Liturgical robes of priests and church ministers

The lowest clergy of the ancient Byzantine church, such as: candilaptes, denotata, ekdiki, observers of church doors and order in the church (θεωροί), God-bearers (βασταγάρης), singers of various ages, who were on church staff and recruited from orphanages (τά ὀρφανά), readers and others, when performing the duties assigned to them in the church and during religious processions outside it, put on in addition to the imatija or himation, the so-called kamisiya (καμίσον) and a short or small phelon (φελώνιον, φαινόλιον). The use of the first attire was so obligatory and natural for many of the church clergy we named that they, as testified by John, Bishop of Kithra, who lived around 1204, were called by this liturgical attire nothing other than kamisata - καμισάτοι 1 . Camisius 2, as can be judged from the images of holy readers and generally lower clerics in the famous facial Monthly Book of the Byzantine Emperor Basil II the Macedonian (1025) and based on the description of the attire of the singers of the St. Sophia Church made by an eyewitness, our traveler to Constantinople at the end of the 14th century, Deacon Ignatius Smolnyaninov, who accompanied there Russian Metropolitan Pimen, was a long, wide white or purple garment like a shirt, covering the entire body of the wearer from head to toe and having wide and long sleeves, pulled together at the very hands 3. “The singers stood wonderfully decorated,” writes Deacon Ignatius, having vestments, yaki surplices, wide and long, and all with girdles, and the sleeves of their vestments were wide and long, ovi Kamchati, ovi shidny (option: shidyan), shoulder straps with gold and lace. Their oldest is not red, like snow is white... On their heads there are oskrilts (sharp 4 with gold and with beads and lace" 5). But this is a kamisiya of a later time and, perhaps, a ceremonial one, worn on exceptional occasions, such as, for example, during the coronation of emperors, as was the case in 1390 during the coronation of Emperor Manuel, on the visit of our Russian travelers Metropolitan Pimen and Deacon Ignatius, but in most cases the kamisiya was a simple linen underwear without any decoration, as can clearly be seen from obverse Monthly of Basil II the Macedonian 6 and from the monuments of Byzantine court life. According to the Ritual of Emperor Constantine, the camisia invited singers and anagnosts to the palace 7 for dinner, among other guests; In similar cases, deacons also wore the same attire 8. The singers' households, who appeared at the palace in order to delight the ears of those invited to dinner together with the singers with the wondrous singing of the stichera, put on not only camisias, but also white phelonies (λευκών φελωνίων or λευχημονοῦντας). G. Kodin in “De officiis”, describing the rituals of the imperial court of his time, also says that the singers in the palace of the emperors appeared at the royal table to perform their duties in camisias over the imatius and in veils on their heads, while the domestic and protopsalt were dressed in white camisias (λευκά καμισια), and all the other singers in Camisia crimson flower (πορφυρά) 10. Undoubtedly, kamisii also refer to liturgical monuments of South Slavic origin from the 16th century. In the “following for the appointment of a reader and a singer and all kinds of books or other wisdom” it is said that, after being tonsured by the bishop and clergy “in the seat of the church”, the one appointed to this rank “is then brought to the superior and takes linen clothes and dresses him” 11. This white linen robe in other ranks of the lower clergy is called “the set robe” 13 or “prefigured clothing” 14. It can hardly be denied, however, that by the 16th century the South Slavic ranks were already calling the small phelonion, which at that time not only lower clergy, but even subdeacons 15, “linen clothing” or “linenitsa”. Since the camisi was a long and wide garment, and the duty of the lower clergy of the Church is to quickly carry out the tasks assigned to them during divine services, litanies and exits of a church-religious nature, for convenience in their movements they always wore these camis belted 16 . The Candylaptes of the Great Church of Constantinople performed their duty, as the Typikon puts it, “μετά καμισίου λευκοῦ έζωσμένου” 17 . The singers of the Sofia Church during the coronation of Emperor Manuel in 1390, according to Deacon Ignatius Smolnyaninov, were “all girdled” 18. In this form, the Menology of Emperor Basil the Macedonian depicts the clergy surrounding the patriarch in the rite of exaltation 19, in many scenes of the burials of saints, in the transfer of their relics and in litanies 20. The kamisiyas were girded with a thin cord, which in the monuments of liturgical South Slavic services is called a belt 21, and in our bishop's Official a “sticharine belt” 22. The outer clothing of the lower clerics, in which they mainly carried out their duties, was a short phelon (φελώνιον or φαινόλιον). “The peculiar form of the ancient clergy, according to Academician E. E. Golubinsky, is quite difficult to describe intelligibly. Whoever has seen the Catholic priestly vestments (more precisely, the casula worn by the priest during the liturgy, since the pluviale or superpelliceum cannot be compared in the present case), we will simply say that the small phelonion, as it appears in the Menology, is very similar to these vestments; whoever has not seen these vestments, let him imagine a wide bag, let him make a hole at the bottom so that his head can fit into it, let him put it on himself in this hole, then on both sides, starting from the descent from the shoulders, let him cut it to the bottom; through this, you will get clothes worn around the neck and hanging in front and behind in the form of two separate plates - this will approximately be a small phelonion in the form we find it in the Menology of Emperor Basil. Our historian concludes, we cannot say anything about the origin of the form” 23. Indeed, in the Menology of Emperor Vasily one can see brief felonies described by prof. Golubinsky forms 24, but next to this form of a small phelonion, you can also find others here that are very reminiscent of modern short phelonies of clergy or priestly ordinary phelonies, but in a significantly shortened form 25. Images in Menology imp. Basil II of these felonies, made in ancient times from thin materials - linen (έχ λινού 26), silk (μεταξωτοῦ 27) etc. in rare cases, from gold brocade (χρυσοῦν 28), they clearly show that they were easily and freely gathered on the shoulders of those who put them on, in the form of beautiful folds, when there was a need to have hands free and open, and easily descended, if such a need was not foreseen, covering the entire upper part of the body to the waist, and sometimes even below. Such, for example, is a short phelonion worn on a deacon 29 holding the Gospel in front of the Persians, and in the other hand a censer, in miniature depicting a procession of the cross on the occasion of the earthquake that took place in Constantinople under Theodosius II on September 25, 447: here the left side of the phelonion is omitted, and the right one lies on the shoulder 30. “And the king, according to the words of Deacon Ignatius Smolnyaninov, clothed himself in a (sacred) phelonets, small, waist-length, scarlet (there are vestiges of small scarlet, up to the waist), and the king went out, holding the light in his hand” 31). The color of the materials from which these felonies were made was different: the predominant color was white, often purple and occasionally black. However, in the Menology of Emperor Basil the Macedonian this last color dominates, but this depends on the photographic apparatus, which cannot otherwise convey dark colors. Short or small felonies were a necessary accessory for lower clergy when they performed their duties in the church. “You must not sing in the church to any other singers,” says the 15th rule of the Council of Laodicea, except for the clergy singers who ascend to the pulpit and sing in the phelonions. This, however, is the meaning given to this rule by the 12th-century Byzantine canonist Aristinus 32 , the rules of our Vladimir Council of 1274 33 and our Slavic Helmsman 34 . As for other interpreters, in “δίεφδέρας” they want to see an indication of the leather books from which the singers sang on the pulpit 35, but such an interpretation, in our opinion, does not correspond to the actual state of affairs in church liturgical practice. There are no indications that singers sang from leather books (and why, in fact, could they not sing from books written on papyrus, birch bark and similar materials?) in the liturgical and canonical monuments, while these monuments speak of short phelonions of readers and singers very often and note in detail when the singers ascend to the pulpit in one camision without a phelonion 36 ), for example, after performing the rite of baptism of the catechumens and after bringing the newly enlightened from the baptismal chamber to the church, etc. Since the short phelonion in monuments is sometimes called the mantle 37), the lower clerics therefore receive the name, according to John, Bishop of Kithra, “μανδυοφοροῦντες” 38. In brief felonies, the domestic singers appeared at the imperial table to perform their duties, in order to delight the ears of the emperor's tablemates with the singing of hymns and troparions 39 . These same phelonions were worn by deacons or archons of the Great Church in the performance of their duties 40 , the archdeacon of the Great Church of Constantinople 41 , bishops 42 and presbyters 43 , as can be seen from the Menology of Emperor Basil II, during processions of the cross or performing litanies, during burials and in general when large phelonions could hamper the movements of the clergy. There is no doubt that the hierarchs, archimandrites, abbots, presbyters and deacons-archons, who, according to etiquette, appeared at the palace of the emperors for ceremonial dinners, wore this kind of phelonies 44, since, due to their lightness, they could with great convenience be collected in beautiful folds on the shoulders and thus made their hands completely free. Long phelons, made of expensive and heavy materials, covering the entire torso of a person in front and back from the neck to the very heels, were worn by bishops and presbyters only in solemn services in churches, where movements from place to place were small and where the position of clergy required solid importance and sedateness. In order to sometimes have his hands free for blessings, for example, the Holy Gifts, the people, etc., he rose on his hands in front of the phelonion, and for greater convenience in actions, with the help of loops at the hem, on gold or silver buttons or brooches, sewn to the very phelonions from the sides 45. Such bell-shaped phelonions of priests are used in the liturgical practice of the Orthodox East to this day, while here in Russia, from the 16th century, for the convenience of clergy, these phelonions begin to take on a shortened or cut-out appearance at the front. By establishing complete identity between the large priestly phelonions and the small clerics in form, material and in some cases even in their use in practice, we thereby want to say that both of them had as their prototype the clothes that the classical Greeks and Romans wore on top when leaving the house in rainy, stormy and cold weather, and which they bore the names poenula, casula, planeta and φαινόλης. In view of this purpose, these clothes were made of thick woolen material, and sometimes even leather 46. The so-called surplice (στιχάριον) 47, as can be seen from the rites of ordination of ancient times, the Greek and our Russian churches, and even from the modern rite of the Eastern Church, is not included in the number of church vestments of lower clergy: it is first mentioned only in the rite of ordination as a subdeacon. The one ordained to the subdeacon, according to this rank, is brought into phenoli (φορῶν τοῦτον το φαινόλιον) and, only after reading the prayers and after the bishop’s blessing, is dressed in a surplice and girded with a belt 48 . But in the rites of initiation of the lower clergy, although this attire is spoken of vaguely, one can nevertheless hardly doubt that the surplice, as the church clothing of the lower clergy, was known in the liturgical practice of the Byzantine church from a very early time. The word στιχάριον in the meaning of lower clothing, similar in shape to a tunic (tunica manicata or tunica alba) of the ancient Roman wardrobe and ποδήρης - ancient Greek, has been used among classical peoples for a long time 49). This name is also found with this meaning in the Ritual of Emperor Constantine Porphyrogenitus VII, denoting the underwear of court officials, such as masters (τά έαυτῶν μαγιστράτα στιχάρια), eunuchs, protospatharii, primikirii, etc. 50, which among other court officials 51 (for example, among patricians, anfipats, etc.), and even among the same ones, for example, among protospatarii-officials, but in other places of the Ritualist has another more common name καμίσια 52. We find the use of the names στιχάριον and καμίσιον, as synonymous names denoting the same clothing, not only in the mentioned monument of civil life of ancient Byzantium, but even in the liturgical monuments of its most ancient times. “You should know, says the Typikon of the Great Church of the 11th century, that in the first week, the veneration of the cross and the great week, the domestic of the readers stands on the sole in the surplice (μετά στιχαρίου καί φελωνίου) and phelonion, giving the measure, when singing the troparion, hand" 53. In view of what we said above that the lower clergy in the ancient Byzantine church did not wear surplices, there is no doubt that in this case we are not talking about a surplice in the proper sense, but about a kamisie, which, as we have seen, together with the phelonion, was the liturgical costume of this rank of clergy of the Byzantine church. The same identification of surplice and kamisiya μικροῦ ή στιχάριον έκ λινοῦ) we also find in Simeon of Thessalonica 54, who, in turn, apparently allows for the identification of these two clothes, very similar in form, with the third, which has absolutely nothing in common with the minor phelonion of the lower ones 55 clergy. This is the only way to explain the facts that both Deacon Ignatius Smolnyaninov, who was present at the imperial coronation, and Kodin in his “De officiis”, narrating the appearance of singers in the imperial palace on the eve of the Nativity of Christ and on the very feast day of the singers, talk about one camisia, as the clothes of the singers, and do not mention the phelonions, at least of the heads of the choirs or the first singers, as we read about it in the Ritual of Emperor Constantine VII 56. In Kodin, all the singers are wearing camisias, worn over imatii, and in veils, with the difference, however, that the protopsalt and domestic had white camisias (λευκά), and all the others were purple (πορφυρά) 57 . Obviously, by the end of the 14th century, small phelonions fell out of everyday practical use in the Byzantine church, retaining only the rank of initiation into a reader and singer, and the kamisium became more and more close to the deacon's surplice, with which it was similar in form. To get acquainted with the most ancient form of the deacon's surplice, the Menology of Emperor Basil II the Macedonian, well known in science, provides a lot of data. St. deacons Aviva on the 6th day of September, Ammon on the first day of the same month, Seva on November 13, Vincent on January 22, 58, and others are depicted in deacon's surplices, which represent a white tunic that fits the entire body, but does not reach the heels, with short sleeves. From under the surplice, the sleeves and hem of the surplice are thus visible, and partly its collar, since the surplices have a rather wide slit near the collar. The difference between a surplice and a kamisiya is only in the length of the hem and sleeves, and partly in the less completeness of the cut. As for the decoration of deaconal surplices with stripes in several rows along the hem 59, from which some scholars want to derive the word surplice itself (στίχος - stripe, line) 60, they were not a necessary accessory of deaconal surplices of ancient times. In the same Menology of Emperor Basil II there are images of St. deacons in surplices without any decorations in the form of stripes 61. There is no doubt, therefore, that the name surplice would be more correctly considered as a synonym with the word χιτών or the Latin tunica alba, tunica manicata; They pointed not to the random decorations of these robes, which may or may not have been on the surplices, but to their long shape, which fit the entire body of a person. Confirmation of this understanding of the term στιχάριον is given to us by the Ritual of Emperor Constantine VII, in which the imperial divitisium or sakkos is spoken of as follows: “στιχάριν διβητήσιν 62, where σπχάριν is undoubtedly the word attributive, indicating the cut or shape of the divitis. The identification of the ancient camisium with the deacon's surplice was facilitated not only by their similarity in form, but, undoubtedly, also by the fact that the camisium from clothes made mainly of thin white linen material, little by little, began to be made of other heavier materials, and in the colors of black, purple, etc. By the beginning of the 15th century, in the East, as can be seen from the words of Simeon of Thessalonica, they knew and kept the memory of the ancients liturgical vestments of the lower clergy, but a strict distinction between the camisius, the surplice and the short felonion no longer existed, and not only in the imagination of the people of that time, but also in practical use. In the XV - XVI centuries. in the Orthodox East, although the ranks of initiation into a reader and singer still did not mention the sticharion and treated only a short phelonion or “linen garment”, or, as the South Slavic ranks say, “lyenitsa”, a new custom has already invaded the practice - allowing lower clergy to wear, when performing their duties during divine services, instead of kamisii surplices, similar in structure and material to deacons. Our Russian liturgical practice, following in all respects the example of the Eastern Byzantine Church, was no exception in this regard. The ranks of initiation into the lower clergy of our liturgical books up to the publication of the Official of the Bishop's Clergy in 1677, and even all historical and everyday monuments 63 unanimously testify that the small phelonion was the official clothing of the lower clergy, and the surplice belonged to the attire of subdeacons and deacons, but church practice tells us something else. In this latter, we find traces of the use of surplices by lower clergy in our worship quite early, and it is not superfluous to note that the Byzantine kamisium, if you do not see a vague indication of it in the decrees of the Vladimir Council of 1274 - in the expression: “white vestments” 64 - seemed to be not known among us at all, or fell out of use very early. Deacon Ignatius Smolnyaninov in 1390, not without surprise, describes the attire of the singers of Sophia of Constantinople, and does not directly call their clothes by name, but expresses himself as follows: “having vestments, like poems, broad and long.” For the first time, as far as we know, we definitely speak about the sticharion of the lower clergy in the rite of election and installation as bishops in 1423. “The Metropolitan leaves his cell,” we read in the rite, “about a small sign,” and goes to the church, preceded by a chanter in his surplice” 65. “Suplices made of thin linen”, with “shoulders” and “arms” on them made of “colored grass velvet”, with “springs from tasem, with a down from karshenina”, when performing the rite of the cave action, which, as some quite rightly assume 66, has been performed in our Russian church since ancient times, were worn by three boy singers, depicting three youths in caves of the Chaldeans: Hananiah, Azariah and Mishael 67. We see the same thing in the case of four boys who were put on a chariot with elegant willow a week. “The same patriarch begins a prayer service, and after an octene they will go to the feast, we read in the “Official” of the time of Patriarch Filaret Nikitich 68, and they go to the western doors, and the first to go are the robes in surplices with willow, and after them the banners and deacons and priests are likenesses, also the archpriests, and the ponies of the singers and sovereigns and patriarchs and sing irmos in lines” 69. Surplices for choristers are mentioned quite often in the patriarchal publications of 1656. Thus, for the all-night vigil on the eve of the Vai holiday, the clerks saw off the patriarch “in red surplices,” at the liturgy and during the rite of riding the donkey on the same holiday they wore “golden surplices,” and on the feast of the first sex they were dressed in “Joseph’s damask surplices” 70 . Even more often, choristers - diacs - appear in surplices during solemn services in 1666 to 1674, and when the eastern patriarchs - Macarius of Antioch and Paisius of Alexandria - visited Moscow. At this time, choir diacs large and small “cooked in surplices” not only during divine services, when escorting the patriarchs to the church from home and back, but also during ceremonial dinners in the king’s palace and in the patriarch’s dining room 71 . Under 1666, we have a very definite indication that on Maundy Thursday, “the clergy of the cathedral and apostolic churches in surplices” 72 received the Holy Mysteries. Following the example of the patriarchs, Russian Metropolitans in the 17th century also performed solemn services with clergy dressed in surplices. “And the priests with vestments and with a lamp and with lamps come to the exit chamber, we read in the Novgorod Official of the beginning of the 17th century, and they dress according to custom (Sic) in the robe and, having dressed, come in front of the cross cell with a lamp and with lamps” 73. So, there is no doubt that surplices became the liturgical attire of our clergy much earlier than the publication of the Official of the Episcopal Clergy in 1677, when the surplice was supposed to be placed on lower clergy at their initiations. The surplice, obviously, in all these cases was nothing more than a Byzantine camision and replaced the small phelonion in practice. But the surplices of the lower clergy, however, differed from the deacon's surplices, as the ancient inventories of the bishop's sacristies clearly indicate. “Six small surplices of clerks, we read in the inventory of the property left after the death of Smolensk Metropolitan Varlaam, a red half-silk damask, mantles and armlets of a red tripu, lined with azure dye” 74, or “Six surplices of large and medium-sized villages, says the inventory of the bishop's sacristy of the St. Sophia Cathedral and property Metropolitan Job of Novgorod, yellow damask, on two surplices, the mantle and arm sleeve are streaked with gold and silver, silk grass; the hemlines are of red satin, lined with azure dye; and on the four surplices the mantle and sleeve are blackened, striped, and simple” 75 . To see the difference in the deacon's surplices, in parallel to these descriptions, we will substitute descriptions of the same inventories and these surplices. “The surplice has been cut in gold on the corded ground, one of the deacon’s surplices is described in the inventory of Metropolitan Job, the mantle and sleeve are sewn with gold and silver, on black velvet, around the shoulder and sleeve there is lacy forged silver, dilapidated; the hem of a section of gold on silver land, the cross of the same section; lined with painted brick color 76. The same inventory says about another surplice: “The surplice is golden velvet, on the worm-like ground there are silver and golden grasses; the shoulder and sleeve are embroidered with gold and silver on black velvet; the cross is strung with pearls in a row of small ones; The hemline is red, with silver and gold lace on it with cities, lined with light dyeing” 77. From these comparisons it is clearly clear that if there was a difference in the design of the deacon's surplice and the chanter's or clergy's surplice, then this difference consisted in the value of the material and the richness of the decorations; as for the shape or cut, they differed almost in no way from each other. They will arrange surplices from fabrics of various colors and certainly with armholes at the sides 78 in ancient Rus', it became, one might say, part of the canon, so that deviation in this regard from the accepted custom was considered by the zealots of antiquity to be a violation of the “order” of the church and even “ecclesiastical rules” and “law.” “Yes, Metropolitans Matvey (Kazansky) and Jonah (Krutitsky) and Archbishop Joseph (Ryazansky) told the Patriarch (Theophan of Jerusalem),” writes an eyewitness of their service in 1619 with this latter, that the vestments on your archimarite are not according to rank: they have no mantles, no shoulder pads, and the surplice also has no mantle, no subaxial primes, and in our rule 79 your Greek law is written: the surplice is a woven pre-spun, in heaven His thanksgiving is with us; an unfinished sub-sinus is a rib ulcer, and the shoulder is a batog wound. There is a wrist, with which it is not bound: for His hand was bound in advance.” And the patriarch, according to an eyewitness, said: “It’s the way it is with us. And then his archimandrite said: “We also have vestments made according to yours, but those were made soon” 80. In the second half of the 17th century, the observant traveler Archdeacon Pavel of Aleppo was quite amazed at the custom we noted of making surplices from various materials, admired its practicality and even promised to transfer it to the Church of Antioch. “They have surplices (i.e. among the Russians), he writes, have four extensions made of a different material than the one from which they are made, namely: sleeves, a quadrangular shoulder and a hem at the bottom. The surplices sewn this way are very beautiful. The peloni of Russian priests are made very wide, large, their bottom is rounded back and rounded as if along a compass, and they have mantles made of special material and certainly a wide addition in the form of a border at the bottom around the edge of the hem. Surplices worn on major holidays usually have sleeves and shoulders either studded with pearls or thickly embroidered with gold. The extensions on festive phelonions are decorated in the same way. They flaunt embroidery, jewelry made of pearls and precious stones, and small images among the embroidery on these extensions, leading to wonder. In the same way, the patriarch's sakkos must certainly have extensions to the sleeves made of other material or icons embroidered with gold or lowered with pearls and precious stones, and the sides and hems must be made of heavy material with letters embroidered in gold or with large letters made of pearls. These are the vestments not only in the land of the Muscovites, but throughout the entire country of the Cossacks. All vestments must have a cross at the back made of pearls or massive brocade, and therefore we also made crosses on all our vestments so that they would not laugh at us and at our customs. Excellent forethought! concludes the traveler. How often do we have scraps of material and ready-made caftans that are not enough for a whole surplice, phelonion or sakkos. If we were to sew them according to the mentioned pattern, as I did with my surplices, and add sleeves, mantles and hems from another material, then it would be enough and it would be more beautiful, as you will see if we live.”81 From the second half of the 17th century, in our historical documents there are remarks that patriarchal singers on ceremonial occasions during divine services wore “large surplices,” which were undoubtedly contrasted with ordinary or “small” surplices. By “large surplices” we must mean surplices that are in every way similar to the surplices of deacons. These facts, as well as the fact that in the acts of the Moscow Council of 1674, which established and defined in the most detailed manner the “pre-laws of honor” 82 for each rank in the spiritual hierarchy, does not say a word about the acquisition of the surplice for readers and singers or lower clergy in general as a liturgical attire, eloquently testify that the surplice has become ours the liturgical attire of lower clergy much earlier than he officially appeared in 1677 in the “rank of reader and singer” 83. At the aforementioned Moscow council there was no longer any doubt about this “honor” for the lower clergy. In our modern liturgical books, following the example of the Greek ranks, the priestly vestment is everywhere called a surplice, but it would be a mistake to conclude from this name that this liturgical attire of priests is similar or related to the deacon's surplice. Without a doubt, the name στιχάριον is applied to the priestly vestment in the same meaning as it was applied in the ancient Byzantine church to the camision of the candilapts and generally lower clergy and to the lower inner garment of the court dignitaries of the Byzantine court. In its form, as can be judged from the images of holy priests and bishops in the famous facial Menology 84 of Emperor Basil II the Macedonian, the priestly vestment has more similarities with the above-described camisia of the lower clergy than with the deacon's surplice: the same length, reaching to the heels, the same long sleeves, pulled together at the very hands, the same fullness in cut (according to Ignatius - “shirotsi and dolzi”), the same dominant white color and the same light material - linen, silk, etc. etc., from which this kind of priestly attire is still prepared. But here in Russia, the ancient form of the priestly vestment did not survive, and the existing name in the liturgical books as a surplice prompted, obviously, the design of priestly surplices to strive to make them similar to deacon’s surplices. Our ancient inventories of bishops' and monastic sacristies clearly speak for this. “The undercoat, we read in the inventory of the Novgorod St. Sophia Cathedral, striped grass kizylbazh damask, stripes of different colors; the shoulder and sleeve are made of white grass, grass of different colors; back and the cross of that same name; the circle around the hem is embroidered with gold and silver with a wide border on crimson ground; lined with taffeta, lined with dyed 1, or: “damask cassock, scarlet tufter; the shoulder and cross are gold satin, the sleeve is yellow taffeta; silver hem, silk grass with gold; lined with yellow taffeta, and the hem lined with green satin,” 86, etc. Nowadays, stripes (τά λώρια) or sources - stripes (ποταμοί), running from top to bottom throughout the entire vesture, are considered an integral part of bishops' and priestly vestments or surplices. Having degenerated from the so-called lora or clavi, that is, two parallel black stripes that ran in front of the classical tunic from collar to hem and which hid its seams 87, these decorations were a necessary accessory. We find such sources or stripes on the images of saints in the Menology of Emperor Basil II and quite often, and they decorate the clothes of bishops and presbyters, and the clothes of deacons and even lay saints 88 . “The paneling on the sides, according to the interpretation of Herman, Patriarch of Constantinople, is an image of the blood that flowed from the side of Christ” 89. In the mosaics of St. Sophia 90 and in the miniatures of the 12th century 91 the sacrons of bishops are decorated with two stripes of red and blue, although from the testimony of the 12th century canonist Theodore Balsamol, it can be concluded that only the most honorable bishops wore sources and gammats on surplices 92 . Simeon of Thessalonica, however, assimilates these differences to all bishops indifferently. “The bishop’s surplice,” he says, “has on itself the so-called sources descending from above, signifying the blessing of teaching abiding on the bishop, and at the same time the variety of the highest gifts belonging to him, poured out through him on everyone. And among the angels, not everyone belongs to the same rank, but even there there are teachers and dispensers of enlightenment for the lower ones. The name of the sources is based on the words of the Savior in the Gospel: believe in me, rivers of living water will flow from his belly” 93. In our Russian monuments about the priestly or bishop's sticharion we find only one resolution of the Moscow Council of 1674, by which “surplices with gammata, showing currents of blood and water flowing from the divine rib,” were adopted by the patriarchs and some Metropolitans 94, but it was forbidden for archbishops and bishops to wear the same decorations on surplices 95. It can be assumed with full probability that our ancient Russian practice regarding wearing a vesture was in many ways similar to the practice of the Greek Church and diverged only by the beginning of the 16th–17th centuries, when our vestries began to be likened to deacon’s surplices. In this case, the sources became the natural and almost the only difference between the priestly surplices and the deacon's surplices. Being similar in shape to the kamisiya of the lower clergy, the priestly vestment was similar in wearing to its prototype: the priest always wore it belted. Wearing a belt with a camisia or sticharion was caused not only by etiquette, but also by the very type of activity of the priest, as a performer of the sacraments, who needed freedom of movement no less than the lower clergy and subdeacons who received the “sticharion belt” at the very initiation 96 and sometimes even with the utterance of the following words: “The servant of God, named, will gird himself with his belt in preparation for the gospel in the name of the Father 97 " It is also now clear in the rite of priestly ordination that nothing is said about his belt and, when it is placed on the thighs, the usual “Axios” is not proclaimed: the cassock or camisius with the belt passes to the priest, according to the rule, as a former lower cleric. “The belt with which (the priest) is girded, according to the explanation of Herman, Patriarch of Constantinople, signifies the glory of Christ, that is, the power of the Divine, which he put on when he reigned” 98. “The belt, according to Simeon of Thessalonica, depicts the service of the Savior for us, which He performed here and promised to do for us in the future... It (i.e., the belt) also depicts the strength and dominion of His power, and also chastity. In addition, the belt lying on the loins signifies the sanctification of the body along with the soul, as evidenced by the words during the girdle: “Blessed be God, gird me with strength and make my way blameless” 99. The girdle of the kamisiy - the surplice (also known as the surplice) of priests and bishops in the ancient Byzantine church was a thin cord, called in liturgical South Slavic monuments by its real name - a belt 100. Such cords are girded in the Menology of Emperor Basil II the Macedonian and the camisia of the lower clergy - readers, ekdiks, God-bearers, etc. 101 and presbyters and bishops 102. As for the wide belts now used by our priests and bishops 103, then, in the opinion of prof. E.E. Golubinsky, they are of our national origin. “Our current form of priestly liturgical and non-liturgical belts,” he says, is our national one, that is, taken from our own everyday life. In Little Russia and Galicia (mainly the latter), where the remnants of our national costume are actually preserved (for in Great Russia, of course, among the peasantry or among the common people, it is almost completely Tatar) to. Nowadays, peasants wear very wide leather belts, exactly the same in shape as our priestly ones (not only not narrower than priestly ones, but sometimes having an incredible width of two or more). When the expansion of priestly belts took place in our country according to the national model, the venerable professor concludes, we have not yet encountered any indications: it may be that even in the pre-Mongol period (and in this case, the matter will have to be represented not so that the expansion began with bishops, who were supposed to imitate the Greek Metropolitans, but so that it began with rural priests, who, being from peasants, continued to wear peasant belts in the priesthood. "104 But with the explanations of our It is quite difficult to agree with the venerable academician-historian on the issue of the origin of our wide priestly belts. In fact, if our pre-Mongol bishops wore narrow belts during worship, following the example of the Greek Church, then they gave the same form of belt at ordination to priests who, with conservatism in church practice, regulated to the smallest detail, coming to a parish in the village, could hardly afford arbitrary deviations from the accepted customs in the cities at the episcopal sees. This is, on the one hand. On the other hand, it can hardly be stated categorically that wide belts were not used in liturgical practice in the East. In the sacristies of eastern monasteries there are kept quite a few wide silk belts, with metal, sometimes openwork, very skillfully made buckles, even decorated with precious stones 105 . Such belts are used in the East in liturgical practice everywhere: in Jerusalem, Sinai, Athos, Patmos, Athens and other places. The priestly belts of the Greeks were fastened with buckles at the front. We do not dare consider such belts imported from Russia or borrowed from ordinary everyday life, since a simple and even intelligent eastern man in the street loves to flaunt himself in wide belts. Western liturgical practice, as is known, is also not alien to the custom of using wide belts during worship, although it allows them only for bishops, while priests are content with narrow belts. The priestly vestment (surplice) - kamisiy, having sleeves “shirotsi and dolzi”, narrowly pulled together at the very hands, in ancient times did not need special orders (τά έπιμανίκια) or oversleeves with which one could tighten the sleeves of the priestly vestment or surplices and thereby give the hands of the priests greater freedom of action. In the Minology of Emperor Basil and the Macedonian, we do not see such special orders in the images of not only holy presbyters, but even bishops: the sleeves of their cassocks - kamisii - are decorated in most cases with special stripes (τά λώρια) in the form of zigzags in two rows and sometimes with a cross between them 106. Exegetes of Orthodox worship of ancient times, keeping silent about the existence of special orders in the liturgical attire of clergy, speak of these decorations on the sleeves (είς τά έπιμανίκια λώρια) and give them a special symbolic meaning. “The trims on the sleeves of the surplice, according to Herman, Patriarch of Constantinople, signify the bonds of Christ, with which, having tied Him, they took Him to Bishop Caiaphas and Pilate” 107. The bridles, as an independent part of the vestments of presbyters and bishops, are undoubtedly of later origin. Poruki first appeared in the costume of the Byzantine emperors and constituted a natural and necessary addition to the divitisia = dalmatica or sakkos, worn over other clothes and having very short sleeves to cover the tunic or surplice 108 . The orders appeared in church use primarily in the bishop's vestments and undoubtedly together with the sakkos, bestowed by the Byzantine emperors first on the Patriarch of Constantinople, and then on other patriarchs and most honorable Metropolitans. In the 12th century, the famous Byzantine canonist Theodore Balsamon directly says that “only the bishops are honored with the most sacred vestments of the porusy (τῶν έπιμανίχων) and epigonation (πεφιλοτίμηται)” 109 . Armbands for bishops were a necessity, since the bishop's sakkos, even in the time of Simeon of Thessalonica, still “did not have so-called sleeves” (μανίκια 110, and their hands remained open when dressed in the said clothes 111. From the bishops in the 12th-13th centuries 112 the orders passed to the priests, and at the end of the 14th century, as Simeon of Thessalonica testifies, 113 they became a necessary liturgical accessory. In the 14th–15th centuries, as a difference, archdeacons 114 also had bristles, since their short-sleeved surplices (see Minology of Emperor Basil II) needed addition to cover the sleeves of the imatius. Following the example of the archdeacons, but after the time of Simeon of Thessaloniki, who does not yet speak about the use of bridles by deacons, these latter began to use them, in forms of blogging, in order to hide the sleeves of their imatius or cassock. Leunclavii. Ius Graeco-romanum. Francofurti. 1596, t. I, pag. 328. The kamisium of the lower ecclesiastical servants of the Byzantine Church, degenerating directly from the Greco-Roman tunica tolaris or ποδήρης, was not only the accessory of the priestly ecclesiastical ministers, but was included in the wardrobe of many court dignitaries, such as the anphipats, patricians, ostiarii, cuvicularii, protospatharii, officials, charteraries, notaries, etc. (Mign. Patrol, curs, complet. t. 112, col. 1065–1068), sometimes called surplices by some of them, for example, by protosiafarian eunuchs, primikirii and masters (Ibid, col. 1065). Some of these court ranks wore outer garments over their kamisi, while others only wore a kamisi belted with a sword. Blessed Jerome has a description of the ancient camisia as liturgical clothing in his letter to Fabiola “about priestly clothing.” Creation bliss Hieronymus of Stridon. Kyiv. 1879, part 2, p. 180. Prof. E. E. Golubinsky. He considers these “voskritsy” to be “pointed skufians” (History of the Russian Church, vol. I, half II, p. 233). In Kodin, these “vocalists” are called “έπιρριπταρια” (Mign. Patr. curs, complet. t. 127, col. 62, 77). This passage from Kodin is very curious and deserves to be cited here in its entirety, since it literally almost coincides with the story about the attire of the singers of Deacon Ignatius Smolnyaninov. „Оἱ δέ ἀναγνῶσται μέσον τοῦ τρικλίνου κατά πρόσωπον τοῦ βασιλέως, he describes dinner in the palace on the eve of the Nativity of Christ, ? και ὁ δομέστικος λευκά... ὁ μαΐστωρ καί πάντες οί ψάλται πορφυρά" (Ibid. ρ. 61). Right Palest. Collection vol. IV, c. ΙII, page 14 Albani. Menologium Graecorum jussu Basilii imperatoris, Urbini 1737, pars I, pag. 67, 141, 210; yjars II, p. 25, 131, 137, 140, 142, 180, 195; M. and V. Uspensky. Facial Monthly book of the Greek Emperor Basil II. September metro station St. Petersburg. 1902, pp. 35, 65, etc. We consider the most interesting miniature for getting acquainted with the structure of the ancient camision in this monument is the miniature of the feast of the exaltation of the Holy Cross. Since it undoubtedly depicts the rite of raising the cross, which was practiced in the Great Church of Constantinople, the faces surrounding the patriarch raising the cross on the pulpit are undoubtedly clergy of this church and are dressed in the clothes assigned to them. According to the Typikon of the Great Church, the patriarch erects a cross, being supported by two ekdiks, who were the lowest clerics of the church and dressed in camisia and phelonion. Two deacons stand on the steps of the pulpit and sing during the erection of the cross: “Χύριε έλεησον” along with the people. In the miniature described, both of these deacons are also dressed in camisia and phelonion. According to the rank, behind the patriarch there should be a syncellus from those ordained to the rank of deacon, who must stand behind the patriarch, but it is difficult to tell by sight whether he is in this miniature (Rkp. King. Dresden, bib. No. 140 fol. 142 vol.). One thing is certain, that all the persons surrounding the patriarch are depicted in white camisias and purple short felonies Mign. Patrol. Curs, complete. t. 112, col. 138 Ibid. t. 127 col. 62–64, 77. Venetian Missals 1538 and 1570 (Christ. Read. 1889 vol. I, p. 388); RKP. moldovlah. Req. 1532 bib. Solov, m. (now Kazan. Dukh. Acad.) No. 709 (1015) (P. Syrku. On the history of book correction in Bulgaria in the 14th century. St. Petersburg. 1890, vol. I, p. 110; fn. p. 111). A. Dmitrievsky. Described, liturgist. RKP. vol. II, Εύχολόγια pp. 436, 642, 692; Goar. Εύχολ. pag. 198 not. Christ. Read 1889, vol. I, p. 382. P. Sirku. Corrected for history. book in Bulgaria in the 14th century. vol. I, p. 110. Byzantine court officials, who wore surplices and kamisiyas as underwear, also girded them with special belts called τά βαλτίδια. (Mign. Patrol, curs, complet. t. 112, col. 492, 1093) RKP. king Dresden, library No. 140 l. 5. Right Palest. collection vol. IV, c. III, p. 14. Albani. Menologium Graecoruin pars I, pag. 67; pars II, pag. 137; M. and V. Uspensky. Facial Month. Greek imp. Vasily II, m. September, p. 35. Ibid, pars II, ρ. 128, 137, 140; ibid pp. 35, 65. Christ. Read 1889, part I, p. 392, note. Official arch. clergyman m. 1897, l. 130. Histor. Russian Church vol. I, floors. II, pp. 228–229. M. and V. Uspensky. Facial Month. imp. Vasily II. M. September, p. 35; Albani. Menologium Graecorum pars I, p. 141; pars II, p. 25. In all likelihood, having in mind the felonies of this form, Switzer considers the words φαινώλιον and φαινώλης to be composed of φαίνεσθαι and ὃλον and meaning such clothing from under which the whole person was visible (I. Caspari Suiceri. Tesaurus ecclesiasticus, t. II, col. Ibid. pp. 35, 65. Among the images of St. Readers in the Menology, under January 16, we find the image of the reader Danakt even in a long priestly phelonion (Albani. Menologium Graecorum pars II, p. 113). Mign. Patrol, curs, complete. t. 155, col. 396. A. Dmitrievsky. Described, liturgist. RKP. vol. I, part I, Τυπιχά, p. 166. Mign. Patrol, curs, complete. t. 157, col. 108, 109. According to the explanation of John, Bishop of Cythra, in answers to the questions of Constantine, Archbishop of Dyrrachium, Cabasilas, carries the Gospel in litanies and it was the responsibility of the second to pronounce this litany (τοῦ δευτερεύοντος τῶν διακόνων) deacon (Leuclavii. lus Graecoromanum t. I, pag 357'. M. and V. Uspensky. Facial Monthly imp. Vasily II, m. September, p. 65; Albani. Menologium Graecorum pars I, p. 67. Right Palest. collection vol. IV, c. III, p. 16. Πότλη καί 'Ράλλη. Σύγταγμα κανόνων εν Άθήν. 1853, t. γ, σελ. 185. Russian history bib. vol. VI, art. 98–99, 91–92, 105. “Without small vestments, no one will ascend to the ambon. Interpretation. It is not appropriate for anyone to invoke the ambon, nor to sing, or to read the divine words to people, unless one has received priestly tonsure on the head, and one will not receive a blessing from one’s shepherd, according to the holy rules. If he will accept it, he will either carry the song or honor on the ambon, unless he is clothed in small sacristies. Small vestments are verbed differa or felon and (Kormch., ed. M. 1810, part I, l. 53). Πότλη καί 'Ραλλη. Σύγταγμα τῶν θείων και ιερῶν κανόνων τ. γ', σελ. 184–185; Sn. Acts of nine local councils. Kaz. 1878, p. 51 RKP. Dresd. king bib. No. 140, l. 132 vol., 133; Described, liturgist. RKP. vol. I, part I, Τυπιχά, p. 134. Leuclavii. Ins Graecoromanum t. I, pag. 328; Mign. Patrol, curs. complete. 1.127, col. 108, 109. In the Ritual of Emperor Constantine Porphyrogenitus, the same mantle is called chlamys (χλαμμύς) (Mign. Patrol, curs, complet. t. 112, col. 168, 437, 411), and the emperor puts it on when performing the duties of a depot. Leuclavii. lus Graecoromanum t. I, pag. 328. Mign. Patrol, curs, complete. t. 112 col. 1381, 1384. A. Dmitrievsky. Described, liturgist. RKP. vol. II, Ευχολόγια, p. 319. Mign. Patrol, curs, complete. 1.157, col. 84. The archons and archdeacon wore phelonions, according to Kodin, “ώς καί πρότερον καθό ίερεύς έφόρει, ού μήν καί έπιτραχήλιον, άλλ’ ωράριον.” Albani. Menologium Graecorum pars I, pag. 67, 102; pars II, pag. 17; M. and V. Uspensky. Facial Monthly imp. Vasily II, m. September, p. 65. Ibid, pars I, pag. 146, 192, 210; pars II, pag. 93, 128, 131, 140, 137; ibid p. 65. Mign. Patrol, curs, complete. t. 112, col. 1381, 1401. Examples of ancient episcopal and priestly long felonies can be seen in Cardinal Albani in his Menologium Graecorum jussu Basilii imperatoris pars I, p. 90, 129, 158; pars ΙI, pag. 19, 50, 75, 94, 165, 250 et p.; M. and V. Uspensky. Facial Month Greek. Emperor Vasily II, Moscow September, pp. 7, 10, 19, 31, 34, 50, 54, 56, 74. In Russia, priestly phelonies of this form were used from ancient times until the 16th century (Ancient Russian States, section I, pp. 149, 151). The phelonion of St. Sergius of Radonezh (1392), made of coarse fabric, similar to dyed, dark walnut color, has three gilded silver buttons on the front, on which, during sacred rites, the loops of the hem of the phelonion were raised (ibid., p. 151). On the origin of the felony, see above § 5, p. 27, note. 1 A. Dmitrievsky. Described, liturgist. RKP. vol. II Εύχολόγια, p. 996; Goar. Εύχολογ. pag. 104. Du Cange. Glossarium ad scriptores mediae et infimae Graecitatis col. 1449; Mign. Patrol, curs, complete. t. 112, col. 813, no. 47. Mign. Patrol, curs, complete. t. 112, col. 480, 492, 821, 1005, 1093. The empress also wore it at her coronation. Ibid. col. 460. Ibid. col. 1065, 1068, etc. RKP. Dresden, king. bib. No. 140. l. 124. Mign. Patrol, curs, complete. t. 112, col. 1381–1384 τοῦ σοφραγίου λευχημονοῦντας καί περίβεβλημένους τά οίκεῖα φελώνια. Idid. t. 127, col. 62–64, 77. Card. Albani. Menologium jussu imperatoris Basilii, pars I, pag. 6, 21, 146, 185; M. and V. Uspensky. Facial month. Greek imp. Basil II, Sept. m., pp. 4, 19, 35, 65. Ibid. col. pars I, pag. 6, 21, 146; pars II, pag. 129; ibid page 4. Prof. E. E. Golubinsky. Histor. Russian church vol. I, floors. II, p. 217. Albani. Menologium Graecorum jussu imperatoris Basilii II, pars I, pag. 21, 67; M. and V. Uspensky. Facial month. imperial Vasily II, September, pp. 19, 35, 65. Mign. Patrol, curs, complete. t. 112, col. 780. Acts of history. ed. arch commission vol. I, no. 101, p. 144; Legal acts ed. same com. No. 388, p. 410; Sn. A. Dmitrievsky. Divine service, in the Russian church in the 16th century. pp. 355–356; Christ. Read 1889, part I, pp. 379–393 “An unconsecrated person should neither sing nor clean on the anbon or the divine word be honored by people, unless he has received priestly tonsure on his head, nor received a blessing from his shepherd, according to the holy rule; in the white vestry. The small sacristan is expressed in Greek as differa or phelonion.” (Russian historical library vol. VI, art. 98–99) Russian ist. bib. vol. VI, art. 449. Prof. E. E. Golubinsky. Histor. Russian Churches, Vol. I, Pol. II, pp. 781, 327, 328; Sn. our historical and archaeologist. sketch “The order of the cave action”, St. Petersburg, 1895, pp. 41–44. N. Suvorov. Described, Vologda. cathedral Sofievsk. Cathedral M. 1863, p. 136; drot. K. Nikolsky. About the services of the Russian Church, which were in previous printed liturgical books. St. Petersburg. 1885, p. 191. These youths dressed in surplices and gilded slippers or crowns made from zaechina (N. Suvorov. Described, Vologda department of the Soph. Cathedral, pp. 136-137). We think that we will not make much of a stretch if we compare these surplices and caps or crowns of youths with the robes and golden crowns (χρυσά στεφάνια) of the singers who were called in Byzantium “οί δηρμόται” (Mign. Patrol, curs, complet. t. 112, col. 1076–1077). “The official decree on the ringing and order on Great Ains and on Pentecost until the Sunday of All Saints,” contained in the RKP. St. Petersburg libraries. Theological Academy No. 127, written before the death of Patriarch Filaret Nikitich (1633). So, here it is noted in the rite of Orthodoxy: “To Prince George of Vladimir on the 4th day of February, and then receive the image from the patriarch, but it is not in the cathedral. But the sovereign patriarch did not order these saints to celebrate during Great Lent (fol. 27).” Later added to these words: “Filaret Nikitich.” “After St. Thomas’ week from Monday to Tuesday, we read in the same Official, the Sovereign Patriarch ordered to sing (later amendment: to sing) a major panakhida with the metropolitans and with all the black authorities according to the new confessor according to Hermogenes, Patriarch of Moscow and All Russia, and according to the archimorite. and the abbesses, and throughout the consecrated cathedral, and through all the Orthodox Christians who were killed and married and brought into captivity by the godless Lyakhs and Lithuania, and there who were exhausted and defiled and died without repentance. And the sovereign patriarch ordered them to sing greater eternal memory. And the Sovereign Patriarch himself serves the litorgy with the metropolitans and archbishops and with the archimarites and sygumens and with the entire consecrated cathedral, and henceforth the same cathedral ordered for all years without translation to serve the service and the eternal memory of the Great Pete” (l. 104). The manuscript dates the entries to 7137 and 7140, i.e. 1629 and 1630. RKP. bib. St. Petersburg. spirit. Academician No. 127,' l. 49 rev. N. Dubrovsky. Patriarchal exits pp. 8, 10, 12. The exit of 1656 says: and “the patriarch commanded the podyaks prepared to be taken to the willow and released before the crosses” (p. 9). Podjaki-choristers were children dressed in white surplices, about which we find evidence from Adam Olearius, who repeatedly traveled to Russia (Read. General. History and Ancient. at M. Univer. 1868 book II, section II, p. 91) and from Archdeacon Paul of Aleppo (G. Murkos. Travel. Antioch. Patriarch Macarius to Russia in the half of the 17th century, M. 1898, century III, p. 175) The latter even speaks of “six small anagnosts in surplices.” Dopoli, to the acts of history. vol. V, No. 26, pp. 106, 111, 116, 118, 119, 113, 138, 143, 147, 148, 150. “The Patriarch’s singing clerks sang at the table, Patriarch Paisius was escorted by clerks in surplices with candles, a lamp and singing, just like to church, to the litorgy and from the litorgy and from the all-night vigil” (p. 134). Additional to Acts of History, vol. V, no. 26, p. 105. A. Golubtsov. Official Novgorod. Soph. cathedral M. 1899, p. 1. Described, document, and files, storing. in the archives of the Holy Rule. Synod vol. I, appendix. Art. CLXXXIX. The deacon's surplices in the Greek church were narrow, tightly fitting the entire body, and with narrow sleeves. See pictured. at Goar. Εύχολογ. page 126; B. Marriott. Vestiarium christianum. Plat. LIX. This refers to the interpretation of the liturgy erroneously attributed to the Patriarch of Jerusalem (VII century) Sophronius. “The surplice, this interpretation says, is so called because the grace of God abides in it and represents the flesh of Christ, being white, like human flesh. It also has slits (μασχάλας) under the sleeves as a sign of the side of Christ pierced by a copy. The trims (λώρια) on the sleeves signify the bonds of Christ’s hands, in which they took Him to Annas and Caiaphas, for they tied Him not from behind, but from in front. The mantle (άναχολαφή) of the surplice serves instead of a belt” (Written, fathers and teaches, churches, related to interpretive rights, liturgical services, vol. I, p. 272). Read General and history Ancient At M. Univers. 1883, book. II, department II, p. 166. G.A. Murkos. Travel. Antiochus. Patr. Macarius to Russia in the half of the 17th century. V. III, pp. 201–202. Christ. Read 1883, book. I, page 162. An official of the bishop's clergy. M. 1677, p. 282. Using the data of this, in many respects, remarkable monument of church life of the 10th–11th centuries. the Byzantine Church, we must make one important reservation. Engravings of the Menology of Emperor Basil II the Macedonian, as published by Cardinal Albani in his famous book: “Menologium Graecorum jussu Basilii imperatoris. Urbini 1737 an.”, in artistic terms, in the sense of fidelity and accuracy in reproducing the original, leaves much to be desired. The engraver allowed quite a few deviations from the original, as we can now see from comparisons of the drawings of the named book with similar drawings in the recently appeared excellent book: “The Obverse Monthly Book of the Greek Emperor Vasily II, the month of September, St. Petersburg. 1902”, published by M. and V. Uspensky, where “phototype photographs” were taken from miniatures of the original - the manuscript of the Vatican Library X” 1613, perfectly conveying some of the colors of the images and the smallest, but characteristic details of the costume and furnishings of the reproduced saints. In particular, on the issue that interests us in this case - about the form of the deacon's surplice and about its sleeves, from the Minology by them. Basil II, according to the edition of Cardinal Albani, one gets the impression that these surplices on some saints are depicted with narrow sleeves (never, however, reaching the hands), and on others with wide sleeves. (See Archpriest K. T. Nikolsky. Christ. Reading. 1889, book I, p. 390, note I and Prof. E. E. Golubinsky in the Historical Russian Church, vol. I, half II, p. 219, note). In fact, it now turns out that, for example, St. Deacon of Aviva, celebrated on September 6 and represented in the card engraving. Albani in a surplice with wide, even rolled up sleeves, decorated at the bottom with stripes in several rows (Menologium Graecorum pars I, p. 21), in fact, has an ordinary surplice with narrow sleeves (M. and V. Uspensky. Litsevoy Monthly, p. 19), as most other holy deacons are depicted in the same Monthly. (Ibid, pars I, pag. 67; pars II, pag. 137). The lack of skill of the 18th century engraver and inaccuracies in the transmission of the original have already been noted by all scientists who dealt with the publication of Cardinal Albani. In view of this, it remains for us to joyfully welcome the useful work of the Uspensky gentlemen and wish its speedy publication in its entirety. This monument is precious for church archeology. Blessed Jerome also speaks of the similarity of the priestly surplice to the camisius. Creation bliss Jerome of Stridon, part I, p. 180 Described. document and affairs, storing. in the archives of the Holy Rule. Synod vol. I, appendix, art. XXXVI-XXXVI. Marriot. Vestiarium christianum pag. XXXVC; Weiss. External life of peoples, vol. II, part I, pp. 14–15, fig. II. Clavus and lora were sometimes sewn on the sleeves of tunics and were narrow and wide, depending on the rank that the person wearing the tunic with these decorations occupied in the official hierarchy. Based on the width of the stripes, the tunics were called tunica angusticlavia and tunica laticlavia. Albani. Menologium Graecorum pars I, pag. 102, 121, 133; pars II, p. 128. Pisan, father and teaches, church, related. to interpreted, rights of worship, vol. I, p. 367; prof. N. F. Krasvoseltsev. O ancient liturgical interpretations. Odessa 1894. p. 70. Salzenberg. Altchristliche Baudenkmale von Constantinopel vom V bis XII Jhr. S. 35; Bl. XXVIII. D'Agincourt. Storia dell' arte Christiana 1826 an. tav. LVIII; Marriott. Vestiar. Christian, t. XI, XII, XIV, XV, XVI, XVII, XVIII, XXIX. Πότλη καί 'Ράλλη. Σύγταγμα τών θείων καί ιερών κανόνων, τ. δ', σελ. 546, 548. Mign. Patrol, curs, complete. t. 155 col. 712, 449; written, father and uch. church, related to interpretation right, divine service. vol. III, p. 19; t. I, p. 294. Ambrose. History of the Russian hierarchy, part I, p. 327. A. Dmitrievsky. Described, liturgist. RKP. vol. II Εύχολόγια, pp. 345. 639, 616, 996; Goar. Εύχολόγ. pag. 104; Comp. An official of the bishop's clergy. M. 1897, l. 130. A. Dmitrievsky. Described, liturgist. RKP. vol. II Εύχολόγια, p. 639. Pisan, father and teaches, church, related. to interpretations. right, divine service. Vol. I. p. 367. Mign. Patrol, curs, complete. t. 155, col. 713, 449; Pisan, father and teaches, c., relating. to interpretation Ave. Divine Service vol. III, p. 20, vol. II, p. 244. Christ. Read 1889, part I, p. 392, note . Albani. Menologium Graecorum pars II, pag. 128, 131, 137, 140, 142. Ibid, pars I, pag. 32, 54, 154, 169, 185; pars II, pag. 31, 62; M. and V. Uspensky. Facial Monthly Greek. imperial Vasily II, m. Sept. pp. 30, 65, 74. In ancient inventories of church property, the liturgical belts of bishops and priests are described as follows: “the belt is cross-cut, woven in gold and silver beads, lined with blackened braid; hammered silver spindle and tips; that belt has four tassels with gold and silver, the collars are trimmed with gold,” or: “a belt of gold ribbon on green earth, on it a cross is lowered with medium-length pearls; scree on that cross, five pearls; the tips of that belt are silver, gilded, at one end of the grass there are slotted white ones; that belt is lined with worm-shaped taffeta” (Described, document, and files stored in the Arch. Right. Synod, vol. I, appendix, art. XXXVII), or: “a belt of green silk braid with gold, cross-shaped; at the ends there are two large silk tassels with gold.” (Ibid. Art. CLXXIII), etc. Histor. Russian church vol. I, floors. II, pp. 219 – 220. A curious priestly belt of Greek origin from 1776 is described by us in Prav. Reviewed 1885 book. I, p. 378. Albani. Menologium Graecorum pars I, pag s, 76, 102, 133, 169, 179, 187, 209; pars II, pag. 12, 31, 39, 50, 92, 93, 177, 200, 201. Justice requires noting that in the same Menology such stripes with crosses on the sleeves are also found in the depiction of martyrs and munits who do not belong to the church clergy. Pisan, father and teaches, church, related. to interpretation right, theologian. vol. I, p. 367; N. Krasnoseltsev. About the ancient liturgists. interpretation, page 70. Almost the same interpretation is repeated verbatim by pseudo-Sophronius. (Ibid. p. 272; Ibid. p. 30). Prof. D. F. Belyaev. Byzantina t.P, p. 55, approx. 283, 294. Πότλη καί 'Ράλλη. Σύγταγμα τών χανόνων τ. δ', σελ. 478. Mign. Patrol, curs, complete. t. 155, col. 716; Pisan, father and teaches, church, related. to interpretation right, divine service. vol. III, p. 22. Examples of remarkable patriarchal orders that complemented the sakkos, named after them. at the arch. Savva. Index to M. Patriarch. vestries pp. 29–30; table VIII. A. Dmitrievsky. Described, ligurg. RKP. vol. II Εύχολόγια p. 711. The orders and in several copies are already listed in the Patmos skevophilaky according to the inventory of 1201, published by Diehl in the Byzantinische Zeitschrift. Heft. Band. I, 3–4, S 488–525. Mign. Patrol, curs, conn let t. 155, col. 261; Pisan, father and teaches, church, related. to interpretation right, divine service. vol. II, pp. 103–104. A. Dmitrievsky. Described, liturgist. RKP., storage in the Bible, on the right. East, vol. II Εύχολόγια, p. 347; Conf. Goar. Εύχολογ. pag. 235 You might be interested in: