order to satisfy supporters of two fighting parties, i.e. Naiyshkin dynasty and Milosavskiy dynasty, and avoid mutiny. The Patriarch was the inspirer of the Saviour icon as the icon of heavenly patron of the two rulers. The icon was painted by famous icon-painter Simon Ushakov, who combined innovation of graecophil style of painting and traditionalism. Iconographie sources for the Pantocrator icon were ancient icons preserved in the Moscow Kremlin cathedrals.
559) ( Part 4 LV. POZDEEVA Early Moscow press and the іутн CENTURY) Russian statehood (fiRST half of The article is dedicated to the analysis of all the types of editions in Moscow Print Yard 1615-1652 from the point of their role in consolidation of Romanovs’ power and Russian statehood in the first half of the 17th century. The work is based on the study of the Archive of the Print office. It helped to find unknown editions, their circulation, cost price and sale price. There have been used results of studies of other scholars who had used the same sources. The result of the study is the conclusion that all the editions of the State Press Yard were more or less aimed to strengthen the power and system of the Russian state as well as growing of deep believers, competent and active people to protect the state. T.S. Borisova Miniatures and ornamental decorations CENTURY IN THE GOSPEL OF I575 of the early іутн Collection of the Moscow Kremlin Museums includes a copy of the Gospel (inv. № KH-128) published in Vilno on March, 30, 1575 by printer Piotr Timofeev Mstislavtsev. Engravings with depictions of evangelists are replaced by miniatures. Xylograph ornament is coloured and enriched with ornamental decorations of old published и Neo-Byzantine type, executed by pen with black ink, tempera, cured gold and silver. The Gospel also has three leaves with painted major old-printed ornament. Besides, different gatherings have twelve pair leaves without text and ornament. Paper of the above mentioned twelve pair leaves and leaves in the beginning and the end of the book as well as
two ornamented leaves is the same as the paper of two types met in the copies of the Gospel of 1606 (M.: Print Yard. 29 June 1606, printer Anisim Mikhailov Radishevskiy). According to scholars, for this edition there was used expensive French paper of 1590s of different sorts, most likely bought es pecially for the typography of Radishevskiy and rarely met in other Russian printed and manuscript books. On the leaf with miniature of St Luke the Evangelist there could be seen the watermark, similar to the marks dated back to 1586 and 1605.
(5бо) Summary Close stylistic peculiarities of miniatures in the book can be seen among illustra tions of illuminated manuscripts of 1590s — early 17th century. Scholars consider their origin to have been linked with royal scriptorium. This fact allows dating the miniatures back to the late 16th — early 17th. The maker might have been a Moscow artist, possibly connected with the Kremlin workshop. Analogous composition and drawing ornamental décor one could see in man uscripts created in the late 16th — early 17th century in Moscow. Thus, artistic design as well as stylistic peculiarities of the Gospel make possible its dating with the late 16th — early 17th century. Taking in considerations the use of rare paper, the Gospel’s dating can be precised as the first decennary of the 17th century. S.P. Orlenko Sources on the creation of book “On of Tsar Mikhail Romanov.” the Election The Book “On the Election of Tsar Mikhail Romanov.” created in the Ambassado rial Office in 1672-1673 was considered to be a particular “State Book”, a creation of peculiar significance linked with one of the main functions of the Ambassa dorial Office, i.e. representation of power of the Moscow sovereign, grounding of legitimacy of the ruling dynasty and affirmation of its international fame. On the basis of written sources preserved in the Russian State Archive of Ancient Acts and dealing mostly with management papers of the Ambassadorial Office, the author clarified the story of creation of the monument and traced the stages of the pro cess as well as settled the authorship of various
parts and elements of the book. The article allows tracing the further life of this unique manuscript, named in the 19th century a material monument of the “state value” and still preserved in the collection of the Moscow Kremlin Museums. A.V. SlRENOV Study of A.I. Uspenskiy on the history in Russia in the i6th-i7th century of Royal libraries The article is dedicated to the compendium of documents on the history of royal libraries in Russia of the i7th-i8th centuries, prepared for publishing by A.I. Uspenskiy, a famous scholar of Ancient Russian art in the early 20th century. The book was recommended by A.S. Lappo-Danilevskiy to be published in the “Pro ceedings (Zápisky) of Academy of Sciences” in the historical and cultural depart ment, however it was not published. Nowadays, there are known printed sheets of the first part of the compendium and manuscripts of Uspenskiy, which were to come into the second and third parts of the edition. V.P. Pushicov, LI. SOLOMIN Tradition the of “donation” of newly-published books of persons of the state Moscow Print Yard to the Örst IN THE I7TH CENTURY The authors research archive materials connected with the activity of the Mos cow Print Yard in the 17th century. Tradition of “donation” of especially prepared exemplars of all new publications of the Moscow Print Yard to the royal family and first persons of the state was a bright feature of Russian book culture in the
Book 2. Part 4 (561) 17th century. The tradition must have been formed in the first decades of native book-printing symbolizing collegiality of use of Orthodox books of all the groups of Russian society and blessing by the higher layers of the Russian society of their divine mission. The Moscow Print Yard of the 17th century issued hundreds of books. As a result of “donations” Tsars and Patriarchs acquired immense collections of books which they distributed via their offices following particular requests. Further on the term “donated” was used as determination of a ceremonial presentation of newly-published books to the first persons of the state.
(5б2) Summary Part 5 I.A. Zhuravleva Silver shrine from the treasury of Russian sovereigns in the Treasury of Bavarian dukes in Munich The shrine of 1602 preserved in the Treasury of Bavarian dukes in Munich comes from the palatial Annunciation Cathedral of the Moscow Kremlin. According to the inscription on the shrine, it was executed on the order of Tsar Boris Godunov. This reliquary belonged to a big series of typical miniature shrines created in Moscow on the royal order in the late 16th — early 17th centuries. In the early 18th centuiy they were remade on the initiative of Ivan Afanasiev, keeper of the Annunciation. Thus, the shrine of 1602 is particularly interesting for scholars studying the stoiy of the princes’ and tsars’ treasury as it helps to get the idea of initial interior deco ration of thirty gorgeous reliquaries survived in the Kremlin. M.A. Makhan’ko Veneration of St Longinus in the Moscow Kremlin Museums: history of the royal reliquary casket IN THE I7TH CENTURY To the memory of O.V. Loseva (1970-2017), scholar of Byzantine and Ancient Rus sian Prologue. The current scholarly work is aimed to reconstruct and trace the history of a silver reliquary casket preserved in the Moscow Kremlin Museums comprising particles of Christian relics including those ecumenical and Russian. The casket is considered to have been created by Moscow silversmiths in the second fourth of the 18th centuiy. However, it seems to have been reconstructed at that time. The inscription on the reverse side of the casket tells about its creation in 7125 (1616/17) and belonging to the
Romanov family. Among the relics of the casket peculiar are the relics of St Longinus. Analysis of various written sources (chronicles, acts) and artistic materials preserved in royal churches (nowadays Moscow Kremlin Muse ums), allow us to trace the changes of perception of the image of St Longinus in different periods of histoiy of Ancient Rus’ from the Kievan to Moscow periods (i3th-i7th centuries) as the image of this saint was worshipped in different ways by the ruling dynasty and the Russian Orthodox Church, i.e. either as a heavenly family patron of the ruling dynasty and the patron of the whole Orthodox Church. The latter patronage was linked with the most important events of the Scripture and included Rus’ into the circle of the ecumenical histoiy.
Book շ. Part 5 (563) M.V. Vilkova Liturgical vestments and objects of textile ORNAMENTATION OF THE ANNUNCIATION CATHEDRAL IN THE I7TH CENTURY. EXPERIENCE OF HISTORICAL RECONSTRUCTION The article is dedicated to the forming and use of the complex of textiles decorations of the home church — the Annunciation Cathedral of the Moscow Kremlin in the 17th century. The study of the survived documentary sources allowed tracing the story of enrichment of the cathedral’s Vestry by liturgical vestments and church utensils as well as their alterations during the 17th century. The analysis of silver plaques with the depictions of saints allowed to determine complexes executed in the reign of Tsars Mikhail Fyodorovich and Aleksei Mikhailovich. S.G. Zyuzeva Cover of the icon of Our Lady of the Sign from the Znamenskiy (Sign) monastery on Varvarka The present article is the first attribution of the precious cover of the icon of Our Lady of the Sign coming from the Znamenskaya Church. On the basis of archive documents the author has traced the story of creation of complex icon decoration in the i7th-i9th centuries as well as peculiarities the Romanov Dynasty worship of the Novgorod icon of Our Lady of the Sign. M.V. Vilkova On the plaques of a phelonion from of the Moscow Kremlin Museums the collection The article is dedicated to the phelonion donated by Tsarina Irina Godunova in 1602 to the Archangel’s Cathedral of the Moscow Kremlin in the memory of Tsar Fyodor Ioannovich. There have been analyzed facial depictions and ornamental motifs executed in niello technique on gold plaques of the
phelonion. The author studied their composition, artistic and stylistic peculiarities and compared with similar monuments of the epoch of Boris Godunov. In 1650, Tsar Aleksei Mikhailovich ordered the shoulder part of the phelonion to be executed following the pattern of the “Godunov” phelonion. Comparison of similar plaques created in the Krem lin workshops with half of a century time difference is an important aspect of the research work helping to trace the differences in the art of niello engraving from the moment of its highest blossom at the turn of the 17th century till the mid֊i7th century. S.G. Zyuzeva Gold folding icon by court enamellist Yuri Probos IN THE COLLECTION OF THE MOSCOW KREMLIN MUSEUMS The article is the first publication of a unique jewellery artwork of the last quarter of the 17th century. The gold folding icon adorned with painted enamel was created on the order of the family of Archil Vakhtangovich, Tsar of Kalcheti and Imereti. As
564) ( Summary it follows from the Georgian inscription on the reverse side of the folding icon, the piece was donation to the worshipped icon of Our Lady “Okonskay”. In the process of study on the face of the folding icon there was found the sign of maker-enamellist Yuri Frobos, a famous maker who had worked in the Gold Chamber of the Moscow Kremlin more than 40 years. LA. Bobrovnitskaya Silver staff as a royal attribute in the іутн century The article is dedicated to a silver staff from the collection of Moscow Kremlin Museums. The piece belonging to ancient royal attributes has never been studied properly. The modern museum documentation says that the staff could have been made in Russia in the 17th century. According to the survived written sources, the first short description of the staff was made in the documents of the royal treasury in 1702. Stylistic analysis of the staff helps to precise its attribution. Artistic peculiarities of the staff allow consid ering the piece to be an artwork by Moscow Kremlin court silversmiths. The second part of the 17th century is the most likable time of its creation. Besides, the author believes that the staff consists of details of different time. A part of the details appeared in later time instead of old and lost ones, most likely, in the 19th century. T.V. Zhitkova TWO CASKETS FROM THE DEPOSITORIES OF THE MOSCOW KREMLIN Museums The first reliquary belongs to the type of closed reliquaries repeating the shape of caskets for relics. Small in size, they were used for preservation either relics’ particles of saints depicted on the
covers or other worshipped objects. The closest analogies to the piece are the Persian throne (displayed in the Ar moury Chamber) and the reliquary with the Robe of the Saviour (preserved in the Moscow Kremlin Museums). According to the scholars studying these pieces, they were brought as presents to the Grand Prince by Abbas I, shah of Iran. The stamped flower and vegetative ornament on thin gold panels, the shape of stone settings, selection and dimension of stones allow considering it to be an artwork of Isfahan (Iran) jewelers of the early 17th century. The second reliquary is silver gilt rectangular box with a loop and folding doors from two sides. Every door has fifteen settings with turquoise, pearls and stones. In the inventory their origin is specified as acquisition from palace property. The reliquary houses a smaller reliquary with two thin folding doors, under the doors there is relief depiction of standing St Demetrius. There are few analogies of the iconography of St Demetrius standing with his arms folding and not wearing armours. The closest analogy in ornamentation and paleography is an 11th century reliquary from the Great Lavra of St Athanasius on Athos. Identical relief of chased images, ornamentation, paleography and out lines of letters has the ciborium reliquary of St Demetrius of Thessaloniki (МЗ-1148 MMK) currently considered by some scholars to be executed in Constantinople in 1059-1067. The analysis of facts mentioned above allowed the author cautiously considering the latter reliquary to be the inner reliquary of the Byzantine ciborium.
Book 2. Part 5 (5б5) S.G. Zyuzeva Recent research on the Diamond Crowns of Tsars Ivan Alekseevich and Peter Alekseevich The article is dedicated to the results of the conservation in 2015-2016 of two dia mond crowns of Tsars Ivan and Peter. The crown of Tsar Ivan was executed in 1687. Various plaques were used for its decoration including those from the lost diamond crown of Tsar Fyodor Alekseevich. Basing on archive documents we could suppose that the execution of the crown of Tsar Ivan was carried out by Yuri Frobos, the famous maker of the Gold Chamber. In the process of conservation of the second diamond crown of Tsar Peter Alekseevich created in 1684 года, on the silver thin panel of the frame there was found a hallmark of silver of reduced standard, which is an important stage in the study of hallmarks of silver pieces of the last quarter of the 17th century. Having worked in archives and made visual analysis of artworks in the collection of the Moscow Kremlin Museums there has been found that to gether with well-known types of hallmarks there existed brief types of hallmarks consisting of two letters.
( 566 ) Summary Part 6 E.V. Scherbinа Exotic rarities in the treasury of Russian AND PATRIARCHS OF THE іуТН CENTURY tsars The article is dedicated to the ways the treasuries of European monarchs were enriched by exotic artworks from the South and South-Eastern Asia in the Age of Discovery as well as to the specifics of this process in Muscovy. Such rarities were a matter of pride of owners of the first Cabinets of curiosities and Kunstkammers, that appeared in that time in the palaces of rulers and aristocracy. Together with wonders of nature, which became the matter of collections in Europe, India and China, Japan in íőth-iyth century, there were formed whole directions of produc tion of goods with the use of local raw materials or traditional handicraft traditions, completely oriented for European customers and their tastes. Analysis of rarities survived in the Moscow Kremlin Museums as well as vari ous documents of the 17th century, firstly, inventories of the royal treasury and personal property of rulers and church hierarchs allowed the author to find out a series of “oriental” artworks of this kind in treasuries and among private belongings of Russian Tsars and Patriarchs yet in the first half of the 17th century. Mentioning of gifts either from foreign ambassadors and merchants or from Russian noblemen helped the author to consider that the fashion for such artworks in treasuries of Russian sovereigns practically coincided with the time of spread of fashion of exotic rarities in Europe, though the Russian lands were rather distant from European centers of fashion.
Noteworthy is a series of peculiarities of such objects’ life and use in Russia in comparison with Europe, both in acquisition and in selection of peculiar luxurious pieces, their valuation and character of use. M.P, Golovanova Heavenly patrons on the banner of the Storozhevoy REGIMENT OF TSAR ALEKSEI MIKHAILOVICH IN THE I7TH CENTURY. ON THE ICONOGRAPHICAL PROGRAM Images of holy warriors on the banners are reflection of military ideology and rep resent coherent iconographie cycle. The place where a symbolic image is located on the banner has additional semantic meaning. The images of holy warriors on the banners create a special sacred space on the battlefield. Emblematical images create a single visual line and the movement of light fabric of the banner builds effect of the motion of the heavenly hosts. The Holy images on the banners embodied the
Book շ. Part 6 (5б7) bodied the idea of gathering of the Holy Russian army who joined regiments of the armies of heaven. The images of Russian princes placed among the images of “universaľ’saints, martyrs and warriors symbolize inseparability of the Russian princes of Holiness from the Holiness of the universe. Banners with images of heav enly warriors with their particular iconographical composition and iconography represent a specific historical and cultural phenomenon, expanding the range of sources of the Russian culture of i6th-i7th centuries. M.P. Golovanova The Banner of Tsar Aleksei Mikhailovich “With Seals of the States on the Borders” from the Collection of the Moscow Kremlin Museums There is a banner in the collection of the Moscow Kremlin Museums that is titled in the Museum inventory as “The Armorial Banner of Tsar Alexei Mikhailovich”. This banner indicates new stage in the development of the Russian state heraldry as a symbol of internationalization of the court political ceremonies and assimilation of European principles. The decree of Tsar Aleksei Mikhailovich from October 13,1665 about creating a banner with images of the “seals” on it is the only 17th century survived source of information about territorial heraldry. Nowadays, in the Muse um's inventory the banner is dated back to 1666-1678 and Moscow is mentioned as the place of its creation. This study specify the place of the banner’s creation: the Moscow Kremlin workshops, the time of its manufacture: 1665-1666 and the names of its creators: painting — Stanislav Loputski; inscriptions — Andrey
Gomulin. E.V. Kogut Artworks of Ceremonial Horse Harness in Ambassadorial Gifts to Russian Tsars of the тутн century The article is dedicated to the identification of monuments of Ambassadorial and trading relations of Muscovy preserved in the collection of the Moscow Kremlin Museums. There have been attributed and dated a series of artworks brought to the Moscow state as well as there have been summarized and systematized sending of Ambassadorial gifts to Muscovy. V.V. Igoshev Traditions of Kremlin makers in the Stroganov SIVERSMITHERY SCHOOL OF THE 1JTH CENTURY The article shows the development of traditions in production and use of church silverware and icon covers created in the 17th century in the royal workshops of the Moscow Kremlin and Stroganov workshops of Solvychegodsk. Artworks by Stroganov makers are oriented to luxurious pieces of Moscow Krem lin jewelers in the i6th-i7th centuries. Comparison of such artworks allows tracing a large number of common features, e.g. similarity of forms, stylistic peculiarity of decoration and characteristic technological features. At the same time, there are stylistic differences. The forms and decor of silverware by Stroganov makers are linked with folk arts and monuments with most ancient ornaments, i.e. much closer than Moscow pieces. Stroganovs bought relics like Russian tsars. The relics
(568) Summary were used for execution of reliquary crosses, icons, folding icons, panagias and other pieces used as donations to cathedrals and monasteries of Russia. Abundance and generosity, high artistic level of artworks and variety of technique make the Stroganov school pieces belong to the same level as Tsars’ and Patriarchs’ donations. D.A. Churkina Portrait medallions à l'antique in the artworks of German silversmiths from the treasury of Russian rulers The article is dedicated to the use of the motif of a profile portrait à l'antique in German baroque silversmitheiy. Yet in the epoch of the Renaissance, such depic tions were often used in all the types of European fine art and applied art. As a rule, antique coins and medals were samples for such portraits. Portraits of emperors or warriors had symbolical meaning due to historical and political situation and terms of the order. The present work is devoted to the study of sources, forming and evolution of this motif in the art of German silvertsmiths by the example of a series of monuments in the Armoury Chamber of the Moscow Kremlin. S.P. Orienko Gold powder ììask with a clock from the collection of the Moscow Kremlin Museums and the gifts to Shah of Persia in 1662 The article is dedicated to the history of forming and sending to Persia of a group of artworks, i.e. Ambassadorial gifts from Tsar Aleksei Mikhailovich to Shah Abbas II. A detailed attribution, confirmed by a series of sources, received a unique artwork, a piece of military equipment of Russian Tsars of the 17th century, i.e. the gold powder flask with
a watch from the collection of the Moscow Kremlin Museums. LM. Sokolova Carved cross, family reliquary of Sheremetjevs The article is dedicated to one of the most interesting works of the collection of Ukrainian church plastic arts of the Moscow Kremlin Museums — a carved fold ing cross with the depiction of the Crucifixion with Attendant Figures, Passions and Our Lady with the Child with confronted Venerable Antonius and Theodosius of Pechera. The cross belongs to the number of rare dated examples of carved Ukrainian crosses. Unique is the veiy type of the cross with opening folds decorated with carving on both sides. The links of the monuments withy the largest spiritual and cultural center, i.e. the Kiev Pecherslc Monastery (Kievan Monastery on the Caves), which is affirmed by the used images of European engravings and eminent place of depictions of the founders of the Pechery Monastery in the iconographie program as well as particular artistic quality of openwork carving on the coloured silk base. Particu larly interesting is also the belonging of the cross to the series of reliquiae of the famous Sheremetjev dynasty.
Book 2. Part 6 (5б9) S.V. Zverev Granted “golden coins” for the Crimean campaigns AND 1689 AND DESTINY OF NOT DISTRIBUTED COINS of 1687 In the i6th-i7th century, golden coins were used in the Russian state as royal awards for the military service, which founded the further development of the state award system. Execution and weight of golden coins corresponded with the social status and nobility of warriors. The article tells about the circumstances of granted golden coins to the participants of Crimean campaigns of 1687 and 1689. For participants of unsuccessful First Crimean campaign of 1687 there was exe cuted a series of gold coins of different dimensions and weight with depictions of brothers tsars Ivan and Pyotr wearing crowns of Grand Dukes with the image of two-headed eagle over the heads of the tsars and a portrait of tsarina Sophia Alek seevna on the back side. The composition of the golden coins symbolically made Sophia Alekseevna superior to her brothers. The ruler was depicted with a scepter and a pentactical crown. The names and titles were indicated with abbreviations. The second Crimean campaign of 1689, success of which was needed for the ruler to support her power, also happened to be unsuccessful. Thus, Pyotr Alek seevich, already grown up tsar, started to object to the military awards and insisted on the reduction of awards. The type of granted golden coins was made traditional and portraits of the rulers were replaced by two-headed eagles. Round inscriptions were abbreviated and indication to tsarina Sophia became unnoticeable. After the victory of
Pyotr over his sister in the struggle for power in autumn 1689, the use of golden coins mentioning tsarina Sophia became impossible. Awards in the end of 1689 — first half of 1690 were new golden coins with depictions of two-headed eagles on both sides, the circular inscription with the names and titles of brothers tsars Ivan and Pyotr was written without abbreviations. Not used award coins mentioning tsarina Sophia were left in the state treasury and were steeled by deacons and clergy in two big robberies of the golden coins. S.V. Zverev Treasury of coins of the 16th — early 17th centuries DURING THE SIEGE OF THE MOSCOW KREMLIN IN l6l2 The publication presents a treasure-trove of coins found in the Kremlin on July, 26, 1996 during the works at the basement of the Senate building. The treasure was hidden in a porcelain day jug and consisted of 2427 coins dated back to the 16th — early 17th century. The character of the find was studied in a series of publications estimating the set of the treasure-trove. In total, there were found 3426 Russian coins from the time of Vassily III (1505-1533) till Wladislaw (1610-1612). There is a lot of coins of the latter ruler —1770 kopecks. There is one coin of the Second voluntary military forces of K.Z. Minin and D.M. Pozharskiy (1612) and one Polish coin, i.e. 3 grosz of 1597 r. of King Sigismund III (1587-1632). The 3 grosz coin most likely came to Moscow with a pole, occupied the Kremlin in 1610. In the early 17th century on the place of the treasure-trove there was a court of Princes Troubetzlcoy.
Summary 570) ( S.V. Zverev, A.M. Kolyzin Weights from excavations in the Moscow Kremlin The article is dedicated to 14 weights found in archaeological excavations and cur rently preserved in the archaeological depositories of the Moscow Kremlin Muse ums. A part of the weights was linked with Russian weighing system, the other part of weights was linked with the necessity of weighing various coins belonging to the country currency circulation. Particularly needed were weights for silver coins after the lowering of the normative weight of a kopeck in the Age of Distemper in the early 17th century as well as after several lowerings of coins’ weight in the time of Mikhail Fyodorovich (1613-1645) and his heirs. Many people could execute various weights of lead and other cheap metals for their own needs. That is why the attribution of weights, even those exactly chronologically dated at the excavations, is a complicated and sometimes presumptive. A.M. Kolyzin Clay toys from the excavations in the Moscow Kremlin The article is dedicated to clay toys of the ւշէհ-ւ8էհ centuries preserved in the archaeological depository of Moscow Kremlin Museums. There has been made comparative analysis of the pieces found during excavations and archaeological observations in the Kremlin up to 1997 and published by the author in 1998 as well as toys from the excavations in the Tainitsky Garden in 2007 when their quantity in the depository increased by three times. Clay toys appear in the cultural layer of the Moscow Kremlin in the i2th-i3th century. In this period of time they all are imported. At
the turn of the 14th and 15th century toys were made in Moscow, at the turn of the 15th and 16th century toys came to be mass-produced and exported. One should notice that clay toys were mostly spread in Moscow in the i6th-i7th centuries. The majority were tiny horses. The major part of Moscow clay toys were made of red paste with engobe, many toys were adorned with painting. N.A. Pavlova Puttees and stockings in the Muscovite costume before Peter the Great (in accordance with materials from the necropolis of the Moscow Kremlin Ascension Convent) The article is dedicated to the description of feet accessories: puttees and stockings coming from the Ascension Convent of the Moscow Kremlin. The major part of the pieces are dated back to the 17th century. There have been studied 23 pieces from 11 burial places of the necropolis of Russian Tsarinas and Great Prin cesses. There have been described the cut and constructive peculiarities of the accessories. The author has come to the conclusion that stockings were less used in everyday life than puttees. Thus, stockings were less mentioned of in written sources. |
| any_adam_object | 1 |
| author_GND | (DE-588)139984224 |
| building | Verbundindex |
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| ctrlnum | (OCoLC)1155072020 (DE-599)BVBBV046291092 |
| era | Geschichte 1600-1700 gnd |
| era_facet | Geschichte 1600-1700 |
| format | Book |
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| id | DE-604.BV046291092 |
| illustrated | Illustrated |
| indexdate | 2025-03-19T09:01:14Z |
| institution | BVB |
| isbn | 9785907043404 |
| language | Russian |
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| publisher | BuksMart |
| record_format | marc |
| spelling | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach Kniga 2 Federalʹnoe gosudarstvennoe bjudžetnoe učreždenie kulʹtury "Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" ; sostavitelʹ: I.A. Vorotnikova Moskva BuksMart 2019 575 Seiten Illustrationen (teils farbig) txt rdacontent n rdamedia nc rdacarrier Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" (DE-588)5187876-8 gnd rswk-swf Geschichte 1600-1700 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Kulturdenkmal (DE-588)4165967-3 gnd rswk-swf Buch (DE-588)4008570-3 gnd rswk-swf Religiöse Kunst (DE-588)4193793-4 gnd rswk-swf Schrifttum (DE-588)4255550-4 gnd rswk-swf Russland (DE-588)4076899-5 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)4145395-5 Bildband gnd-content Russland (DE-588)4076899-5 g Buch (DE-588)4008570-3 s Schrifttum (DE-588)4255550-4 s Religiöse Kunst (DE-588)4193793-4 s Kulturdenkmal (DE-588)4165967-3 s Kunst (DE-588)4114333-4 s Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" (DE-588)5187876-8 b Geschichte 1600-1700 z DE-604 Vorotnikova, Irina Anatolʹevna ca. 20./21. Jh. Sonstige (DE-588)139984224 oth (DE-604)BV046291084 2 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031668574&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031668574&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" (DE-588)5187876-8 gnd Kunst (DE-588)4114333-4 gnd Kulturdenkmal (DE-588)4165967-3 gnd Buch (DE-588)4008570-3 gnd Religiöse Kunst (DE-588)4193793-4 gnd Schrifttum (DE-588)4255550-4 gnd |
| subject_GND | (DE-588)5187876-8 (DE-588)4114333-4 (DE-588)4165967-3 (DE-588)4008570-3 (DE-588)4193793-4 (DE-588)4255550-4 (DE-588)4076899-5 (DE-588)4143413-4 (DE-588)4145395-5 |
| title | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach |
| title_auth | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach |
| title_exact_search | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach |
| title_full | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach Kniga 2 Federalʹnoe gosudarstvennoe bjudžetnoe učreždenie kulʹtury "Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" ; sostavitelʹ: I.A. Vorotnikova |
| title_fullStr | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach Kniga 2 Federalʹnoe gosudarstvennoe bjudžetnoe učreždenie kulʹtury "Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" ; sostavitelʹ: I.A. Vorotnikova |
| title_full_unstemmed | Moskovskij Kremlʹ XVII stoletija drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach Kniga 2 Federalʹnoe gosudarstvennoe bjudžetnoe učreždenie kulʹtury "Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" ; sostavitelʹ: I.A. Vorotnikova |
| title_short | Moskovskij Kremlʹ XVII stoletija |
| title_sort | moskovskij kremlʹ xvii stoletija drevnie svjatyni i istoriceskie pamjatniki sbornik statej v 2 ch tomach |
| title_sub | drevnie svjatyni i istoričeskie pamjatniki : sbornik statej : v 2-ch tomach |
| topic | Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" (DE-588)5187876-8 gnd Kunst (DE-588)4114333-4 gnd Kulturdenkmal (DE-588)4165967-3 gnd Buch (DE-588)4008570-3 gnd Religiöse Kunst (DE-588)4193793-4 gnd Schrifttum (DE-588)4255550-4 gnd |
| topic_facet | Gosudarstvennyj istoriko-kulʹturnyj muzej-zapovednik "Moskovskij Kremlʹ" Kunst Kulturdenkmal Buch Religiöse Kunst Schrifttum Russland Aufsatzsammlung Bildband |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031668574&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031668574&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV046291084 |
| work_keys_str_mv | AT vorotnikovairinaanatolʹevna moskovskijkremlʹxviistoletijadrevniesvjatyniiistoriceskiepamjatnikisbornikstatejv2chtomachkniga2 |