The rite of the cave action. Historical and archaeological study

Dedicated to Prof. N. O. Krasnoseltsev Of the rites that were in the liturgical practice of the ancient Russian church and are now completely out of use, the one that most attracted the attention of Russian researchers and scientists was the so-called “rite of the cave action.” Attention to this rite extended to the point that one of the liturgical rites even ended up on the pages of the course on the “history of Russian literature” (we mean the work of P. Polevoy). However, the present rite owes this attention to itself not to its internal, highly interesting liturgical features of undoubtedly ancient origin, but to a purely accidental dialogue between the Chaldeans that appeared at a relatively late time in the existence of the present rite. In these dialogues, our scientists (Pekarsky, Veselovsky, Tikhonravov, Morozov, etc.) try to discern in us the germs of that liturgical drama that developed so magnificently in the West under the auspices of the Catholic Church, within the walls of majestic, but indifferent to everything, churches and received the name “mystery” there. In the pursuit of finding this dramatic element in the “rite of the cave action,” our researchers have always overlooked, on the one hand, the fact well known to liturgists that Orthodox worship has never shunned the dramatic element, but on the contrary gave it a prominent place in many rites and studies that were and still exist in use, but mainly in the rites of the consecration of churches and the washing of feet in Great Fourth 2 - and on the other hand, they did not pay any attention to the positive and strong protest against the arbitrary identification of the “rite of the cave action” with the Latin mysteries, expressed back in the 19th century by the famous writer Simeon of Thessalonica. Hotly attacking the Latin Church for allowing mysteries into the church, in which, with plastic relief and with the smallest details, reaching the point of complete illusion, it tried to reproduce historical events from the life of Jesus Christ, the Mother of God and the holy apostles and saints, this writer, in order to eliminate the objection of the Latins regarding the “rite of the cave action”, performed in the Greek church from ancient times and how which would resemble the Western mysteries, writes the following: “If they (i.e., the Latins) reproach us for the cave of the youths, they will not strike us at all, because we do not light the cave, but use wax candles with fire and offer incense to God according to custom, and depict an angel, but do not send a man (into the cave). We only allow the singing pure youths, like those three youths, to sing their song as faithfully. These youths can be portrayed by all those sealed (that is, by the sacraments) and consecrated” 3. In view of this, all of this kind of previous scientific research about the “rite”, for those interested in the cultural past of Byzantium and, in particular, the state of its worship, lose almost all meaning, and before them there is again an urgent need to explore the “rite of the cave action”, to consider all its features, each separately and in a coherent, consistent presentation, in the design of the order, using the historical-archaeological method, in order to fill the gap in our literature in relation to this order. It must be admitted that from this side the “rite of the cave action” has never yet been studied, although in very recent times it was the subject of study by a prominent contemporary liturgist, Archpriest K. T. Nikolsky, who very thoroughly outlined its external historical fate in our church in his major work: “On the services of the Russian Church that were in previous printed liturgical books,” St. Petersburg. 1885, pp. 169–213. But in order to consider this rite from the above point of view and to be fully understood by our readers, we consider it necessary to first make at least a brief excursion into the history of our church charter, which has not yet been thoroughly examined and not properly illuminated. Only, in the light of this story, will all the features of the “rite of the cave action” be clear to us and many of the perplexities expressed by its previous researchers will be resolved by themselves. The history of our “monastic”, and at the same time the general church charter, begins only in 1051, when, according to the chronicler Nestor, Venerable. Theodosius of Pechersky “began to look for the rules of Chernechsk”, “the charter of the Chernets Studio”, which spoke about “how to sing the monastery song and how to bow, and read the readings, and stand in the church, and the entire church row, sitting at the meal and what to eat on which days everything is established” (P.S.R.L., vol. 1, p. 69). "Ave. Theodosius invented (i.e., the charter) 4 to transfer to his monastery: from the same monastery he transferred the charter to the monastery” (ibid.), and then all the Russian churches. What guided the Russian Church in its liturgical practice until this time, almost about a hundred years after the Russians adopted Christianity? This is a natural question that should arise from the researcher first of all, and yet it did not find even a weak reflection in the special work of the late professor of the Moscow Theological Academy I. D. Mansvetov “Church Charter, its formation and fate in the Greek and Russian Church.” Moscow. 1885 We think that we will not be mistaken if we say that the Greek Byzantine Church, which enlightened us with the light of the Christian faith, established a hierarchy among us, gave us at the same time the church charter that it itself used, and that at that time it had the “statutory of the great Church of Constantinople.” Moving from these purely theoretical considerations to the basis of positive Facts, we find, in our opinion, the clearest traces of the existence of the charter of the great Church of Constantinople in the liturgical practice of the Old Russian Church. In the rules of the Russian Metropolitan John II (1080–1089) there is, for example, the following decree regarding the services of Vespers and Matins on Sunday, confirming our observance of the custom of the Church of Constantinople 5 . “The same in singing: “Rise up Lord” and “Every Breath”, “Alleluia” and the Vespers Prokeimenon of the Church (ἐκ παλαιοῦ ἔθος ἐκκλησιαστικόν), says Metropolitan John, priest and bishop of Sedati, Belts or a simpleton in any way, even if there is a prince or a king” 6. This custom is not known to other church statutes. In the rules of the Vladimir Cathedral of 1274, Metropolitan Kirill notes that “within the boundaries of Novgorod, the deacons, eating the Divine Lamb, also created proskourmisation before the priests, and then the priest who came, after proskourmisati” 7 and made an order to stop it. Metropolitan Cyprian in replies to Abbot Athanasius 1390 - 1405. confirms the previous decree: “the deacon should not proskomisat, the servant is a priest, not a peer,” 8 which clearly indicates that the previous custom continued to retain its force in practice. This custom undoubtedly came to us from Byzantium along with the statutes of the Church of Constantinople 9 and was especially firmly established in the practice of the Novgorod church, which extended wide hospitality to this Typikon. The Byzantine origin of the custom we are considering, by the way, is also indicated by the curious fact that in response to the question of the Sarai bishop Theognostus: “If there are many priests and deacons, is it appropriate for the abbot to proskomisate, or not”? The council of Constantinople on August 12, 1276 gives an answer in the spirit of Byzantine practice: “If there is an elder abbot, let you send a deacon; This custom ceased to exist in the east in the 14th century. 11 From the teaching to the Novgorod clergy (1395) of Metropolitan Cyprian and from the message of Metropolitan Photius dated August 12, 1419 to the Pskov clergy, we see that both of these metropolitans prohibit the celebration of liturgies on Wednesday and Friday of cheese week and on Great Friday. “And on Wednesday of Shrove Week and Friday, says Metropolitan Cyprian, there is no service, but only the hours with vespers; also on Good Friday after that” 12. “And on Wednesday and on the Friday of Cheese Week,” writes Metropolitan Photius in Pskov on the same occasion, “we did not celebrate in Palestine, nor in the Holy Mountain, nor in reigning Constantinople on these days, we did not celebrate Wednesday and the Friday of Cheese Week, nor did we celebrate the liturgy that was performed, nor did we celebrate the sacred service; likewise and especially on the great heel of the crucifixion of Christ, neither the liturgy nor the pre-sanctified service was celebrated” 13 . The reference of Metropolitan Photius in this case to the practice of the “reigning Constantinople” must be understood in the sense that the custom of celebrating the Liturgy of the Presanctified Gifts on Wednesday and the heels of Cheese Week and on Good Friday, by the time of Metropolitan Photius, under the influence of the Rules of Jerusalem, even came out of the practice of the great Church of Constantinople, which confirmation can be found in the decrees of the Council of Constantinople 1276 14 and in the works of Simeon of Thessalonica 15. But in ancient times this custom undoubtedly took place in the practice of the Church of Constantinople, 16 through the charter of which it penetrated into our liturgical practice and in some places, as can be seen from the cited teachings of Metropolitan Cypriap and the charter of Metropolitan Photius, held firmly even until the 15th century. Answer 22 to Kirik Nifont, Bishop of Novgorod: “And the abbot reads the gospel at the liturgy on the great day in the altar, in vain to the west, and the deacon speaks silently before the altar while standing, line by line into another gospel in vain” 17 represents an exact reproduction in our country of a similar custom of practice of the great church of Constantinople 18 . We also know about the reading of the Gospels by the bishop from the order of the Council of Constantinople in 1276, which was also made in the spirit of the practice of the Church of Constantinople. To the question of Theognost, Bishop of Saraisk: “On Kia days, and in years of honor, the gospel is appropriate for the saint”? The council answered: “Four times in the summer, on Holy Sunday, the First Gospel 19, and on Easter at Liturgy 20, and on Vespers 21, and on the first day of September, when they walk from the cross 22. Even with the abbot on great holidays, 23 let them honor, with other priests they do not honor, dispel the need” 24. In 1395, Metropolitan Cyprian sent to the Pskov clergy for the week of Orthodoxy “the right, true synodik, which is revered in Tsargorod, in St. Sophia, in the patriarchate, and adds: “And the synodik I am was sent to you by the right King of the city, which is why we commemorate here, or curse the heretics: and you act accordingly” 25 . The same metropolitan writes to Abbot Athanasius: “The holy meal is washed on Maundy Thursday, in the cathedral churches to the saint, and to the lesser children of this child” 26, i.e., he again legitimizes in our liturgical practice the custom of the Church of Constantinople 27. The rites of installation in hierarchical degrees and in particular “the charter of how worthy to elect a bishop”, “the charter of the gospel”, “about the little sign”, “the charter applied at the installation of a bishop”, the rite of “shepherding” bishops and metropolitans 28, the rites of the coronation of Russian princes and tsars 29, the rite of the New Year, celebrated on September 1, 30, and some other ranks were entirely transferred to us from the practice of the great Church of Constantinople. We do not need to list here all the ranks and features of ancient Russian liturgical practice, similar to the practice of the Church of Constantinople, since based on the noted facts, the position is stated with sufficient clarity that the charter of the great church was once in force in our church. This position will become undeniable if we point out that the charter of the great church of Constantinople was translated into the Slavic-Russian language, and the monuments of this translation have been preserved to this day. It does not seem impossible for us to do the latter. So, for example, in the “census book of the house treasury of Patriarch Nikon”, compiled on July 31, 7166 = 1658 by the boyar prince A.N. Trubetskoy and others, it is listed among other books and objects “a book, written in ten, the old Sophia rule, written on veal” 31. The famous scientist A. Popov in the manuscripts of the library A.I. Khludova found a fragment of a parchment manuscript of the 13th century 32 with the following very important title for us: “The Charter of the Great Church of St. Sophia was copied by the God-loving Archbishop of Novgorod Clement” 33 . This passage describes in detail the services for the first thirteen days of September, with all the features of the charter of the great church of Constantinople. Finally, among the manuscripts of the Moscow Synodal Library, the complete parchment Trebnik of the 14th–15th centuries, No. 371 (675), “with Russian spelling,” which once belonged to Patriarch Nikon, who in 7169 donated it to the Resurrection Monastery in New Jerusalem 34, has been preserved. In this Trebnik, which is very similar to the patriarchal Greek euchology of the 11th century. Cardinal Vissarion in the Crypto-Ferrata Library contains exclusively the rites and prayers practiced in the great church of Constantinople. The Crypto-Ferrate Breviary was described by the scholar J. Goar 35 and more recently by A. Rocchi 36 . So, here are the obvious monuments of translations of our liturgical books with the peculiarities of the practice of the charter of the great church. If there were translations, then, consequently, there was a need for them in Rus', and this need, as evidenced by the same facts, covered a fairly significant area of ​​our ancient Russian territory. The charter of the great church was used not only in the Metropolitan Cathedral of St. Sofia in Kyiv, but it was “written off” for the “Church of St. Sophia" in Novgorod, undoubtedly also in Pskov, as can be seen from the above passages of the messages to Pskov of Metropolitans Cyprian and Photius, aimed at destroying the customs of the great Church of Constantinople. The rites of the New Year, the rite of the cave performance and some other rites indicate that the charter of the great church regulated the liturgical practice in Vologda, in all likelihood, in Vladimir-on-Klyazma, in Chernigov and in other cities. The dominance of this charter was supplanted little by little, first by the charter as amended by Patriarch Alexy, and then finally by the Jerusalem charter. Hence, it is clear that the addition “in the census book of the house treasury of Patriarch Nikon” is that the “Rule 37 of Sophia” written “on veal” was “old”, that is, it was considered in the 17th century. already out of use. “The rite observed on the week of St. Forefather or St. The Father of the Cave Action" 38, which we are now proceeding to consider, although in all its volume and composition, as it was set out in our manuscripts of the 16th - 17th centuries and as it was printed in Moscow, and is unknown to us from Greek monuments, nevertheless we do not doubt the Byzantine origin of its main components and features and consider this order a new confirmation of the position that in During the most ancient times of our church-religious life, the charter of the great Church of Constantinople was firmly held in liturgical practice, one of the features of which was the present rite. In order not to be unfounded, we will consider each of the features of the “rite of the cave action”, known to us from Russian monuments, highlighting from it for now, for which, as we will see below, we have our own special reasonable grounds, the very rite of burning the cave and throwing three youths into it, which is part of the morning service and combined with the singing of the seventh and eighth songs of the canon. Since the entire “rite of the cave action” includes the sequence of Vespers, Matins and Liturgy, we will begin our study with a review of the features of these sequences. If the Nativity of Christ fell on Monday or Tuesday, then the “cave action” took place on the week of the Holy Forefathers, and if the same holiday fell on the following days of the week, then the “action” took place on the week of the Holy Fathers. Preparations for this “action” 39, “with the blessing of the saint,” began on the Wednesday preceding the Resurrection, when “sextons and bell ringers” dismantled “the large chandelier that needs to be ambo for the church environment.” On Saturday, “at mass at the saint’s, the clerics of the ambon are blessed to move the place, and in that place they will put a stove,” which they did after the liturgy. “Ambon” was removed “behind the left choir”, and in its place, “opposite the royal doors”, a “cave” 40 was placed, near which there were “iron shandals” with “twisted candles”. On the iron hook, on which until that time there had been a chandelier, a parchment image of the “Angel of the Lord” was hung, which was lifted from the altar and lowered into the oven with the help of a “trap” or rope 41. The bell for Vespers began at 6 o'clock and lasted “for the sake of the people” for an hour. The clergy concelebrating with the saint, “the teacher of the youth 42 and the youths 43 and the companions 44 and the Chaldeans” 45 gather in the bishop’s “cross cloth” and the “youths” put on “surplices 46 and crowns” 47 or “in youth caps,” the Chaldeans “in Chaldean dress” 48 and in turiks or sheloms 49 , and the podiyaks - “into their surplices”, after which everyone goes “to the vestibule in front of the cross cell” and here they wait for the saint to leave the “exhausted cells”. After the saint leaves, one of the Chaldeans goes to the “cell of the cross,” followed by the youths and then another Chaldean, “holding the corpses with floating grass 50 and candles lit and palm trees 51 in their hands.” The first Chaldean says: “Bless the Master,” the second adds: “And pray.” The bishop responds to this by reading: “It is worthy to eat” and dismissal, after which he distributes lighted candles to the youths. “Teacher of adolescence” to say: “Praise, lads, the Lord, praise the name of the Lord” 52, the bishop adds: “Blessed be the name of the Lord from now on and forever.” The youths sing: “Blessed are the Lord God of our fathers” and everyone goes “to Sophia for vespers” in this order: first, three in a row without candles, “podiaks” go, followed by a “podiak” with a lamp and two others with “large candles”, then the youths “with triple candles”, on the sides of which are Chaldeans, then the clergy and, finally, the bishop. Upon entering the church, the first Chaldean says: “Bless the Master,” the second adds: “And pray.” The bishop stands “in the holy place” in the middle of the church, against which the youths sing: “Sir to the Eminence.” The clerks stand “from the cave on the right side, facing the saint.” The bishop makes the usual bows with the reading: “It is worthy to eat” and blesses the people. After this, having bowed to the bishop, the youths and clerks go to the altar through the northern doors, and the Chaldeans stand in front of the altar. The protodeacon comes out of the altar “quickly through the royal doors” and, “standing at the level of the cave,” says: “Bless the Master,” the archpriest replies from the altar: “Blessed is our God,” and Vespers begins. In a similar way, the bishop goes out to Matins and to the Liturgy, with the only difference being that, on the way to Matins, the youths sing the verse: “Like a commandment for us, that it may be good for us,” and for the Liturgy - the verse: “And like the sand that opens up the seas.” Without having a direct original of the present rite in the practice of the Greek Church, we cannot indicate the origin of all its details and particulars, which are of an exceptional nature, but the features of this exit to the divine service of the bishop, so to speak, of a general nature, are undoubtedly the same as those that we find in the ordinary charter of the great church. In what we know from the 15th century manuscript. Russian St. Andrew's skete on Athos rite of evening, morning and liturgical services or “Τάξις, γινομένη ἐν τῇ μεγάλῃ ἐκκλησίᾳ ἐπὶ τε τῷ ἑσπερινῷ, τῷ ὄρθρῳ, τῇ θείᾳ καὶ ἱερᾷ λειτουργίᾳ καὶ ἐπὶ τῇ χειροτονίᾳ τοῦ ἐπισκόπου” we read the following description of the Metropolitan’s exit for the evening service: “Τῷ σαββάτῳ ἑσπέρᾳ, μετὰ τὸ συναχθῆναι τὸν κλῆρον, ἀπέρχονται εἰς τὸ κελλίον τοῦ μητροπολίτου, καὶ λαμβάνει τὸ μονοβάμβουλον ὁ ὀστιάριος, εἰ ἔνι, εἰ δὲ μή, ἑτερὸς τις τῶν ἐκκλησιαστικῶν 53 , ?? λαοῦ ἔμπροσθεν τοῦ ἀρχιερέως, εἰσέρχεται ὁ ἀρχιερεὺς εἰς τὴν ἐκκλησίαν καὶ προσκυνεῖ μέσον τῆς ἐκκλησίας ἱστάμενος, ἔπειτα ἀσπάζεται τὴν εἰς τὸ μέσον τοῦ ναοῦ ἱσταμένην ἁγίαν εἰκόνα καὶ ἀνέρχεται εἰς τὸ στασίδειον αὑτοῦ, καὶ ψάλλουσιν ἐκ τρίτου οἱ κληρικοὶ μετὰ τὸ ἀνελθεῖν αὐτὸν ἐκεῖσε τὸ Τθν δεσπότην καὶ ἀρχιερέα ἡμῶν, Κύριε, φύλαττε, μετὰ μέλους. Μετὰ δὲ τὸ συμπληρωθῆναι τοῦτο παρ' αὐτῶν, ἐπευλογεῖ αὐτοὺς ἐκ τρίτου ὁ ἀρχιερεύς, ἐπιφωνούντων αὐτῷ το Εἰς πολλὰ ἔτη, δέσποτα. Εἶτα γίνεται ἔναρξις τῆς ἀκολουθίας, τοῦ μὲν διακόνου ἐκφωνοῦντος τὸ Εὐλόγησον δέσποτα, τοῦ δὲ ἱερέως ἢ Εὐλογητὸς ὁ Θεός, ἢ Εὐλογημένη ἡ βασιλεία 54. If in this rite the ostiary and the clergy with lamps are replaced by clerks, and the clerics or singers are replaced by youths and a “adolescent teacher”, two people from the people are dressed “in Chaldean dress” and “turiki” or “sholoms”, and the hymns that the youths are supposed to sing on the way to church are put into the mouths of the singers, then the identity between both ranks will be complete. All other rituals do not represent any difference in both ranks. Vespers before leaving took place as usual. During the dogmatist, an exit is made. A Chaldean with a “Chaldean candle” walks ahead, followed by youths, then another Chaldean, then a “podiac” with a candle, “city deacons”, “from the tenth councils”, “archpriest and cathedral and city priests” - “from the councils elders”. The youths stand opposite the bishop’s place, with Chaldeans on either side, and a “podiak” with a candle at the royal doors. The remaining persons, after making the entrance, go to the altar, where, having bowed to the ruler, the youths also retire, and the Chaldeans take their former place. “The Podians of the smaller village” behind the cave, in the middle of the church, sing: “Holy Glory” 55, followed by the prokeimenon: “The Lord reigns,” which is pronounced by the “Podiyak.” “The singing diyaks sing the prokeimenon three times twice in the choir, and the podiyaks also sing the big village behind the cave, in the middle of the church, the demestial prokeimenon” 56. The rest of the evening service is performed as usual. If we now turn to the same rite of Vespers, according to the rules of the great church, then we will find all the features of the described moment in it. “Εἰς δὲ τὸ Δόξα, this rite says, ἐνδύονται οἱ ἱερεῖς ἐντὸς τοῦ βύματος τὰ ? τῆς προθέσεως, καὶ ἀπέρχονται πλησίον τῶν ὡραίων πυλῶν τοῦ ναοῦ· καὶ στιχηδὸν στάντων τῶν ἱερέων καὶ τῶν διακόνων ἐκεῖσε, κατὰ τάξιν, πορεύεται ὑποδιάκονος, κρατῶν θυμιατήριον καὶ μανουάλια δύο, ἐνδεδυμένος καμμύσιον, καὶ τὰ μὲν μανουάλια ?? τῷ δευτερεύοντι τῶν διακόνον, αὐτὸς δὲ ἀπέρχεται καὶ ἵσταται ὄπισθεν μεταξὺ τοῦ τε πρώτου τῶν ἱερέων καὶ τοῦ δευτερεύοντος τῶν διακόνων. Καὶ ἡνίκα πληρωθῇ τὸ στιχηρόν, ἐκφωνεῖ ὁ δευτερεύων τῶν διακόνων, μικρὸν προβὰς τὸ Σοφία ὀρθοί, σφραγίζων σταυροειδῶς μετὰ τοῦ θυμιατηρίου, καὶ ἀπέρχονται οἱ ἔσχατοι διάκονοι καὶ λαμβάνουσι τὰ μανουάλια, καὶ προπορεύονται τῆς εἰσόδου, καὶ γίνεται ἡ εἴσοδος μέχρι καὶ ἐντὸς τοῦ ἁγίου βύματος. Ὁ δὲ ὑποδιάκονος ὑποστρέφει ἀπὸ τοῦ μέρους, ὅθεν ἐξῆλθεν ἦ εἴσοδος, καὶ εἰσέρχεται καὶ αὐτὸς ἐκεῖθεν εἰς τὸ ἅγιον βῆμα. Ἐν ὅσῳ δὲ ἒρχεται ἡ εἴσοδος, προπορεύεται μετὰ τοῦ θυμιατηρίου ὁ δευτερεύων τῶν διακόνων καὶ ἵσταται ἔμπροσθεν τοῦ στασιδείου τοῦ ἀρχιερέως καὶ θυμιᾷ αὐτόν, εἶτα ἀπέρχεται καὶ ἑνοῦται τοῖς ἱερεῦσι, καὶ πρῶτος οὕτος εἰσέρχεται αὐτὸς τὴν σολαίαν, καὶ οὕτω τελεῖται τὰ τῆς εἰσόδου. Ψαλλομένον δὲ μετὰ ταῦτα τοῦ προκειμένον παρὰ τοῦ δομεστίκου ἢ τοῦ λαοσυνάκτου ἐν τῷ ἄμβωνι, συνόντων αὐτῷ καὶ συμψαλλόντων καὶ τῶν ψαλτῶν, κάθηται ὁ ἀρχιερεὺς καὶ οἱ εὑρεθέντες ἐκεῖσε ἐπίσκοποι, κάθηνται δὲ ὁμοίως καὶ ἐξωκατάκοιλοι" (i.e. the first six deacons: the great steward, the great sacellary, the great skeuphylax, chartophylax, sacellium and protecdycus). At the end of Vespers, the youths with the Chaldeans approach the “holy place”, and the “podiyaks” also come here with a lamp and candles, and they all bow together to the bishop and escort him to the chamber of the cross in the order in which they went to Vespers. During the journey, after Vespers, the youths sing the verse: “And to the holy city” with a chorus, after Matins - the verse: “The sting and reproach of Thy servant who honors You” and after the Liturgy - the verse: “And give glory to Thy name,” or “Like a fat lamb in the darkness” with the chorus. At the entrance to the “cross cell,” the first Chaldean says: “Bless the Master,” the second adds: “And pray.” The youths sing “entrance according to custom,” i.e., “To the Most Holy Patriarch of Moscow and All Rus', and Execute the Despot.” If he is a metropolitan, then he will live for many years 57. The “podians” with a lamp and candles stand in the cross on the left side of the youths and, together with the latter, after the end of the entrance, bow to the bishop and leave. The bishop reads “It is Worthy to Eat,” takes the usual leave of absence and, having blessed everyone, retires to his chambers, and the clergy or “authorities” return home. The youths, the teacher of adolescence and the Chaldeans have a table “in the key and going to the cellar,” and “singers and Nodiyaks” have “only going to the cellar.” In the rite of Vespers, according to the rules of the great church, the end of it and all services in general is stated as follows: “Μετὰ δὲ τὴν συμπλήρωσιν τῆς ἀκολουθίας, ψάλλουσιν ἅπαντες ὁμοῦ τὸ Στερέωσον, ὁ Θεός, τοὺς βασιλεῖς ἡμῶν, ναί, Κύριε, εἰς πολλὰ ἔτη, διαφύλαττε τὴν ἁγίαν βασιλείαν αὐτῶν· ἔτι δὲ καὶ τὸ Τὸν δεσπότην καὶ ἀρχιερέα ἡμῶν, Κύριε, φύλαττε. Καὶ συμπληρωθέντος τούτου, δοξάζει ὁ ἀρχιερεύς, καὶ γίνεται ἀπόλυσις ἀπὸ τοῦ ἱερέως· εἶτα ψάλλουσι συνήθως πάλιν οἱ κληρικοὶ μεγαλοφώνως τὸ Πολυχρόνιον ποιήσαι, ὁ Θεός, τὴν ἁγίαν βασιλείαν αὐτῶν εἰς πολλὰ ἔτη, καὶ τὸ Τὸν δεσπότην καὶ ἀρχιερέα ἡμῶν, Κύριε, φύλαττε. Καὶ μετὰ τοῦτο εὐλογεῖ αὐτοὺς ἐκ τρίτου ὁ ἀρχιερεύς, ἐπιφωνούντων κάτωθεν πάντων τὸ Εἰς πολλὰ ἔτη, δέσποτα, καὶ κατέρχεται ἀπὸ τοῦ στασιδείου αὐτοῦ, καὶ προπορευομένων τῶν κληρικῶν μετὰ τοῦ μονοβαμβούλου, ὡς καὶ τὴν ἀρχήν, ἀπέρχεται μέχρι καὶ τοῦ κελλίου αὐτοῦ· κἀκεῖσε συνήθως τοῦ κλήρου καὶ τοῦ λαοῦ εἰπόντος τὸ Εἰς πολλὰ ἔτη, δέσποτα, ὁ ἀρχιερεὺς εὐλογεῖ αὐτοὺς ἅπαξ καὶ ἀπολύει. Τοῦτο ποιεῖ ὁμοίως καὶ ὅτε ἐξέρχεται τοῦ κελλίου αὐτοῦ πρὸς τὸ εἰς ἐκκλησίαν ἐλθεῖν, ἤτοι τῷ σαββάτῳ ἑσπέρᾳ, τῇ κυριακῇ πρωὶ καὶ κατὰ τὰς ἐπισήμους τῶν ἑορτῶν 58 ). Thus, all the features at the end of the services of the week of St. fathers find a foundation for themselves in the practice of the great Church of Constantinople. The good news for Matins began “6 hours before” and lasted “for the sake of the people” for an hour. Following it, except for the rite of the “cave action” itself, before the singing of the great doxology, was carried out in the usual manner, if we do not take into account the peculiarity that the Sunday Gospel of that day was read not before the canon, but after the doxology. “When the time is ripe for the doxology,” we read in the rite of the cave action, “the priest sings the “Most Blessed One” and the doxology in the cave, and when they learn to sing the last article: “The Lord will be our refuge,” then two Chaldeans with external candles go out together, and then the youths with the candles, the same archdeacon with the Gospel and archpriest and priests according to rank. And the youths and Chaldeans came before the holy place and bowed to the saint and stood before the holy place until they finished the doxology 59). When the priests sing a praise, the first Chaldean goes from the holy place to the cave, and after him the youths and the other Chaldeans. The youths Ananias, Azarias and then the archdeacon with the gospel and the archpriest also go into the cave, and Misailo follows them into the cave. The archdeacon puts the holy gospel on the tax and goes down to do it, and the youths will all stand in the cave together at the tax against the archpriest, and the Chaldeans will stand in the caves throughout the countries, singing with them the Turks. And you say prokeimenon podiyak. standing at the royal doors. When you read the archpriest's gospel 60, the youths Ananias, Azariah, the same archpriest with the gospel and then Misailo go to search. And the youths will stand before the saint as previously indicated and worship the saint together. After reading the Gospel, the Chaldeans put on turiks 61. And the archpriest came before the saint with the gospel and, bowing to the saint, brought the holy gospel, the saint kisses the holy gospel and blesses with the archpriest’s hand, the archpriest kisses the saint’s hand and departs again from the place with the gospel and, having bowed to the saint, the voltar departs and places the gospel on the throne. And the youths and Chaldeans will also bow to the saint, and the youths will go to the voltar through the northern doors.” This moment of Matins, according to our rite of action in the cave, represents in all its most important and fundamental features a reproduction of the features of the practice of the great church. This is how he is described in the rite of the great church: “Εἰς δὲ τὴν μεγάλην δοξολογίαν γίνεται ἡ εἴσοδος πάλιν, ὥσπερ εἴρηται ἐν τῷ ἑσπερινῷ. Ψαλλόντων τῶν ἱερέων τὸ Ὑπερευλογημένη ὑπάρχεις, μέχρι τέλους, πλὴν εἰς τὴν τοιαύτην εἴσοδον, ἔμπροσθεν τῶν μανουαλίων προπορεύεται ἀναγνώστης μετὰ φαινολίου μεταξωτοῦ, κρατῶν ἐν ταῖς χερσὶν αὐτοῦ σταυρὸν μέγαν, καὶ ὁ μὲν ἀναγνώστης μετὰ τοῦ σταυροῦ ἵσταται μέσον τῶν μανουαλίων. Ὅταν δὲ ὑποστρέφωσιν εἰς τὸ βῆμα, αὐτὸς προπορεύται καὶ ἔρχεται μέχρι, καὶ ἑκτὸς τῆς σολαίας καὶ ἵσταται ἐκεῖσε. Εἰσελθόντων δὲ τῶν ἱερέων ἐντὸς τοῦ βήματος, ἀνέρχεται ἀναγνώστης μέχρι δύο βαθμίδων τοῦ ἄμβωνος καὶ λέγει μετὰ μέλους τὸ Δόξα ἐν ὑψίστοις Θεῷ. Πληρωθείσης δὲ τῆς μεγάλης δοξολογίας ἐντὸς τοῦ βύματος παρὰ τε τῶν ἱερέων καὶ τῶν διακόνων, ἀνέρχεται πάλιν ὁ αὐτὸς ἀναγνώστης καὶ ψάλλει μετὰ μέλους τὸ Ψαλμὸς τοῦ Δαβὶδ, εἶτα τὸ Ἀνάστηθι, Κύριε, καὶ τοὺς λοιποὺς στίχους. Καὶ κατέρχεται ὁ τοιοῦτος ἀναγνώστης, καὶ ἀνέρχεται ὁ δομέστικος ἢ ὁ λαοσυνάκτης μέχρι καὶ τριῶν βαθμίδων τοῦ ἄμβωνος καὶ ψάλλει μετὰ τῶν λοιπῶν ἀναγνωστῶν τὸ προκείμενον, ἀλλὰ δὴ καὶ ψάλλει ὁ δομέστικος, ἐπὶ τὰ τέλη ἤχισμα. Ἐν ὅσῳ δὲ ψάλλει τὸ τοιοῦτον προκείμενον ὁ δομέστικος, ἐξέρχονται δύο ἀναγνῶσται μετὰ μανουαλίων καὶ δύο διάκονοι, ὄπισθεν δὲ τούτων ἔρχεται ὁ ἱερεύς, κατέχων ἐν ταῖς χερσὶν αὐτοῦ τὸ ἅγιον εὐαγγέλιον, ἐνδεδυμὲνος τὴν ἱερατικὴν ἅπασαν στολήν, καὶ ἀνέρχεται ἐπὶ ἄμβωνος ἀπθ τοῦ ὄπισθεν μέρους καὶ κάθηται μετὰ τῶν διακόνων μέχρις ἂν πληρώσωσιν οἱ ἀναγνῶσται μετὰ τοῦ δομεστίκου τὸ προκείμενον καὶ τὸ Πολυχρόνιον ποιήσαι τὴν ἁγίαν βασιλείαν αὐτῶν, καὶ τὸ Τὸν δεσπότην καὶ ἀρχιερέα. Ἡνίκα δὲ λέγουσι τὸ Ποληχρόνιον ποιήσαι καὶ τὰ ἑξῆς, ἀνίσταται ὁ ἱερεὺς καὶ οἱ διάκονοι· καὶ οἱ μὲν διάκονοι κατέρχονται μέχρι βαθμίδων τριῶν, οἱ δὲ ἀναγνῶσται μετὰ μανουαλίων ἵστανται εἰς τὴν δευτέραν βαθμίδα, καὶ ἐπάνω τούτων τίθησι τὸ ἅγιον εὐαγγέλιον ὁ ἱερεύς. Καὶ λέγει ἁπό τοῦ ἁγίου βύματος ὁ δευτερεύων τῶν διακόνων τὸ Σοφία ὀρθοὶ ἀκούσωμεν τοῦ ἁγίου εὐαγγελίου. Καὶ ὁ ἱερεὺς τὸ τοῦ ἁγίου εὐαγγελίου ὄνομα καὶ ἐξῆς τὸ ἅγιον εὐαγγέλιον. Καὶ μετὰ τὴν συμπλήρωσιν τούτου, ἐπαίρει ὁ εἰς τῶν διακόνων τὸ ἅγιον εὐαγγέλιον καὶ ἀπέρχεται εἰς τὸν ἀρχιερέα, καὶ ἀσπάζεται τὸ ἅγιον εὐαγγέλιον, καὶ εὐλογεῖ αὐτόν, ὁ δὲ ἱερεὺς ἵσταται εἰς τὴν ἐσχάτην βαθμίδα τοῦ ἄμβωνος καὶ προσμένει μέχρις ἂν ἔλθῃ ὁ διάκονος. Καὶ ἀφ' οὖ ἔλθῃ οὗτος εἰσέρχεται πρῶτον ὁ ἀναγνώστης μετὰ τοῦ σταυροῦ ἐντὸς τοῦ ἁγίου βήματος, εἶθ' οὕτως οἱ ἀναγνῶσται, "62 . Our rite of Matins, therefore, does not only talk about the carrying out of the large cross and the singing of the great doxology by the priests inside the altar, instead of which the “podiacs” do the same. As for the prokemne and the rituals practiced, our order is to speak briefly about them, and therefore it is useful to recall here the rule of Metropolitan John II, which we discussed above. From this rule it is clear that this moment of Matins in the ancient liturgical practice of our church did not differ from the practice of the Church of Constantinople. After Matins and seeing off the bishops to their chambers, “on the teacher and on the youths, and on the singers of both ranks, and on the priests, and the Chaldeans, it happens early in such a manner; and emergence into the cellar" 63 . In the period of time between Matins and the Liturgy, for which they began to ring at half past two in the afternoon, i.e., about 8 o’clock, the oven was dismantled and the pulpit was put in its place again, the “local icons” were placed in their places and the church was washed. The exit and meeting of the bishop before the liturgy took place in the usual manner, as we have already described. The bishop dressed, in accordance with the practice of the great church, in “his place,” in the stasidia, in the middle of the church. At this time, the “podiyaks” on the pulpit sang the “Sunday verse,” and the youths, Chaldeans and the podiyaks with a lamp stood in front of the bishop’s seat. After vesting, the protodeacon and deacons bowed three times in front of the royal doors and then bowed once to the bishop, who blessed them. The protodeacon loudly said: “Exterminate the despot” three times, to which the youths responded: “To the Eminence with many years” and “they sing the river of Babylon 64 the first article, and having chanted the youths, bowed to the saint, they leave the altar, and the Chaldeans are left before the altar. The podiyaks of the smaller village opposite the saint also sing the second article of the rivers of Babylon: “If you forget Jerusalem.” And then the podiaks of the big village sing the third article: “The one who says: exhaust.” Not having the Greek original of our complete “rite of the cave action,” we do not dare say where we got the singing of the “River of Babylon” or Psalm 136, but there is no doubt that the three “articles” noted in this place replace the three antiphons that are sung in the usual liturgy. In the printed “rite of the cave action” there is no indication “to the river of Babylon,” but it is generally said: “the antiphons and the apostle are honored by the oprichnina podiak.” As for the remaining features, they are all of Byzantine origin and are not even alien to the modern rite of the bishop's liturgy. The small presentation of the Gospel is in many ways similar to the presentation of the Gospel at Matins, after the Great Doxology. During this exit, both Chaldeans walked ahead with “out-of-the-way candles,” followed by youths with candles, then deacons, and then two “handers with blessing candles.” After bowing to the bishop, they all stood in front of his place. The gospel is brought by the “sacristan” and handed over to the protodeacon, who, having accepted it from the hands of the first, bows to the saint with him; then the sacristan takes off the bishop’s “hat,” and the protodeacon gives the latter the gospel to kiss, and the bishop blesses it with his hand, and, declaring: “Forgive Wisdom,” takes the gospel to the altar. Ahead of the Gospel with “blessing lights,” the “podiacs” walk to the royal doors and stop here. Two archimandrites bowingly take the bishop by the arms and lead him away from the stasidia. The bishop, preceded by a priest with a lamp, youths and Chaldeans, goes to the altar; “podiyak” with a lamp, Ananias and Azariah stand in front of the royal doors on the right side, and Misail - on the left side. Here, on both sides, stand the Chaldeans. Upon entering the bishop’s altar, the youths and servants, having bowed before the royal doors, retire through the northern doors to the altar and, standing at the throne before the saint, whine: “Use the triple,” and the bishop at this time censes the altar “according to rank.” In the rite of the liturgy, according to the rules of the great church, this entrance is described with the same details, of course, only without mention of the youths and Chaldeans. It is said here, εὐαγγέλιον, ὁ δὲ ἱερεὺς ἕπεται τούτῳ οὕτως, προπορεύονται δὲ τούτων ἔμπροσθεν ἀναγνῶσται μετὰ μανουαλίων· καὶ οἱ μὲν ἀναγνῶσται ἱστᾶσι τὰ μανουάλια εἰς τὸν τεταγμένον τόπον καὶ ἀπέρχονται, ὁ δὲ διάκονος δίδωσι τὸ ἅγιον εὐαγγέλιον τῷ δευτερεύοντι τῶν διακόνων· καὶ ἀσπάζεται αὐτὸ ὁ ἀρχιερεὺς εἰς τὰς χεῖρας αὐτοῦ, καὶ μετὰ τὸ ἀσπάσασθαι αὐτό, εὐλογεῖ τὸν ἱερέα τὸν ποιήσαντα τὴν ἔναρξιν. . . Τότε μικρὸν προβὰς τῆς στάσεως τῆς εἰσόδου ὁ δευτερεύων τῶν διακόνων, ἢ μὴ ὄντος τοῦ τοιούτου, ἕτερος τῶν διακόνων λέγει μεγαλοφώνως, ἐγχαράττων καὶ σταυρὸν μετὰ τοῦ ἁγίου εὐαγγέλιον τὸ Σοφία ὀρθοί. ἀπέρχονται οἱ ἔσχατοι διάκονοι, ἐπαίροντες τὰ μανουάλια, καὶ γίνεται ἡ εἴσοδος, πορευόμενοι δύο δύο. Ὅτε δὲ κινήσῃ ὁ ἀρχιερεύς, ὄντων τῶν ἀναγνωστῶν παρ' ἑκάτερα τὰ μέρη τούτου, λέγουσι τὸ Εἰς πολλὰ ἔτη, δεσποτά, πλὴν φθέγγονται τοῦτο ἐκ τρίτου μέχρις ἂν ἔλθῃ εἰς τὴν σολαίαν. . . Καὶ ψαλλόντων τὸ ἀπολυτίκιον τοῦ κατὰ τὴν ἡμέραν ἁγίου, θύρωθεν τὴν ἁγίαν τράπεζαν 65 The Trisagion, in accordance with the practice of the Church of Constantinople, 66 is sung by the youths and priests “altar-domestic”, standing before the bishop, who is in a high place. After Apostle 67, “Hallelujah half-leap” is sung on the pulpit by the Diyaki - “lesser village”, and in general the Liturgy is sung by the “demestvennaya” singers in both choirs. The protodeacon carried the Gospel to the pulpit for reading in this way. First comes a Chaldean with a “removable” lit candle, followed by youths with candles, who had come out of the altar through the northern doors some time before, then a second Chaldean with the same candle, and, finally, an archdeacon with the gospel. The youths Ananias and Azarias with the protodeacon ascend to the pulpit, and Misail goes up there after them, and all stand together. The Chaldeans stand on both sides of the pulpit below, having taken off their “tiriks” and placed them on the “palm trees.” In the same order, all these persons return to the royal doors, after the gospel has been read by the protodeacon, who takes the gospel to the altar. The youths, having bowed before the royal doors, retire to the altar, stand behind the throne and stand there with candles until the great exit. We see the same rituals when bringing the gospel out for reading, although with different characters, in the liturgy of the great church. “Καὶ ἐξερχομένου τοῦ τοιούτου (i.e. χαρτοφύλακος), it says here, προπορεύονται ἀναγνῶσται δύο μετὰ μανουαλίων, μετὰ τούτους οἱ διάκονοι, εἶτα ὁ εὐαγγελιστής, ὁποῖος ἐστί, καὶ ἐξέρχονται ἀπὸ τοῦ δεξιοῦ μέρους τῆς σολαίας, καὶ ἀνέρχονται ἀπὸ τοῦ ὄπισθεν μέρους εἰς τὸν ἄμβωνα καὶ ἵστανται εἰς τὸν τεταγμένον τόπον ἀυτῶν. Ψαλλόντων δὲ τῶν ἀναγνωστῶν τὸ τελευταῖον Ἀλληλούια τοῦ ἀποστόλου μετὰ μέλους καὶ ἀργίας, ἀνίσταται ὁ ἀρχιερεὺς ἀπὸ τοῦ συνθρόνου" 68 . During the great exit, both Chaldeans walked in front of everyone along with candles, followed by youths with “twisted candles,” then deacons with ripids and “with Zions,” and then the rest of the clergy “according to rank” with a paten and a chalice, and some with “shrouds.” Having bowed before the royal doors to the saint, the youths and Chaldeans, after the bishop has accepted the holy gifts, retire through the northern doors to the altar. Deacons with ripids and “podiacs” also go there. The youths stand behind the throne with lit candles. In “Διάταξις τῆς τοῦ πατριάρχου λειτουργίας πῶς γίνεται ἐν τῇ μεγάλῃ ἐκκλησίᾳ" 69 the great exit is described as follows: "Καὶ οὕτω γίνεται ἡ εἴσοδος, προπορευομένου τοῦἐπὶ τῆς εὐταξίας ἔμπροσθεν, εἶτα τοῦ κανστρισίου μετὰ τοῦ ὠμοφορίου τοῦ πατριάρχου καὶ τοῦ θυμιατοῦ, ἢ τοῦ δευτερεύοντος τῶν διακόνων, εἶτα τῶν κρατούντων τὰ ῥιπίδια διακόνων, μεθ' οὓς ὁ τὸν ἅγιον ἄρτον κρατῶν, καὶ ὄπισθεν αὐτοῦ οἱ κρατοῦντες τοὺς λοιποὺς δίσκους, εἶτα ὁ πρωτοπαπᾶς μετὰ τοῦ ἁγίου ποτηρίου, καὶ οἱ λοιποὶ ἱερεῖς κατὰ τάξιν, ὄπισθεν δὲ πάντων οἱ κρατοῦντες ἐπὶ κεφαλῆς τὸν ἀέρα διάκονοι, καὶ μετ' αὐτοὺς πάλιν οἱ ὑποδιάκονοι, κατέχοντες καὶ τὸ χερνιβόξεστον.” The “air” mentioned here is undoubtedly our “shroud”, which is spoken of in the “rite of the cave action”, which received its name because the image of the position of the Savior in the tomb was embroidered on the large air. As for the “zions”, which, according to our rite, were carried out at this exit and which the rite of the liturgy does not mention, according to the charter of the great church, then in ancient times they also constituted a necessary accessory to the Sofia divine service and were undoubtedly taken out at the great exit. Archbishop Anthony of Novgorod, who was in Constantinople in the 12th century, describing the rite of the liturgy that took place in St. Sophia says the following about the great exit: “And the eunuchs sing about the transfer, and the priests first, and then the cheriets edip sings, and then many priests and deacons will carry the gifts of the Lord... And as they will carry the radiant Jerusalem and ripidi, and then there will be sighing and crying among people for their sins” 70. In ancient times, “Zions” and “Jerosalim” were synonymous names 71 . Thus, our great exit on the week of the forefathers at the liturgy was performed in accordance with the customs of the great church in Constantinople. “On the ambon the podiyaks sing the demonym “Father and Son” and kepapts” (i.e. Καὶ πάντων καὶ πασῶν - And everyone and everything). In accordance with the custom of the great church 72, according to the printed rite, “I believe in one God says Misailo,” who, in addition, “cries out: “We will return.” Ioseus 73 song of onzhe" 74. According to the testimony of Balsamon (see his interpretation on the 22nd rule of the Council of Laodicea), the exclamation: “The Elites of the faithful” was required to be pronounced by subdeacons 75. The time of pronouncing this exclamation in the rite of the liturgy, according to the charter of the great church, is determined as follows: “Καὶ γενομένης τῆς συνήθους ἀκολουθίας, εἰς τὰς μυστικὰς εὐχὰς ἐξέρχεται ὁ ὑποδιάκονος, οὐδὲν φέρων ἐν ταῖς ?? ἵσταται ὄπισθεν τοῦ ἄμβωνος. Καὶ ὅτε ἐκφωνεῖ ὁ ἀρχιερεὺς Τὸν ἐπινίκιον ὕμνον, ψάλλει ὁ τοιοῦτος ὑποδιάκονος μετὰ μέλους τὸ Ὅσοι πιστοί, ἐκ τρίτου. Καὶ παλιν, ὅτε ἐκφωνεῖ ὁ ἀρχιερεὺς τὸ Λάβετε, φάγετε, ὁ ὑποδιάκονος ψάλλει μετὰ μέλους πάλιν τὸ Ὅσοι πιστοί, ἐκ τρίτου. Καὶ πάλιν, ὅτε ἐκφωνεῖ ὁ ἀρχιερεὺς τὸ Ἐξαιρέτος τῆς παναγίας ἀχράντου, λέγει ὁ αὐτὸς ὑποδιάκονος ἐκ τρίτου τὸ Ὅσοι πιστοί, εἶτα εἰσέρχεται πάλιν διὰ τοῦ ἀριστεροῦ μέρος εἰς τὸ ἅγιον βῆμα" 76 . The most honest one was sung “various”, and “Alleluia” with the “kenadik” (Κοινωνικόν) - “railova”. During the singing of the sacrament, the youths, having bowed to the bishop, retire to the altar and, after communion of all the clergy, when the bishop sits in the “place prepared for him,” they bring him from the altar “one dora” (ἀντίδωρον). (According to the printed rite, “Ananya and Azariah walks with the road, and Misailo holds the dill”), the Bishop consumes the “dora,” blesses the youths and gives them his hand to kiss, after which the youths again retire to the altar. After the prayer behind the pulpit, the youths go to the church “from the door”; one Chaldean precedes them, and another follows. The youths stand on the left “priestly” choir, on the sides of the holy place. The saint leaves the altar, stands behind the pulpit, facing the people, blesses the “doors” three times, after which the youths retire to the altar. At the end of the dismissal, the youths again stand in front of the holy place and sing: “Εἰς πολλὰ ἔτη,” and then accompany the bishop, according to custom, to the chambers. The Chaldeans and youths preceded the bishop, “in all rank with lights,” as he entered the dining room, and sang the verse: “For thou hast found in the furnace of the Chaldeans,” or “Give glory to thy name, Lord.” The youths stand “opposite the saint until the third nature,” and the Chaldeans are on their sides, and “the youth receives gifts from the saint” or “amusement.” By order of the bishop, the youths sing “caves verses”, according to the printed rite, the verse: “Bless the youths with penays” 77, and after them the diyaks “selected verses”. After the meal, “there are sovereign cups for many years of health,” and then, with the youths singing the verse: “Like a fat lamb in the darkness,” or “Even if you have found the Chaldeans in the cave,” with a chorus they escort the bishop to his chambers, where the latter performs the usual “dismissal,” and the youths sing to him for many years and “Use.” “The boyar and his clerks” took part in the farewell, whom the bishop, “having enough peace,” sent home with his blessing. On the same day, the bishop comes to the evening service. The Chaldeans and youths greet him and see him off in the same way as on Saturday evening and Sunday morning. While on their way to Vespers, the youths sing the verse: “Blessed art thou, O Lord God of our fathers,” and when returning home, the verse: “To the city of our holy fathers,” with a chorus. According to the list of ranks of the 16th century, the youths and Chaldeans participate in all the services on the feast of the Nativity of Christ and “do all the actions in the cave.” The very ritual of the “cave action,” as we noted above, according to our Slavic-Russian liturgical monuments, is in close connection with the rite of the morning service and is performed according to the sixth song of the canon in the following order. After the Prologue, which was read from the sixth canon of the canon, the archpriest and priests sang 8 “dewy verses” “on both faces,” and the ninth verse “at sunrise,” i.e., both faces together. Then the seventh hymn begins: “On the field of the prayer service, sometimes the tormentor sets up a cave,” “Remembering the scripture of Isaiah, the God-bearing children were betrayed to the lawless Caesar,” and “The Babylonian cave was opened for seven weeks, the Chaldean servants were caught.” After this third verse, the deacons in vestments come out of the altar and, without entering the cave, light candles near the cave. At this time, the further verses of this song are sung: “Light up the furnace seven weeks, until it burns to the end, the tormentor spoke Chaldean”, “Seven weeks the Asirstia youths kindled the furnace, the Zion youths did not submit to their command”, “Clothe the sky with the clouds, prepare the earth for rain”, “Three-numbered youths formed the Holy Trinity,” “An angel descended to sanctify the heavenly Caesar,” “Jerusalem, the most holy and pious youths appeared.” When the clergy begin to sing the seventh verse of this song, the “teacher of youth” 78 goes to the icon, makes three bows in front of it, bows to the bishop “to the ground” and says: “Bless, Vladyka, to present the youths to their appointed place.” The bishop makes a cross on his head with his hand and answers: “Blessed is our God, who is willing to do this.” Having bowed to him, the “teacher of adolescence” goes “quickly” to the altar through the northern doors and binds the youths “with a lining along their necks.” When the time comes and the northern doors open, with the blessing of the saint, the teacher hands over the youths to the Chaldeans, who, holding the ends of the “ubrus” or towel in their hands, lead them to the saint. One Chaldean goes in front, and the other behind the youths, who have “the hands of the hands of copulating with each other.” In the middle of the church, near the cave, the youths stop, and the Chaldeans, pointing them with “palm trees” to the cave, carry on the following conversation. The first Chaldean 79 says to the youths: “Children of the king”? The second “takes over the same speech”: “Tsarev”. First Chaldean: “Do you see this cave, burning with fire and burning with great fire”? Second Chaldean: “And this cave is prepared for your torment.” Ananias: “We see this cave, but we are not horrified, for there is our God in heaven, whom we serve, He is able to take us out of this cave.” Azariah: “And he will deliver us from your hands.” Misailo: “And this cave will not be for us to torment, but for you to be rebuked.” After these words, the Chaldeans lead the youths to the “holy place”; everyone bows to him “equally and quietly,” and the youths sing the verse: “And strive to help us, as much as you can.” At this time, the protodeacon lights three “triple” candles of the youths in the altar and, when they finish the “last article of that verse,” go out with candles through the royal doors into the middle of the church to the holy place and, having bowed to the saint, who blesses him with his hand, stands near the holy place. After the youths finish this verse, the youths’ teacher unties them “one by one.” The youth portraying Ananias approaches the bishop for a blessing, who, having left his place and somewhat approaching the cave, blesses him and gives him a lighted candle brought before that archdeacon. Ananias kisses the bishop’s hand. Then the youths portray Azariah and Misail do the same. After receiving the saint’s blessing and accepting the lighted candles from him, the youths all bow to him together and stand “in the sacred place.” The first (Edi) Chaldean 80 calls out: “Comrade”! First Chaldean: “These are the king’s children”? The second one adds: “Tsarevs”, First Chaldean: “They don’t listen to our king’s commands”? Second Chaldean: “they don’t listen.” First Chaldean: “But the golden body is not worshiped”? Second Chaldean: “they do not worship”? First Chaldean: “And we will throw them into the oven.” Second Chaldean: “And we will begin to burn them.” The “Teacher of the Youths” hands them over to the Chaldeans to lead them to the cave. The first Chaldean takes Ananias by the right hand, and the second by the left, and leads him “honestly and quietly” into the cave. Ananias stands in the cave on the right side of the holy place. The second Chaldean, turning to Azariah, said: “And you, Azariah, what have you become - you too will have it with us!” And, taking him by the right hand, and the first Chaldean by the left, you lead him into the cave. Then Misail is brought in there and the “cave doors” are closed. Then the alternate “ringer” brings the “horn” 81 with hot coals and places it under the oven. At this time, the protodeacon, having bowed three times at the “belt” before the icon, bows to the saint “to the ground,” asks him for the blessing to “cry the seventh song of the youth and wash it,” retires “to the place prepared for him” and, turning his face to the saint, “cries out the seventh song in a loud voice”: “Blessed art thou, O Lord, God of our father, praiseworthy and glorified is Your name forever." The youths in the cave sing the same verse. At this time, the “singing diyak” takes large candles from the Chaldeans and gives them “Chaldean” candles and “tubes with floating grass.” The Chaldeans walk around the caves and throw grass on the cave and under the cave, “threaten who burns under the cave, and compare palm trees among themselves.” The youths and priests who sing “on both faces” sing verses alternately, and each time the protodeacon, as if replacing the canonarch, first pronounces the verse that was assigned for the pepius. Big village of Diyaki 82: “And rule your ways.” Other diyaks: “And you would have created your judgment of truth.” Youths: “To the city of saints is our father Jerusalem.” Diyaki: “Thou hast brought all sin upon us for our sake.” Other diyaks: “And we did not obey Your commandments.” Youths: “As we are commanded, that it may be good for us.” Diyaki: “You have created true judgment.” Other diyaks: “And the king of the unrighteous and the most wicked, more than all the earth.” Youths: “Standing and reproach of your servants who honor Thee.” Diyaki: “And do not leave Your mercy from us.” Other Diyaks: “Israel for the sake of your holy one.” Youths: “Like sand raise the seas.” Diyaki: “And we are humble throughout the whole earth.” Other diyaks: “Find mercy before You.” Youths: “Like a fat lamb in the darkness” Diyaki: “For there is no cold for those who trust in Thee.” Other diyaks: “And we will seek Your face, and do not disgrace us.” The Youths: “And give glory to Your name, O Lord.” Diyaki: “And their fortress will be crushed.” Other Diyaks: “And they understand that You are the Edip God. and glorious throughout the whole world." While singing these verses, the diyak kept large candles with the Chaldeans and gave them “simple ones with floating grass.” The Chaldeans walk around the caves and throw “grass on the cave, and under the cave, and on the cave-makers and on the people.” When the youths sing the verse: “Even if you have found it in the cave of the Chaldeans,” the sacristan in the “robes” goes out to the bishop for a blessing “to send the angel down into the cave” and, having received it, again retires to the altar through the royal doors. The deacons, “who are skilled in 83 fires of the Chaldeans,” take from the latter pipes “with floating grass and fire” 84. The Chaldeans stand on both sides of the cave, “raising their palms high, above their heads, in spite of them, with their clubs towards the church, and their ends towards the altar.” The protodeacon recites the verse: “An angel of the Lord descended with Azariah’s child into the cave and took away the fiery flame from the cave, and created in the midst of the cave, like a cold spirit making a noise.” At the last words of this verse, the sacristan lowers the angel 85 into the cave, who descends there “in great cowardice with great thunder.” The Chaldeans fall on their faces, and the deacons, “instead of angelic burning,” scorch them with fire. The youths light three candles in the angel’s crown, after which the sacristan raises it to “spread out the grief.” The youths, having bowed to the angel “to the ground,” sing the verse spoken before that protodeacon: “The angel of the Lord.” The Chaldeans rise from the floor, take off their “sholoms, or turiks,” and place them on palm trees. First Chaldean: “Comrade”! First Chaldean: “Do you see”? Another Chaldean: “I see” (he nods). First Chaldean: “There were three, but there became four, and the fourth is formidable, formidable and very terrible, in the image of being like the Son of God.” Another Chaldean: “How he flew in and defeated us.” The “podiyaks” give a “remote candle” to the Chaldeans, who “are not burning the ovens,” but stand with “heads drooping and despondent.” The archdeacon proclaims: “Then these three, as if with one mouth, I bowed and blessed, and glorified God in the cave, saying: “Sing to the Lord and exalt him forever.” The youths repeat the same verse and, “looking up to the angel of the Lord,” make the sign of the cross with three bows and walk around, “to the right country to the holy place,” in the cave three times, “holding the angel before them: Ananias for the right wing, Azariah for the right leg, Misailo for the left wing.” The archdeacon again proclaims: “Blessed are you, O Lord God of our Father, exalted and exalted forever.” The boys repeat the same thing. 86 At the same time, the Angel of the Lord rises “a little grief over the youths, overshadowing and cooling.” Then the articles are sung alternately from the beginning by the diacs of the right and left choirs, and then by the diacs and youths. The 8th hymn of the canon begins with the protodeacon: “Bless all the works of the Lord, sing to the Lord and exalt him forever.” The youths repeat the same thing. After the completion of the first article by the youths, the right and left choirs of the diaks sang the same article. When the protodeacon says: “Bless the three youths,” the angel again descends into the cave “with thunder and a great coward,” at which the Chaldeans fall to their knees, and the youths sing: “Bless the three youths Ananias, Azariah and Mishael of the Lord,” make the sign of the cross, all together bow to the angel and go around the cave with him one more time 87 . The archdeacon pronounces the “staty” to the right choir and then says: “We praise, we bless, we worship the Lord.” The youths repeat this verse “and, looking up to the angel of the Lord,” worship him and “treat the angel three times as prescribed.” When singing the verse “We praise, we bless”, according to the printed rite, “the youths will come together - the descendant (i.e. Ananias) with the ruler (i.e. Misail) to the lower one (i.e. Azariah).” - After walking around the cave for the last time, the youths, having bowed to the angel, sing the troparion: “Three-numbered youths, form the Holy Trinity,” at the last words of which the sacristan raises the angel, “Woe quietly.” The protodeacon, having bowed to the bishop three times before the image “at the waist” and having received forgiveness, leaves through the royal doors to the altar. Then the first Chaldean comes out to the icon, makes three bows and, turning to the bishop, says: “Master, bless Ananias click” 88 . The bishop blesses him with his hand. The Chaldean, opening the doors of the cave and removing the “turik”, loudly exclaims: “Ananias, come forth and bake” 89 Another Chaldean: “What have you become, turn around; neither fire, nor blast, nor pitch, nor brimstone has you.” First Chaldean: “We expected to burn you, but we ourselves were burned.” Ananias comes out of the cave, the Chaldeans take him by the arms and lead him “honestly” to the holy place, and the first Chaldean says: "Come, son of the king"! and puts it back in its original place. The same thing is done and said by the second Chaldean, driving Azariah out of the cave, and again by the first Chaldean, chasing Mishael. When all three youths stand in front of the bishop's place and bow to the bishop who blesses them, they sing many years to him and Εἰς πολλὰ ἔτη, and then bow a second time and, together with the Chaldeans, of whom one goes ahead and the other behind, retire through the northern doors to the altar. The Chaldeans carry pipes “with floating grass and bent.” The bishop invites to himself “the authorities 90, the leaders of the city, the boyars and governors, and all sorts of commanding people” and, standing at the last step of his place, the king and queen and their children live for many years, and then he himself enjoys many years. Diyak singers on both choirs sing many years to the Tsar and Tsarina with their children and to the Patriarch. Then the boyar, the governor, the authorities and the nobles give many years to the Tsar and Tsarina with their children and the Patriarch. “The podiaks of the big village” sing many years to the patriarch and Εἰς πολλὰ ἔτη at the royal doors. Then the singing of the 9th song of the canon begins with the ringing of the bell. According to the printed rite, after this the king, accompanied by Chaldeans holding palm trees in their hands, goes to matins at the Annunciation Cathedral. The rite of the cave action in all its details, as we said, is not known to us in the Greek original, but the Byzantine origin of its main and main features is beyond any doubt. For this we can tell the Greek rite, which we found in the music manuscript No. 1120 of the library of the Iveron Athos Monastery with the title: “Ἀκολουθίαι, συντεθεῖσαι παρὰ κυροῦ Ἰωάννου μαΐστορος τοῦ Κουκουζέλη", or, according to another inscription, "Παπαδικὴ τέχνη", written in 1457, as can be seen from the following notes to it: “Ἐτελειώθη τὸ παρὸν βιβλίον, αἱ ἀκολουθίαι πάσαι τῆς ψαλτικῆς, ' ἰνδ. ς'". Here is this rank in its entirety with a translation into Russian: Ἀκολουθία, ψαλλομένη τῇ κυριακῇ τῶν ἁγίων πατέρων προ τῆς Χριστοῦ γεννήσεως, ἤτ(ο)ι τῆς καμίνου διάταξις. The observance performed on the Sunday of the Holy Fathers before the Nativity of Christ, i.e. the rite of the cave. Μετὰ τὸ τέλος τοῦ ὄρθρου, τῆς καμίνου εὐτρεπισθείσης, καὶ τῶν παίδων ὁμοίως, οἱ ψάλται περὶ τὴν κάμινον ψάλλουσιν ἰδιόμελον τὸ Πνευματικῶς ἡμᾶς, πιστοί. Τούτου δὲ ψαλλομένου, εἰσέρχονται οἱ παῖδες ἐντὸς τῆς καμίνου καὶ προσκυνοῦσι κατὰ ἀνατολὰς τρίς. Καὶ τοῦ ἰδιομέλου πληρωθέντος, ἄρχεται ὁ δομέστικος ἀντίφωνον εἰς ἦχον πλ. δ'. μετὰ τοῦ στίχου, τοῦ Εὐλογητὸς εἶ, Κύριε ὁ Θεὸς τῶν πατέρων ἡμῶν, καὶ αἰνετὸν καὶ δεδοξασμένον τὸ ὄνομα σου εἰς τοὺς αἰῶνας. Κυροῦ Ξένου Κορώνη, πλ. δ'. Τῶν πατέρων ἡμῶν, ὑπερύμνητε, ὑπερένδοξε Κύριε, ὁ Θεὸς τῶν πατέρων καὶ ἡμῶν, εὐλογητὸς εἶ, Κύριε. Καὶ οἱ παῖδες τὸ αὐτό. Εἶτα τὸν στίχον, πλ. δ'. Καὶ ἐπὶ τὴν πόλιν τὴν ἁγίαν τὴν τῶν πατέρων ἡμῶν Ἱερουσαλήμ. Καὶ διεχεῖτο ἡ φλόξ ἐπάνω τῆς καμίνου ἐπὶ πήχεις τεσσαράκοντα ἐννέα. Ἕτερον ἄλλαγμα παλαιόν。 σῶσον ἡμᾶς. Εἶτα ἠχίζει ὁ δομέστικος ἤχημα πλ. δ'. στίχος· Καὶ διώδευσε καὶ ἐνεπύρισεν, οὓς εὗρε περὶ τὴν κάμινον τῶν χαλδαίων. Ὁμοίως καὶ ὁ β'. χορός. Εἶτα πάλιν τοὺς στίχους. Εἰς δὲ τὰ τέλη τῶν ἠχημάτων ψάλλεται τοῦτο ἀπὸ χορῶν πλ. δ'. Εὐλογητὸς εἶ Κύριε, σῶσον ἡμᾶς. Εἶτα λέγει ᾀσματικὸν ἐκ τῶν ᾠδῶν, καὶ εὐθὺς πάλιν τοὺς στίχους μετὰ τῶν ἀντιφώνων. Ὅτε δὲ φθάσει(ῃ) οὗτος ὁ στίχος, καταβιβάζουσι τὸν ἄγγελον· Ὁ δὲ ἄγγελος Κυρίου συγκατέβη ἅμα τοῖς περὶ τὸν Αζαρίαν εἰς τὴν κάμινον. Τοῦ Κορώνη, πλ. δ'. Σὺ εὐλογητὸς εἶ, Κύριε τῶν ἁγίων σου, ὑπερύμνητε, ὑπερένδοξε Κύριε ὁ Θεὸς τῶν πατέρων ἡμῶν, εὐλογητὸς εἶ, Κύριε, σῶσον ἡμᾶς. Ἕτερος Μανουὴλ Λαμπαδαρίου τοῦ Χρυσάφη, ψαλλόμενος ἕνα παρ' ἕνα· Ὁ δὲ ἄγγελος Κυρίου συγκατέβη ἅμα τοῖς περὶ τὸν Ἀζαρίαν εἰς τὴν κάμινον. πλ. δ'. Εὐλογητὸς εἶ, ὁ Θεός, ὁ δι' ἀγγέλου τοὺς παῖδας ἐκ φλογὸς διασώσας, καὶ τὴν βροντῶσαν κάμινον μεταβαλὼν εἰς δρόσον. Εὐλογητὸς εἶ, Κύριε ὁ Θεὸς τῶν πατέρων ἡμῶν. Στίχος, πλ. δ'. Καὶ ἐξετίναξε τὴν φλόγα τοῦ πυρὸς ἐκ τῆς καμίνου, ὡς πνεῦμα δρόσου διασυρίζον. Τῶν ἁγίων. Ἕτερος στίχος, πλ. δ'. Τότε οἱ τρεῖς, ὡς ἐξ ἑνὸς στόματος, ὕμνουν, εὐλόγουν(ων) καὶ ἐδόξαζον τὸν Θεὸν ἐν τῇ καμίνῳ, λέγοντες· πλ. δ'. Εὐλογητὸς εἶ, ὁ Θεός. Ψάλλονται οὖν καὶ οἱ λοιποὶ στίχοι εἰς αὐτὸ τὸ μέλος, καὶ μετὰ τὸ τέλος ἀυτῶν, εὐθὺς ἠχίζει πάλιν ὁ δομέστικος, εἶτα λέγει ᾳσματικόν. 91 Καὶ εὐθὺς ἄρχεται ἡ η'. ᾠδή. Στίχος, πλ. δ'. Εὐλογεῖτε πάντα τὰ ἔργα Κυρίου τὸν Κύριον. πλ. δ'. Τὸν Κύριον ὑμνεῖτε· καὶ Ὑμνεῖτε τὸν Κύριον τὰ ἔργα· ὑμνεῖτε, εὐλογεῖτε και ὑπερυψοῦτε αὐτὸν εἰς τοὺς αἰῶνας. Λέγε. 92 ὑπερυψοῦτε αὐτὸν εἰς τοὺς αἰωνας. Εὐλογεῖτε. Τούτου δὲ ψαλλομένου χορεύουσιν οἱ παῖδες ἐντὸς τῆς καμίνου, ἐκτείνουσι τὰς χεῖρας καὶ τὰ ὄμματα ἄνω. Ὅτε δὲ φθάσει(ῃ) τὸ μέσον τῆς ᾠδῆς, εὐθὺς πάλιν ἠχίζει ὁ δομέστικος, εἶτα ὁ ἕτερος χορὸς ἤχημα, καὶ μετὰ ταῦτα λέγει ᾀσματικόν, εἶτα ψάλλεται τὸ ἐπίλοιπον τῆς ᾠδῆς, καὶ μετὰ τὸ τέλος τῆς ᾠδῆς, ευθύς, τὸ Ὑμνοῦμεν, εὐλογοῦμεν, προσκυνοῦμεν. . . Σοὶ τῷ παντουργῷ. . . Φλόγα, δροσίζουσαν ὁσίους. . . Εὐλογεῖτε παῖδες. . . Νικηταὶ τυράννου. Εἶτα ἄρχεται ἡ λειτουργία. At the end of Matins, when the oven is ready, as well as the youths, the singers near the oven sing the samoglas: “Spiritually us, faithful,” after which the youths enter the oven and worship to the east three times. Having finished the self-vocal, the domestic begins the antiphon on tone 8 with its verse: “Blessed art thou, O Lord, God of our fathers, praised and glorified is thy name forever.” Mr. Xen Koroni 8th tone: “Our Father, honored and exalted Lord, God of our father, blessed art thou, O Lord.” The youths (repeat) the same thing. Then verse 8: “And the city of our holy father, Jerusalem. And the flame spread over the furnace for fourty-nine lacs.” Another ancient statement: “Blessed are you our Father, Lord, save us.” Then the domesticist gives the tone in tone 8, verse: “And in the past and later, you will find them around the cave of the Chaldeans.” The second choir sings in the same way. Then again poetry. At the end of the music (singing), the same voice 8 is sung in choirs: “Blessed are you. Lord, save us,” then a song from the songs (canon) is recited, and immediately again verses with antiphons. The angel is lowered when they reach the next verse: “And the angel of the Lord came down with them that were with Azariah into the cave.” Mister Coroni: “Blessed art thou, Lord of thy saints, honored, exalted Lord God of our father, blessed art thou, Lord, save us.” Another verse of Manuel Lampadarius Chrysapha, which is sung one after another: “The angel of the Lord descended together with those who were with Azariah into the cave.” 8 (voice) “Blessed are you, O God, who through an angel delivered the youths from the flames and turned the noisy furnace into dew. Blessed are you, O Lord God of our fathers.” Verse 8: “And he shook off the fiery flame from the furnace, like the spirit of dew making a noise. Thy saints." Another verse, voice 8: “Then these three, as if with one mouth, I blessed and glorified God in the cave, saying: “Blessed are you, O God.” So, other verses are sung to the same melody, and, after they are finished, the domestique immediately gives them again, then recites the song. Canto 8 begins immediately. Verse 8: “Bless all the works of the Lord the Lord.” Tone 8: “Sing to the Lord and praise the works of the Lord, sing, bless and exalt Him forever.” Lege. “All you do, sing praises to the Lord, bless and exalt Him forever. Bless." While singing this (verse), the youths walk around inside the oven, stretch out their hands and (raise) their eyes upward. When half of the song has been sung, the domestique immediately tones again, and so another choir sings the notes and then says the song, then finishes singing the rest of the song and, at the end of it, immediately: “We praise, we bless, we worship.” ... “To you, the omnipotent one.”... “With the flame that waters the saints.” . . . Bless you, fathers." . . . “Victors of the Tormentor” Then the liturgy begins. The rite of the ritual of the cave action that we have cited, which was performed in the Church of Sophia of Constantinople and in general in the Orthodox Greek East, although it immediately bears a double name: “Ἀκολουθία” and “Διάταξις τῆς καμίνου”, with which in In the Byzantine monuments of liturgical writing, quite specific and far from identical concepts were combined 93), however, even with a superficial review, one cannot help but notice that both of these names appeared here by accident. In “Διάταξις’е τῆς καμίνου” the complete absence, or rather silence, about the clergy and in particular about the bishop or even the patriarch, whom he saw during the performance of this rite in St. Sophia of Constantinople, our pilgrim of the 14th century, monk Ignatius Smolnyaninov. 94 According to the Iverskaya manuscript, the main participants in the ritual are the domestic, two choirs and youths; There is no mention of either the clergy or the Chaldeans, whose presence in the rank is caused by an urgent need. As a matter of fact, even the youths, according to this rank, perform their role for the most part in silence, stretching out only their hands, raising their eyes to the mountain and making circular walks inside the oven. All this does not agree with the biblical story of the prophet Daniel about the event depicted, but all this will become quite understandable if we take into account that the manuscript from which we publish the Greek order of the ceremonial action is not an ordinary liturgical book, a separate presentation of the order, but a musical manuscript, intended mainly for use by the singers of the right and left choirs and the domestique, who took a lively and visible part in the performance of the shepherding ritual. All statutory remarks, borrowed from a detailed διάταξις or ἀκολουθία, unfortunately, and hitherto unknown to us 95, appear here by chance and are nothing more or less than indicators of when, at what time, or after what a particular verse should be sung by the domestic, or the right and left choirs. Considering this rite of the cave action from this point of view, we first of all state the very curious fact that the present rite belongs to that type of song sequences or rites (ᾀσματικὴ ἀκολουθία) 96 which in ancient times were widely used 97 in the Church of St. Sophia of Constantinople, continued to exist in the 14th century in the cathedral churches of the Orthodox East, as evidenced by the liturgist Simeon of Thessaloniki 98, and in the form of fragments are preserved in our modern worship - in the rites of Matins on Holy Saturday, on the Exaltation, on the week of the Cross and in the rite of Vespers on the week of Pentecost. This is on the one hand. On the other hand, bearing in mind this circumstance, we must be very careful in judging the issue of the origin of the features of our rite of cave action, when comparing the features of this rank with the rank known to us from the Iveron manuscript, so that in our conclusions and conclusions we can be as close to the truth as possible. Comparing now both rites of the cave action - Slavic-Russian and Greek, we find a lot in common between them. According to both rites, for the ritual, a furnace is arranged in a special way, where three young men or youths are imprisoned for some time, who, after an angel made of leather and picturesquely painted was lowered to them from above, walked three times around inside the furnace, while special verses were sung by the singers and the domestique. This angel at a certain time rose upward, and the youths stretched out their hands to him and raised their eyes. The whole ceremony consisted of the singing of the seventh and eighth songs of the canon, with verses selected mostly from the book of the prophet Daniel, in relation to the event being remembered. In some verses there is complete identity between both ranks. The verses were sung antiphonally or, as they say in our rite, “according to the articles” by the singers of the right and left choirs, with a preliminary proclamation of what was required for singing by the domestique, who was replaced by the protodeacon. But, despite the indicated similarities between both ranks, there are undoubtedly differences between them. The first major feature of the Greek rite from ours is that the rite of the cave action is not organically included in the sequence of Matins, but is performed separately, independently from it (μετὰ τὸ τέλος τοῦ ὄρθρου). This separation of the rite of the cave action from the rite of Matins, according to the Greek rite, its, so to speak, independence was the main motivating reason why we decided to consider the features of this rite, according to our rites, not in a general overview of the features of the daily services performed on the week of St. forefather, and in particular, when reviewing the features of the morning service of that day, and at the end of all the services and rituals that took place on this occasion. The Greek rite of the cave action, further, with its verses, is closer to the biblical story about the remembered event described in Chapter III of the book of the prophet Daniel. Finally, an essential feature of the Greek rite from ours is those dialogues of the Chaldeans, with which our manuscript of the 17th century is filled. rank and the existence of which, apparently, is in no way allowed by the Greek rank, which is completely silent about the Chaldeans. Indeed, the “unsophisticatedness” of these conversations, full of “simplicity and naivety,” with an admixture of words from “the folk language and specifically the Novgorod dialect,” as some researchers say 99 , and even their “to some extent vulgarity in expression,” as others claim 100 ), make us think that these dialogues are of Russian origin of a later time 101 . In this case, we share the opinion of Fr. Archpriest K. T. Nikolsky. “It is very likely,” he says, that the conversations came from those (more correctly: under the influence of those) religious ideas that took place in the 16th and 17th centuries in theological schools” 102). In other words, this means that it is not here, in these conversations of the Chaldeans, that one should look for “the germs of first mysteries and religious dialogues, and then drama in the sense that this word is understood today” 103), but that these dialogues themselves appeared in the form of a cave performance at the end of the 16th and beginning of the 17th centuries under the influence of those mysteries that at that time penetrated to us through Poland and Polish literature and in the 17th century especially enjoyed wide hospitality from our scientists, who are well acquainted with the Polish language and writing, and in our schools. The origin of these conversations in the 17th century is evidenced, among other things, by the fact that the passion for virtuosity that prevailed at that time among our scientists is noticeably visible in them. Here we find, for example, several rhyming verses: This furnace will not be for us to torment, An even simpler and more unartificial form of verses is represented by conversations with “doubling on the same speech”: They don’t listen to our king’s orders? Isn't the golden body worshiped? When comparing both ranks of the cave action - Greek and our Slavic-Russian, we should not lose sight of the fact that both ranks we are considering, in their origin, belong to different eras. Undoubtedly, our Slavic-Russian rank is distinguished by the greatest antiquity of its origin, according to all the lists known to us, not excluding the printed one, which represents only a slight modification and simplification of the handwritten one. Its antiquity is evidenced by the strict systematic execution of its features, the inextricable genetic connection with the circle of daily services of the ancient charter of the great Church of Constantinople, numerous Greekisms left without translation (such as: kelevsate, kepants, kenadik, dora, Josephus song, etc.) and, finally, a direct indication of another rite of the cave action, more ancient, in Greek rite “Ἕτερον ἄλλαγμα παλαιόν”, noticed in this rank. Consequently, the present presentation of the rite known to us today is new (νέον) and different from the ancient one. It is clear, therefore, why we find rather large features in the ranks we are considering. Different times and different reasons gave natural reasons for them. Now curious questions naturally arise: when did the rite of the cave performance enter into our liturgical practice and when did it fall out of use, and what were the reasons for both phenomena? Hitherto in our literature 104, on the basis of the books of accounts of the Novgorod bishop's house, in which the earliest reference to the Chaldeans is found only in 1548, this last year was considered, as Professor Krasnoseltsev puts it, “the limit of documentary fame of the “cave action” 105, but now, thanks to the discovery of the oldest list of the rite of the cave action, in which it has been repeated for many years “Tsar and Grand Duke Vasily Ivanovich (1505–1533), autocrat of all Russia,” Professor Krasnoseltsev pushes this boundary “to an even earlier time,” i.e., “to the very beginning of the 16th century.” 106 We, however, think that the time of the appearance of the rite of the cave action in our liturgical practice can be pushed back to an even more ancient era of the existence of the Russian state and the Russian church. For example, we have no doubt that in the 14th century. In Rus', the rite of the cave performance was well known to the Russian people. Only on this assumption can we explain to ourselves why our pilgrim, monk Ignatius Smolnyaninov, who was in Constantinople (from 1389–1405) together with our Metropolitan Pimen (1390) and Smolensk Bishop Mikhail and was present in St. Sophia, when performing the ritual of the cave action, limited his walk to the briefest mention of it. “In the week before the Nativity of Christ,” says Ignatius Smolnyaninov, I saw in St. Sophia the 3rd youth decorating the cave of the saints. And I served the Patriarch the Holy Lituria honestly in all the rank of hierarch.” 107 If this ritual had been unexpected news for the author of the walk, who was very inquisitive and carefully studied the peculiarities of the worship of the Byzantine church (let us remember his detailed description of the “royal wedding” of the Byzantine emperor Manuel), then it is impossible that he would not have devoted more space to it in his walk than at the present time. This is the first thing. Secondly, with such brevity, Monk Ignatius risked being misunderstood by his Russian readers, for whom he wrote his walk, if these readers were not well informed about “how the cave of the saints of the 3rd Youth is decorated” in the week before the Nativity of Christ. Thus, this brevity in the description of this ritual is completely natural and appropriate for Ignatius Smolnaninov, since he is talking about a custom that is well known both to himself and to his readers, the Russian people. In this brevity we find silent evidence of the curious fact for us that at this time the order of the cave action performed in Byzantium did not differ in any significant way from the order practiced in Rus' - otherwise, its features would have been noted by a curious observer. We find confirmation of this in the words of Smolnaninov himself, who noted that on this day the patriarch served the liturgy “in all the rank of hierarch.” So, when did the rite of the cave act appear in our liturgical practice? Prof. Moscow Theological Academy E. E. Golubinsky in his “History of the Russian Church” (the first Kiev or pre-Mongol period), touching on the time of the transition to us of some liturgical rites that have now fallen out of use, and, by the way, the ritual of the cave action, due to the lack of “positive information”, twice 108 refused to give any answer to the question that concerns us, but then in his “additions and amendments” made a very interesting remark: “In the Ipatiev Chronicle under 1146, 2nd ed. p. 228 is called the governor of one prince, Ivan Haldeevich. This makes it clear to some extent that at that time (i.e. in the 12th century) the ritual of the cave was already in our custom.” 109 True, the grounds for the latter thought are very shaky, since the word Chaldean, from which the surname of the governor mentioned in the Hypatian Chronicle comes, could have been known to Russian people not from the ritual of the cave action, but most likely and more naturally from the book of the prophet Daniel (Chapter III, Art. 8, 48) and from some church liturgical songs, 110 which were often heard by Russian people in the church, But for us, the above remark of the learned professor is important in the sense that they “let us know to some extent” that the idea of the existence of a “rite of action in the cave” in our liturgical practice of the 12th century was not alien to him. This idea deserves, in our opinion, full sympathy and attention, but needs more serious motivation. In the absence of any “positive data” on the issue that concerns us, we have to limit ourselves to more or less probable considerations. The rite of the cave action came to us in Rus' from Byzantium with the adoption of Christianity and, together with the Typikon or charter of the great church, which regulated our worship independently, as we noted above, for about eighty years and then, when our monastic charter was introduced into practice, it fought for a long time with the latter, often subordinating it to its influence. We saw traces of this struggle in the 14th and 15th centuries, but weak signs of it can be found in the canonical monuments of the 16th century and even later. So the influence of the Typikon of the great Church of Constantinople was great and strong among us. A detailed analysis of all the features in the circle of daily services of the week of the forefather, associated with the rite of the cave action, made by us above, our newly discovered “διάταξις τῆς καμίνου” of the Iveron manuscript, evidence of this rite by Simeon of Thessaloniki and our monk Ignagiy Smolnaninov, is not left in We have not the slightest doubt about the Byzantine origin of the rite of the cave action and that it came to us under the influence of the statute of St. Sophia of Constantinople. It is not superfluous to note a very interesting final remark in the rite of the cave action, discovered by Professor N. F. Krasnoseltsev. “And on the feast of the Nativity of Christ, it is said here, the youths and Chaldeans and priests escort the metropolitan in the same manner to vespers and from vespers, to matins and from matins, and all the other steps of the cave action are performed (and at mass in the same way as for the cave action) 111. And at the table before the Metropolitan stand the youths and Chaldeans, just as they are celebrating the feast and celebrating the feast.” From this remark we see that the special rituals included in the daily services of the week of the forefather did not constitute the exclusive property of the practice of this day and were caused by the existence of the ritual of the cave performance, but also penetrated into the daily services of other days and, in particular, the feast of the Nativity of Christ closest to the week of the forefather. This phenomenon is explainable only on the assumption that the charter of the great church was of great importance for us, its rituals were well known in our liturgical practice and did not cause any confusion among Russian pilgrims, even at a time when a different charter obviously dominated the liturgical practice of the Russian Church. But speaking about the Byzantine origin of our rite of cave action and its appearance among us with the adoption of Christianity by Russians, we must not forget that for some Russian scientists (for example, Prof. Golubinsky) the “antiquity” of the rite of cave action among the Greeks in Byzantium is still an open question. “Whether it (this church drama) is ancient and original among the Greeks, this learned professor wonders, or a later one, invented according to the model of the Latins (while the latter dominated Constantinople), this is still a question for us” 112. For our part, we have no doubt at all about the purely Greek origin of this rite and, if not in extreme antiquity, then in any case much earlier than the clashes with the Latins began and their direct influence on the liturgical practice of the Byzantine church. In the only so far and, moreover, short list of the charter of the great church of Constantinople of the 10th century, known to us from the manuscript of the Patmos Library No. 266, although the ritual that occupies us is not directly mentioned, its existence in the practice of the great church at that time, on the basis of this Manuscript, can be proven, in our opinion, with full probability. This is what we read in this manuscript about the week before the Nativity of Christ: ἁγίων πατέρων ἡμῶν Ἁβραὰμ, Ἰσαὰκ καὶ Ἰακώβ, καὶ τῶν γ'παίδων "113"). How can we explain the appearance of this memory of the three youths Ananias, Azariah and Misail and the prophet Daniel in the service of the week of St. father 114 before the Nativity of Christ, in other months 115 not indicated in this place, especially if we take into account that in the same manuscript their memory independently appears under the 17th day of the same month: Ἄθλησις τῶν ἁγίων τριῶν παίδων Ἀνανία, Ἀζαρία, Μισαὴλ καὶ Δανιὴλ τοῦ προφήτου καὶ τῶν ἁγίων Πατερμουθίου κ. τ. λ.? 116. Such a two-time repetition of the same memory over a space of just a few days cannot be considered accidental; it was caused by the needs of the very practice of the great church. On the 17th day of December, the memory of the three youths was celebrated with the usual daily worship, but on the week of St. Father, she was honored in Sofia's liturgical practice not only with a solemn, great holiday service, but also with a special rite of lighting the stove - whether it was performed during Matins on the canon, or after Matins, as a visual representation of the very act of torment (ἄθλησις) of these youths. So, in our opinion, the Typikon of the great church of the 10th century positively knows about the rite of the cave action, but does not note and does not include it on its pages for the same reasons (due to its brevity) for which it does not indicate the rites that were undoubtedly practiced at that time in the great church, such as, for example, the rite of the new year on September 1, the rite of vespers on Pentecost, etc. With a translation into the Slavic-Russian language of the charter of the great church, as we talked about above, in the Russian church the rite of the cave action appeared simultaneously in translation, as its inalienable accessory. The great prevalence and popularity of the rite of the cave action among the Russian people at the very first stages of their Christian life also explains the attention on their part to the icon of the three youths, which we find in Kirik’s questions to Bishop Niphon of Novgorod. “And what about writing about three children on chapters and on other prophets”? Kirik asked and received the following answer from the bishop: “Otherwise, he said, for the hood of the place: this is how the Epheshans walked (?)” 117. Kirik’s interest in this icon and precisely in the seemingly unimportant feature of the headdress on the three youths depicted on it would not be understandable if the solution to the question posed was not connected in liturgical practice with the question of the Form of those “crowns” or “hats” that the youths put on when performing the rite of the cave action on the week of St. father. The interest in this case is understandable and natural. The rite of the cave action was undoubtedly performed in Novgorod, Vologda and Moscow. Based on the visit of the monk Ignatius Smolnaninov to Constantinople, one can think that he was well known in Smolensk. If you believe the famous collector of folk tales and monuments of folk literature I.P. Sakharov, then the wooden stove 118, which could have practical significance only if the rite of the cave action was performed there, was kept in Vladimir on Klyazma in the old bishop's house, near the Assumption Cathedral 119. But it can be assumed that the limits within which the rite of cave action had practical significance were much wider in ancient times; they coincided with the area in which the rules of the great church regulated worship. The latter is partly supported by the printed rite of this rite, on the basis of which N. Novikov made the following note to the “rite of the cave action” he published: “this action was carried out in the bishop’s throne cities, and especially in Moscow and Novgorod” 120). In the east, the “rite of the cave action” retained its power and practical significance in the second half of the 15th century. The Iverskaya manuscript of 1457 No. 1120 tells us for this, from which we borrowed the above “διάταξις τῆς καμίνου.” In this manuscript, after the mentioned διάταξις’, the notes “ᾳσματικά” for the third, sixth, eighth and ninth songs are set to the following persons: Andromea, Cyrus Manuel and John Kukuzel. These “ᾳσματικά”, judging by their connection with the rite of the cave action, were once sung during its performance. Among them we see “ἕτερον (i.e. ᾀσματικὸν), ποιηθὲν μετὰ τὴν ἅλωσιν Κωνσταντινουπόλεως Μανουὴλ Λαμπαδαρίου Χρισάφη”, i.e. the famous Psalm 88: “God has come the Gentiles into your inheritance” 121. If new musical accounts of psalms and songs were written for the rite of the cave action, then it is natural to think that there was a need for this, that the rite itself was still in practical use. But almost at the end of this 15th century, the rite of the cave action ended its existence here, since the very charter of the great church, which began to gradually give way to its place from the 13th century. the Jerusalem Charter, by this time had lost its practical significance and was completely superseded. In the 16th century, in the Orthodox East, the Jerusalem Rule was in practice everywhere, and in 1545 it even found its way onto the printing press. The very cramped circumstances in which the great Church of Constantinople and the entire Orthodox East found themselves after the conquest of Constantinople by the Turks greatly contributed to the rapid displacement of both from liturgical practice. In our liturgical practice, the rite of the cave action lasted through the entire 16th century and until almost the end of the first half of the 17th century. In Novgorod it ceased to exist earlier than 1639, and in Vologda it was carried out until 1643 122, after which the detailed records of the receipts and expenditure books of the Vologda bishop's house are completely silent about it. We are unaware of any direct prohibitory decrees or orders from the spiritual authorities regarding this rite. This rite, it seems to us, fell out of use naturally. It was not practiced at this time in the east, where, as we said, the charter of the great church, the reason for its appearance in our liturgical practice, gave way to the Jerusalem charter, which was firmly established in our worship. The customs and features of the daily divine service associated with the rite of the cave action were at odds with the well-known practice of the prevailing Jerusalem charter and could be considered by many “co-questioners” of the 17th century. already arouse bewilderment. The growing dramatic element in the ritual, as a work of Russian creativity, full of “naivety and to some extent vulgarity in expressions” not characteristic of church and biblical speech, could serve as a sufficient incentive for the spiritual authorities to pay serious attention to this rite. And indeed, first in these forms she published a printed rite, significantly shortening it compared to the handwritten originals, in rituals bringing it closer to the “usual” established Jerusalem charter and expelling from it the vulgar and naive conversations of the Chaldeans, and then finally abolishing its implementation in our practice. The spiritual authorities, obviously, were afraid that this ritual, full of deep meaning and religious and educational significance, would not turn for the Russian people of this time, under the influence of these unfavorable circumstances, into a simple, to use the old term, “disgrace”, the place of which is not in the church pulpit before the altar, but on the theatrical stage. Christ. Reading, 1888, part II, p. 866. And in the usual rite of washing the feet, now practiced in our cathedrals, the dramatic element does not occupy the last place, but it is given a wider place in similar rites that are now performed in Jerusalem and in the Patmos Monastery of St. John the Theologian. Proceedings Kyiv. Spirit. Academician 1893, book. VI, pp. 218–221. From ancient times we know, with an even more developed dramatic element, the rite of washing the feet, practiced in the great church of Constantinople. We know this last rank only from Slavic-Russian manuscripts. Here, about the washing of the feet of the bishop representing Simon Peter, we read the following: “Upon coming to the elder (bishop), the priest exclaims: “Come to Simon Peter.” The senior bishop says: “Have you washed my nose?” Saint: “Even though I create, you don’t weigh it now, but you understand from now on.” First Supreme: “Thou shalt not wash my foot forever.” Saint: “Unless I wash you, have no part with me.” Then, standing up, the supreme one, a little as if intimidated, raised his hands under the phelonion, pointed with his right hand to his feet, saying in a quiet voice for everyone to hear: “Lord, not only.” Tazh, showing with his hands, says: “But also with his hands.” And turning his hands, he points to the head, bow it a little, and says: “And the head.” Saint: “The betrayed person does not demand only to wash his nose, because everything is clean, and you are naturally clean, but not all.” RKP. XVI century Solovetsk. bib. No. 1085, l. 463 rev; No. 1090 l. 49 rev. 50; RKP. 14th – 25th century M. Synod, bib. No. 371 (675) l. 13 rev. (Description of the RKP. M. Synod, library M. 1869. Div. 3, part 1, p. 129). Migne Patrol. Curs. Complete. t.CLV. col. 113. ἀλλ' οὐ χαιρήσουσιν ὅλως. Οὐ γὰρ ἀνάπτομεν κάμινον, ἀλλὰ κυροὺς μετὰ φώτων, καὶ θυμίαμα Θεῷ κατὰ τὸ ἔθος προσφέρομεν, καὶ ἄγγελον εἰκονίζομεν, οὐκ ἄνθρωπον ἀποστέλλομεν. Παῖδας δὲ μόνον ὑμνοῦντας καθαρούς, ὡς ἐκείνους τοὺς παῖδας τρεῖς παριστῶμεν, ᾄδειν αὐτοὺς τὴν ᾠδὴν ἐκείνων, ὡς παραδέδοται. Οὒς παῖδας καὶ πάντες οἱ ἐσφραγισμένον καὶ ἱεροὶ τυποῦσι παῖδες. 1 Regarding the prevalence and generally accepted nature of this Typikon in the east, Simeon of Thessaloniki says the following in his answers to Gabriel of Pentanol: ἐκκλησίας, ὅπερ δὴ καὶ πᾶσαι εἶχον ἐκκλησίαι:. Migne Patrol. Curs, complete, t. CLV. col. 908. Similar thoughts are expressed by him in his other works, and quite often. Ibid. col. 553, 556,624 et caet. Slich. Interpretations of Balsamon. Σύνταγμα χανόνων. Πότλη καὶ 'Ράλλη τ. δ' σελ. 448, 449. “It is appropriate to know,” says the Charter of Patriarch Alexy (1034–1043), regarding this custom, “that the great church throughout the summer and every week in the 6th voice should sing: “Rise up, Lord,” on the same morning (i.e., on Great Saturday) in the seventh voice sings such a prokeimenon” (Manuscript M. Synod, bib. Λ" 333, l. 120). We will talk about this prokeemna ahead, and now we note that in the “rite of evening and morning worship,” according to the rules of the great church,” regarding the custom of sitting while singing this prokeemna, it is noted: καὶ κάθηται (i.e., a deacon intending to read the gospel on the pulpit) μετὰ τῶν διακόνων μέχρις ἂν πληρώσωσιν οἱ ἀναγνῶσται μετὰ τοῦ δομεστίκου τὸ προκείμενον καὶ τὸ Πολυχρόνιον ποιήσαι τὴν ἁγίαν βασιλείαν ἀυτῶν καὶ τὸ Τὸν δεσπότην καὶ ἀρχιερέα. 'Πνίκα δὲ λέγουσι τὸ Ποληχρόνιον ποιήσαι καὶ τὰ ἑξῆς, ἀνίσταται ὁ ἱερεὺς καὶ οἱ διάκονοι (Rkp. 15th century library of the Russian St. Andrew's monastery on Athos, fol. 323 vol.). Rusok. Histor. bib. published archaeographic commissions. St. Petersburg, 1880, vol. 6, p. 5. Collection. Department. Russian language and literature Imperial. Academy of Sciences. St. Petersburg 1877, vol. 15; No. 3, pp. 10–11. Russian Histor. bib. vol. 6, p. 96 In the charter of Alexy, Patriarch of Constantinople, we read about the service of the post of St. Apostles: “At six o’clock the priest with the deacon, having bowed three times before the holy meal and having received the blessing from the abbot, vested himself and the deacon proskoumys.” RKP. M. Synod, bib. .№ 330, l. 66. The celebration of proskomedia by a deacon is spoken of in the interpretation of the liturgy of Theodore, Bishop of Andida. “And the Lord’s body, as if from a certain womb and from the blood and from the flesh of a virgin body, - from whole bread, that is, a blessing or prosphora, by a deacon, as is customary in the great church (παρὰ διακόνου, ὡς ἡ Μεγάλη ἐκκλησία παρέλαβε), is cut out with the help of a certain instrument called a spear” ... “Although the Body of the Lord is cut out by a priest, but in the great church it has been a custom from ancient times that this should be done by a deacon.” Migne Patrol. Curs. Complete, t. CXL col. 429. Russian History, bib., vol. 6, p. 134. Simeon of Thessalonica speaks of this custom as having already fallen out of practice not only of the Constantinople, but even of Thessalonica Church, and considers its preservation on Athos “indecent.” Τὸ (i.e. χάρισμα) πρὶν γινόμενον ἐν Θεσσαλονίκῃ, καὶ νῦν ἐν τῷ He writes, he writes, δ' ἁρμοδίον. Migne Patr. Curs, complete, t. 155, col. 289. Russian Histor. bib., vol. 6, p. 236. Russian Histor. bib., vol. 6, p. 414. Russian Histor. Bibl., vol. 6, p. 133 “On Cheese Week, on Wednesday and Friday, Lenten Service, or to serve Midsummer”? asked Bishop Feognost of Sarai. The council replied: “Then neither Lenten nor Midsummer services are sung, but at 9 o’clock the hours with Vespers are sung.” Οἶμαι, says Simeon of Thessalonica, διὰ τὸ μὴ τελείαν εἶναι νηστείαν, καὶ μηδὲ λειτουργίαν, ὡς ἔθος τελείαν γίνεσθαι καὶ τῆς τῶν προηγιασμένων καταμελῆσαι. Ἔτι δὲ καὶ ἀπὸ τοῦ Ἱεροσολυμητικοῦ τυπικοῦ, ὅπερ μοναχικόν ἐστιν. Migne Patrol. Curs. Complete, t. 155 col. 908. Ὅθεν καὶ ὡς τὸ ἀρχαῖὸν φησι τυπικὸν τῆς μεγάλης ἐκκλησίας, ὁ πατριάρχης κατὰ τὴν τετράδα τῆς τυροφάγου πρῶτος ἐλειτούργει τὰ προηγιασμένα, ἐν ᾗ δὴ καὶ τῇ παρασκευῇ μετὰ τῆς νηστείας καὶ τυρὸν ἐσθίειν ἔθος ἦν, πρὸς ἀναίρεσιν αἱρετικῆς τινος δόξης. Ἐν ταῖς δυσὶν οὖν ἐχείναις τῆς τυροφάγου νηστείαις τὰ τῶν ???? καὶ μεγάλην παρασκευὴν οὔτως ἐξαρχῆς προηγιασμένα ἐτελεῖτο. Migue Patro]. Sigz. Complete. t. 155 col. 905. Coll. Typical of the great church of the RKP. Patmossk. bib. No. 266, l. 188 vol., 217. Russian Histor. bib., vol. 6, pp. 29 – 30. Καὶ τοῦ πατριάρχου ἀρχομένον λέγειν (i.e. the gospel), says the Typicon of the Great Church, ὁ διάκονος ὁ γρικὸς (γραικὸς), ἑστὼς ἐν τῷ ἄμβωνι, ἐκφωνεῖ, κράζων τὰ λεγόμενα ὑπὸ τοῦ πατριάρχου οὕτως· Ἐν ἀρχῇ ἦν ὁ λόγος. RKP. Patm. bib. No. 266, l. 221 rev. Unfortunately, we know nothing about the rite of the passion of the Great Heel, according to the charter of the Church of Constantinople, and must limit ourselves to only the assumption that the resolution of the council of 1276 was that τὴν ἀγρυπνίαν, τὸ τῆς διαθήκης εὐαγγέλιον read by the bishop, based on the customary practice of the great church. Russian Histor. bib., vol. VI, adj., p. 2. As for the priest, then, by order of Metropolitan Cyprian, in the service of St. passion "on the holy throne all the gospels are venerated, from the first to the last, but the priest is clothed in all his vestments." Ibid., p. 265. The charter of the great church speaks of the Easter evening service: λυχνικοῦ ἀνέρχεται ὁ πατριάρχης ἐν τοῖς εὐκτηρίοις τοῦ ?? ἀναγινώσκει ὁ πατριάρχης τὸ εὐαγγέλιον τὸ ἀναστάσιμον τῆς πλευρᾶς ἕως Ἂν τινων κρατῆτε κεκράτηνται. RKP. Patmossk. bib. No. 266, l. 222. Regarding this custom in the Apostle of the 12th century. Russian Panteleim. monastery No. 252 spotted: ἐκκλησίας, ἀναγινώσκεται τὸ εὐαγγέλιον ὑπὸ τοῦ πρωτοπρεσβυτέρου ἢ τοῦ δευτερεύοντος ἐπὶ τοῦ ἄμβωνος. About the gospel in the rite of litia for the New Year, according to the charter of the great church, it is noted: ' αὐτοῦ λεγόμενα. RKP. Gospel of the Churches. Archaeologist. music at Kyiv Academy (formerly Taurus seminary). On Easter, according to the rules of Patriarch Alexy, “the service is performed from the priest to the altar, the prokeimenon, the apostle, the alleluia and the gospel, the abbot reads, standing near the throne, the deacon obal supports the gospel.” RKP. Typographer, bibliographer No. 287 l. 17; RKP. Synod, bib. No. 330 l. 38. According to the will of Theodore the Studite, the same order is observed, in accordance with the custom of the great church (τὰ τῆς μεγάλης ἐκκλησίας παραδεδομένα), not only on the first day of Easter, but also on every Lord’s day holiday. Οὕτως, it says here, καὶ εἰς πᾶσαν ἑτέραν δεσποτικὴν ἑορτὴν ποιοῦμεν. Τὸ προκείμενον δὲ καὶ τὸν ἀπόστολον καὶ τὸ ἀλληλουάριον ἔσωθεν τοῦ βύματος ὁ διάκονος λέγει, ὁμοίως καὶ ὁ πρωτοπρέτορος (πρωτοπρεσβύτερος) τὸ ἅγιον εὐαγγέλιον. RKP. Vatoped. Athos. mon. XIII – XIV centuries No. 322 (956) l. 133. Russian Histor. bib. vol. VI p. 131; appl. page 2. Ibid. pp. 239, 241. Our synodikon was a literal translation of the Greek original. This was most convincingly proven by our famous Byzantine scholar, Prof. O. I. Uspensky in his excellent publication: “Synodikon on the Week of Orthodoxy. Summary text with appendices." Odessa. 1893 Russian Histor. bib. vol. VI pp. 258 – 259. Χρὴ γινώσκειν, says the typikon of the great church, ὅτι μετὰ τὴν ἀπόλυσιν τῆς τριτοέκτης γίνεται κατάπλυσις τῆς ἁγίας τραπέζης. RKP. Patmossk. bib. No. 266 l. 214. The features of ancient Russian ranks of placement in all hierarchical lower and higher degrees are set out in our book: “Divine services in the Russian Church in the 16th century. Part I Kazan 1884 pp. 353–380. Their Greek origin, precisely from the practice of the Church of Constantinople, we can now prove by the ranks of this church known to us according to the hands. bib. Monastery of St. Sava No. 362 l. 34–50 and the Diatax of Prothonotary Dmitry Gemista under the title: γίνεται ἐν τῇ μεγάλῃ ἐκκλησίᾳ, ἐν ᾗ καὶ ἡ τάξις τῶν χειροτονιῶν, καὶ πῶς γίνεται ἑκάςτη, συνταχθεῖσα παρὰ τοῦ ?? Δυμυτρίου τοῦ Γεμιστοῦ. RKP. patriarch Cairo bib. No. 371 (48) l. 1–66; RKP. Patm. bib. No. 49 and No. 376. See the book by Barsov, E.V., Old Russian monuments of the sacred wedding of kings to the kingdom. 1883 M. The Greek origin of the rite of the new year was proven by Archpriest K. T. Nikolsky in his book: “On Russian services. churches that were in previous printed liturgical books,” pp. 110 – 113; coll. review of this book by prof. N. O. Krasnoseltseva in Christ. Read for 1888, part II pp. 868 – 877. Temporary Emperor. Moscow. Historical societies and antiquity Russian M 1852 book. XV, dept. II, p. 14. The first addition to the description of the RKP. ii rolled, church books. bibliography printing A. I. Khludova. M. 1875, p. 13. Mentioned in the inscription of this charter, the “God-loving Archbishop of Novgorod Clement” (1299) was installed as bishop in Kyiv after the death of the Novgorod ruler Dolmat in 1274. He took part, and not unsuccessfully, in pacifying the revolts of the Novgorodians against Prince Dmitry in 1281 and against the mayor of Novgorod Simeon Mikhailovich in 1287, as well as in the repeated construction of churches in Novgorod. Through his “acquisition” the Helmsman’s Chain was written and placed in the Church of St. Sophia “for veneration by the priest and for obedience by the peasants and for the salvation of their souls,” now kept under No. 132 in the Moscow Synodal Library. Gorsky and Nevostruev, Description of the Slavs, manuscript. M. Synod, bib. dept. III, part I, M. 1869, pp. 128–372. Εὐχολόγιον siv, e Rituale Graecorum, edit. 2. Venet. 1730 an. Codices Cryptenses seu abbatiae Cryptae Ferratae in Tusculano. Rom. 1884 an., pag. 235–244. It is worthy of note that this “veal-by-veal” list of the “old” charter of the great church is called the “rule of Sophia.” Obviously, this charter was a literal translation of the Greek original, which bore the following inscription: “Κανὼν τῆς ἁγίας τοῦ Θεοῦ μεγάλης ἐκκλησίας ἀναγνώσεον, Πράξεων ἀποστόλων, προφητικῶν καὶ ἑκάστης ἀκολουθίας." RKP. Patm. bib. No. 266 l. 186 rev. In addition to two lists of the order of the cave action - printed and handwritten, attached, Fr. K. T. Nikolsky, to his research about this rite in his famous book: “On the services of the Russian Church that were in previous printed liturgical books” pp. 191 - 213, we also had at hand a list of this rite of the 16th century, discovered in one manuscript of the Sophia Bible. (now St. Petersburg. Ecclesiastical Academician) professor at Novorossiysk University N.O. Krasnoseltsev, who has already twice announced his discovery to the public and Russk. Philol. Vestn. 1891, vol. XXVI, p. 120). We became acquainted with this rank in the list that is being prepared by the learned professor for publication and which he kindly provided to us for temporary use while compiling this “study”. We consider it a pleasant duty to express our deep gratitude to the esteemed professor. His list gives several very interesting options, which we will try to note either in a general presentation of the features of the rank under consideration, or even in special footnotes. Rite ΧVΙ century, opened by prof. Krasnoseltsev, bears the following curious inscription: “the rite, when an angel is lowered on the week of the holy fathers, before. Merry Christmas." We present the characteristics of the “rank” according to all the lists known to us. The Chaldean cave was “wooden lattice” (Izv. Imp. Archaeologist. General vol. III, p. 306) and was made by Russian master carpenters on the model of pulpits (see literature on this issue in the book of Ave. Npkolsky: “On services in the Russian Church” pp. 183 - 185 note 2), which in ancient times, according to the custom of the Church of St. Sophia of Constantinople and due to the dominance of its charter in our country, constituted an integral liturgical affiliation of cathedral churches. In view of this apparent similarity between the stove and the pulpit, some scholars identify both of these liturgical accessories of the Old Russian Church (ibid.) and think that in some cases the pulpit could also replace the Chaldean stove (Russian Philol. Vestn., 1891, vol. XXVI, p. 120). Although the rites of cave action now known in print clearly distinguish between the oven and the pulpit, the basis for the indicated identification is found in the monuments of earlier times. In the rank of cave action, for example, according to the list of the 16th century. regarding the reading of the gospel at the liturgy on the week of St. The Fathers say this: “And how the protodeacon will go with the gospel to the ambon, and two youths will go in front of the protodeacon, and the third will be behind, and in the ambo there will be two on the sides, and the third will be opposite the protodeacon. And when the archdeacon reads the gospel, they leave the cave the same way, and the Chaldeans stand around the countries with their hats off.” This list says nothing about preparing the oven before the service of a given day, nor about replacing the oven with an pulpit before the start of the liturgy. From the quoted passage in this list, therefore, it is clear that the pulpit and the oven are identified here, and the pulpit, depending on the circumstances, fulfills both purposes. This identification of the pulpit with the stove can also be seen in the “Charter of Rituals Performed in the Moscow Assumption Cathedral around 1634.” (Russian Historical Library. St. Petersburg, 1876, vol. III, p. 40). “The image of the Archangels, which is above the cave action,” but in the words of the Vologda bishop’s income books. at home, “cut out, stitched and glued” from “two alovish skins” (i.e., young heifers), and then “levkasled” and “painted with icons” (N. Suvorov, Description of the Vologda Cathedral of St. Sophia Cathedral. Moscow. 1863, p. 137). “And as soon as the cave is set up,” says the Charter of the Moscow Assumption Cathedral, “the cleric, for the sake of experience and without people, will ascend to the ambon and lower an angel to go directly into the cave to the head of the cleric” (Russian Historical Bible, vol. III, p. 40). After Matins, “The Angel of the Lord will be taken from above and placed safely in the prepared place” (Soph. rite of the 17th century), that is, in the sacristy, or in one of the premises of the church. In the inventory of the Moscow Assumption Cathedral of the early 17th century. we read: “yes, in the same chapel (i.e., the Praise of the Mother of God) the Angel of the Lord is written on the charate that is lowered about the Nativity of Christ” (Russian Historical Bible, vol. III, p. 364). But the inventory of the same cathedral in 1627 states “two Angilas are written on the harata, which are lowered into the cave action” (p. 460), which is also mentioned in the inventory of 1638 (p. 545). The role of “adolescent teacher”, according to the records of the Vologda Bishop’s House, was repeatedly played by the “statutory clerk, singing clerk” Vladimir Ivanov (N. Suvorov. Description p. 138). From the Moscow printed rite of the cave action, it is clearly visible that the role of the youths, when performing this rite, was performed by singers, namely: the householder (Ananya), the topman (Misailo) and the lower one (Azaria). (K. T. Nikolsky, About services in the Russian Church, pp. 194, 196). Podiyaks are choristers, or lower ranks of the clergy. It is somewhat more difficult to determine who performed the duties of the Chaldeans. Judging by the fact that the Chaldeans were not always invited “to the cellar” and during the “Slavleviy” “post-caves actions”, they received insignificant gifts from the rulers, and during the table of the patriarch or metropolitan they were not awarded any “amusement”, which fell only to the lot of the youths, one must think that these were no more and no less than church watchmen, ministers at the church, well trained, as needed “skilfully” burn the moss grass during the ritual. Adolescent surplices were made from “tonk linen”, most likely white, with “shoulders” and “arms” made of “velvet and colored grass”, with “sources” from “tasem”, on a “down” or lining from “dyed”. (N. Suvorov, Odis. Vologda. Department of Soph. Cathedral, p. 136). The crowns or caps of the youths were made of leather, gessoed and gilded with iconography, “lined with ribs and ermines” and decorated at the top with cast copper crosses (Suvorov, pp. 136 – 137). In ordinary language, the Chaldean dress was called “yupoya” and was made from “red letchina cloth” or “worm cloth” with shoulder straps from “embroidery” (ibid., p. 136). This is the name of the Chaldean hats in the rite of the cave action. Judging by the records of the Vologda Bishop's House, these hats were made from the same material as the youth ones, but, in all likelihood, the material used was of a somewhat lower grade or value (ibid.). A significant difference between these hats and the youth hats was the absence of a cast copper cross on them. The grass moss (Lycopodium clavatum), used during the ritual of the cave action, is distinguished by the necessary qualities in this case: it is easily flammable and produces the effect of a strong flame, which could remind viewers of the flame in the Babylonian furnace. We do not share the opinion that the palms were carved from wood (Suvorov, Opisan., p. 137; K. T. Nikolsky, On services in the Russian Church, p. 186) and believe that in this case real Finnish palms were used, set only into “maces.” Similar palms were kept in significant quantities in the sacristy of the Moscow Assumption Cathedral and are listed in its inventories (Russian Historical Bible, vol. III, pp. 501, 545, 562, 914). One of these palms is clearly stated to be in liturgical use, and specifically during the ritual of the cave action, since recorded in the “inventory” after “2 angels” descended into the “cave action”. In the inventory we read: “The date tree, the handle is lined with red velvet” (ibid., p. 545). Such palm trees, delivered to us in Russia from the east, could be painted and gilded for greater beauty (Suvorov, Description of Vologda. Soph. Cathedral, p. 137). Examples of ancient palm trees used in our worship can be seen in the Kiev Church Archaeological Museum, in the collection of icons of the late A. N. Muravyov. In the ranks of the 16th century. and in print there is no mention of this proclamation of the “adolescent teacher” and the bishop’s response to it. At the exit to Matins, the bishop's people carry the lamp (οἱ ἄνθρωποι τοῦ ἀρχιερέως). RKP. bib. Russian St. Andrew's Skete on Athos (no number) l. 322 rev. For an explanation of the reason why the hymn: “Quiet Light” began in our ancient times with the words: “Holy Glories,” see our book: “Divine services in the Russian Church in the 16th century,” Part I, p. 15. The singing of “Holy Glories” and the prokeimna, according to the custom of the Church of Constantinople, is mentioned only in one rite of the 17th century. in the manuscript of the Novgorod St. Sophia Cathedral. According to the order of the 16th century, after Vespers the prince also lives for many years in the following formula: “Grant, Lord, that the Tsar and Grand Duke Vasily Ivanovich of All Russia, autocrat, be healthy for many years.” Similar longevity is said after other services. RKP. bib. St. Andrew's Skete on Athos, l. 322 rev. – 323. At the beginning of the 16th century. added: “and they stand until they finish the doxology and the trisagion and the prokeimenon, and then they enter the cave before the archpriest.” “According to the doxology,” says the charter of rituals of the Moscow Assumption Cathedral, “we honor the Gospel in the cave on Sunday from the 20th day of December, or from the cave performance until the 14th day of January, or until the first week after Epiphany” (Russian Historical Bible, vol. III, p. 40). 1 The Chaldeans proclaim at the same time, as the printed rite notes: “Great is the Christian God.” RKP. bib. Andreevsk. skete on Athos, l. 323 rev. – 324. In the ranks of the 16th century. and the printed version is completely silent about the table for youths and Chaldeans. About the singing of Psalm 136 in the rite of the 16th century. not said; There is not even a mention of the antiphons laid out according to the printed order. RKP. bib. Andreev, Russian. monastery on Mount Athos l. 324 rev.–325. In the rite of the cave action of the 16th century. We have the following very interesting option regarding this moment of the liturgy: “And having chanted (i.e., the Trisagion) they stand before the Metropolitan until the apostle is honored, and as the priest shouts. Hallelujah. Keleusate (κελίύσατε). and the youths bow to the metropolitan and leave the altar before the royal door.” RKP. bib. Russian Andreev, monastery, no. 325 vol. 5 RKP. bib. laurel St. Sava the Consecrated No. 362 l. 50 rev; RKP. Cairo. patriarch bib. No. 371 l. 6 etc. Γ.Γ.Savaitova, Travel. Novgorod, archbishop Anthony to Constantinople at the end of the 12th century. St. Petersburg 1872 p. 77. Numerous examples of this are indicated by Prof. E. E. Golubinsky in his History of Russian. churches. M. 1881, vol. 1, floor. 2 pp. 148 – 149. In the Διάταξις’ of prothonotary Dmitry Gemista it says: “καὶ λέγεται τὸ. Πιστεύω εἰς ἕνα Θεόν.” RKP. Cairo. Patr. bib. No. 371. Theodore ep. also testifies to the same thing. Andidsky in his interpretation of the liturgy. Migne Patrol, curs. Complete, t. 140, col. 445. The expression of the printed rite of the cave action: “I axes song” would not be clear to us if we did not assume here a not entirely successful rendering of the Greek words: Ὅσοι πιστοί in the Russian transcription: “Axis pisti,” misunderstood and distorted by the reference workers when printing the “order of the cave action.” In the list of the order of the cave action of the 16th century. From the great exit until the very end of the liturgy, the youths do not take any part in the performance of the divine service. During the “kenaniki”, they bring the “dora” to the metropolitan, and when, at the end of the liturgy, the latter is unmasked, they sing: “Is polla iti despota” and escort the metropolitan to his chambers. 6 Add. to Read. in society, amateur spiritual education 1878, book. 3, p. 1134. 7 RKP. bib. Andreev, Russian. skete, l. 326. Intercalated syllabic decorations “ne-ne-na”, called “kratimats” by the Greeks, and “popevkas” by us, appear in Russian liturgical books from Byzantium in the earliest monuments of this kind. D. Razumovsky. Church singing in Russia. M. 1367, v. 1, pp. 108 – 109. At the beginning of the 16th century. about the “adolescent teacher,” who in the printed rite is called “the choirmaster, to whom the youths and Chaldeans will be ordered,” is completely silent. Therefore, there is no talk in it about his going to the metropolitan to receive a blessing before the start of the cave action “to present the youths to the appointed place.” Instead of the “teacher”, according to this rank, the protodeacon comes out, who, after the bishop’s blessing, again retires to the altar, takes three adolescent candles and leaves the altar. Behind him the bound Chaldean youths are led to the middle of the church. Before the Metropolitan, the youths sing the verse: “And strive for our help, as much as you can.” The Chaldeans untie the towel with which the youths were bound. Having accepted the candles from the hands of the Metropolitan and received his blessing, the youths are taken by the Chaldeans to the cave. The first dialogue of the Chaldeans in the list of the 16th century. completely down. The second dialogue, although it dates back to the 16th century. along with, slightly shorter and closer to the biblical story than in the seventeenth century speech. Here is its composition: First Chaldean: “The children of the king do not serve our king, they do not worship the golden body.” Second Chaldean: “And we will throw them into the oven and begin to burn them.” “And they bring the youths,” notes this list of ranks, into the cave one by one,” without mentioning the vulgar treatment of Azariah by the Chaldeans. In the inventory of the Moscow Assumption Cathedral of 1701, there are “2 iron gornets, on the stations there are nine smooth iron apples, on them there are iron cups, and the other are iron cups.” At the indicated time, these “gorges” are only “supplied at the royal doors on Bright Sunday of Christ” (Russian Historical Bible vol. III, p. 842), but when in the liturgical practice of this cathedral the rite of the cave action took place, then, without any doubt, when performing this rite, they used, if not the same, then similar “gorges”. According to the list of the rank of the 6th century, these verses are first pronounced by the protodeacon, and then the youths sing them in the cave. This rite does not mention their singing by the “deacs of the large village” and “other deacs.” Poems in the list of the 16th century. significantly more than in the printed order in which we have set out their order. Inability to handle “moss grass and fire” sometimes resulted in burns and injuries. “1626 Dec. 18, according to the income and expenditure book, after the cave action, the chartered choir clerk Vladimir Ivanov came to praise, and, by order of the sovereign, Archbishop Nektary, Vladimir was given a ruble of money for the injuries of the clerks of the smaller villages” (N. Suvor. Description of the Vologda Cathedral, p. 138) The deacons took pipes with floating grass from the Chaldeans, according to the rite of the 16th century, while the youths sang the verse: “And the fire burned over the cave for forty and nine lakotas.” About the descent of an angel into a cave in the 16th century. says this way: “And they lie (i.e., the Chaldeans) until the angel flies, and when the Chaldeans stand and say one to the other: “There were three, but there became four.” And the other answers: “The fourth is formidable, become like the Son of God.” According to the list of ranks of the 16th century, these verses (Daniel III, 51 - 56) were first spoken by the protodeacon, and then the youths sang them. After verse 56, the youths sang: “Glory”, “Mastery”, “And now”, “Mastery”. Further verses, from 57 to 88, were sung in a similar way. 2 In the list of 16th century rank. the protodeacon, after the youths’ second circular walk in the oven, says: “Bless the apostles, prophets and martyrs of the Lord. Sing to the Lord and exalt Him forever.” The youths sing: “We praise and bless” and “Sing to the Lord,” and they make the sign of the cross three times with bows and “turn themselves equal, holding an angel in their hands in front of them.” At this time, the youths sing: “Three-numbered youths make up the Holy Trinity.” 3 This appeal is not available in the 16th century order or in print. 4 At the beginning of the 16th century. we see the same conversations of the Chaldeans, but in the printed order of the cave action only two are retained and in this presentation. The first Chaldean: “Ananias, get out of the cave,” and leads honestly by the arms, and says: “Go, son of the king,” and the other also says. And then the other one also bows and goes to the cave and calls out in a loud voice: “Azariah, get out of the cave.” And then the first Chaldean again calls out: “Misailo, get out of the cave.” And the Chaldeans take the youths by the right arm honestly and lead them before the patriarch.” 5 At the beginning of the 16th century. there is no mention of the Metropolitan’s invitation to the authorities, or even of many years of rank for the Tsar and Tsarina and their children at this time. Instead, the Metropolitan honors the Tsar for many years, at the end of Matins, upon his arrival from the cathedral to the chamber of the cross. In this same Iveron manuscript No. 1120, at the end of the rank we find the following addition to the scribe of the manuscript: ἀντὶ ᾀσματικοῦ κῦρ Μανουὴλ τοῦ Γαζῆ, συνετέθη δὲ καὶ ἐγράφη καὶ παρ' ἐμοῦ, ὡς ὁρᾷς, ἦχος πλ. δ'. Ὁ δὲ ἄγγελος, ὁ δὲ ἄγγελος Κυρίου, ὁ δὲ ἄγγελος Κυρίου συγκατέβη ἅμα τοῖς περὶ τὸν Ἀζαρίαν εἰς τὴν κάμινον. Πάλιν. Ὁ δὲ ἄγγελος Κυρίου, συγκατέβη ἅμα τοῖς περὶ τὸν Ἀζαρίαν, εἰς τὴν κάμινον, καὶ ἐξετίναξε τὴν φλόγα τοῦ πυρὸς ἐκ τῆς καμίνου, ἐποίησε τὸ μέσον τῆς καμίνου, ὡς πνεῦμα δρόσου διασυρίζον, καὶ οὐχ ἥψατο αὐτῶν τὸ καθόλου τὸ πῦρ. Πάλιν πλ. α'. Οὐδὲ ἐλύπησεν, οὐδὲ παρηνόχλησεν. Τότε οἱ τρεῖς, ὡς ἐξ ἑνὸς στόματος, ὕμνουν καὶ εὐλόγουν καὶ ἐδόξαζον τὸν Θεὸν ἐν τῇ καμίνῳ λέγοντες. Ἀπὸ χορῶν, πλ. δ. Εὐλογεῖτε. The words: Λέγε and Παλιν in this manuscript are written in cinnabar and set to sheet music. These words are called intercalations, but their presence in stichera and verses was not accidental, but was caused by practical considerations of the notation writers. D. Razumovsky, Church singing in Russia, c. I, p. 109. Ἀκολουθία was a detailed and consistent presentation of a service or rite, with all the rituals, priestly and deaconal exclamations and the full text of the prayers included in it - a brief statutory summary of the same services or rites, often without even indicating the prayers. Orthodox Palest. collection St. Petersburg 1887 vol. IV, c. III, p. 12. It is not without interest to inform our readers of the following interesting fact. Having found the above Greek rite of the cave action in the Iveron manuscript No. 1120, we then reviewed several music manuscripts of the same library, all the music manuscripts of the rich Athonite Vatopedi library (about 500 rkp.), the Russian Panteleimon Monastery and the library of the National University of Athens, where the manuscripts are collected Thessaly Meteor monasteries, and in none of them did they find the rite of the cave action, at least in the same presentation in which the Iveron Manuscript No. 1120 gives it to us. Between these manuscripts we came across several copies even with the same inscription: “Παπαδικὴ τέχνη.” A detailed study of all services of this kind belongs to the late Professor Moskov. spirit. Academy to I. D. Mansvetov: “On the song sequence, its ancient basis and general structure,” published in Add. Creation Holy Father for 1880 book. Ill–IV. In the Byzantine music manuscripts we have: “Ἑσπερινὸς ᾀσματικὸς ὅς ψάλλεται κατὰ τὴν ἑσπέραν τῆς Ὑψώσεως καὶ τοῦ μεγάλου Χρυσοστόμου καὶ τοῦ μεγάλου Δημητρίου" (Rkp. Vatop. library No. 297 (931) and "ᾈσματικὸς ἑσπερινός, ψαλλόμενος εἰς μάρτυρας, εἰς ἀποστόλους, εἰς ἱεράρχας καὶ εἰς ὁσίους" (RKP. Iversk. library no. 1120). There were presentations of Vespers on Sundays and other days. Migne Patrol. Curs. Complet., t. 150, coi. 628. Russian Philologist, Vestn. Warsaw. 1890 vol. XXIII, pp. 52–53. Ibid. 1891 t. XXVI. p. 119. In the list of the 16th century, as we noted above, we do not see many dialogues. About the services of the Russian Church that were in previous divine services. printed books, page 177, Russian Philol. Vestn. vol. XXIII, p. 54; P. Pekarsky, Vved. into the story about the candle. in Russia XVIII century. St. Petersburg 1862 p. 390. K. Nikolsky, About the services of the Russian Church, p. 174; Known Imperial Archaeol. General 1861 vol. III, p. 36. Russian Philological Vestn. Vol. XXVI, p. 119. II Orthodox Palest. Collection vol. IV, c. III, pp. 11–12 T. I, sex. II, M. 1881, pp. 327, 328. Here, for example, is how the 8th canon of the canon, 2nd tone, is sung: “The furnace of fire in Babylon sometimes divided the actions, scorching the Chaldeans by God’s knowledge, and watering the faithful, singing: bless all the works of the Lord the Lord.” Words enclosed in brackets are crossed out in the manuscript. Histor. Russian Churches vol. I, floors. II, p. 328 Τυπικ. handwritten Patmossk. bib. No. 266 l. 58. The connection between the memory of the three youths in the cave of Babylon and the week of the forefathers can also be found in the Sinai Canonaries of the 9th–10th centuries. Here, under December 17, we read the following: προφήτου Δανιὴλ καὶ τῶν ἁγίων προπατόρων. Work. Kyiv. spiritual Academician 1874 books V, p. 214. Arch. Sergius. Full month. east. M. 1876, vol. II, p. 330. Τυπικ. handwritten Patmossk. bib. No. 266 l. 56. Russian Histor. bib. vol. VI, 33. In connection with this fact, the same I. Sakharov reports a “folk legend” that the people of Vladimir once came to Moscow to boast. Muscovites listened to Vladimir’s boasts for a long time, and out of annoyance they said: “Oh, you carpenters! You have everything: wooden stoves, golden gates, iron churches.” Tale, Russian. people, collected by I. Sakharov. St. Petersburg. 1841 books 1, p. 108. Tale, book of the Russian people. I, p. 108. Dren, Russian. vivlioe. St. Petersburg. 1774, part V, p. 1, note. Rukop. Iversk. bib. No. 1120, no. 456 ob., 457. K. Nikolsky, About Russian services. churches p. 174. You might be interested in: