Разъяснения некоторых символов и рисунков

The colors used to print the cover were selected based on the primary colors of the ancient Sofia icons from the Novgorod edition. – The frontispiece of the book is taken from the book: Amoris Divini Emblemata, studio et aere Othonis Vaeni concinnata. Antverpiae, ex officina plantiniana Balthasaris Moreti. M. D.C. LX. p. 125. – The vignettes are reproduced from the book: [Ambodik], – Symbola et Emblemata selecta [1st ed.]„ – Three drawings of Sophia icons on pp. 373, 377, 380 I borrow from Filimonov’s article.The image of the Sophia icon of the Tretyakov Art Gallery between pages 374 and 375 is reproduced from publication: N. P. Likhachev, - Materials for the History of Russian Icon Painting. Atlas of photographs, Part II, St. Petersburg, 1906, plate CCLXIII, No. 487. See below, "brief description", No. 54. - It seems that the symbolic meaning of most of the vignettes does not need explanation. Only the image placed on page 143 may not be entirely clear. a projectile known in ancient times and called by the Romans murex ferreus, by the Germans - Fussangel, in Rus' - iron flyers, sweeping or doodle doodles, and, in particular, in Sergiev Posad - “Trinity garlic”. In its simplest form, it is an iron four-legged arm, the legs of which are directed to the corners of a regular tetrahedron and are equipped at the ends with jagged points, like those found on fishing hooks. Each of the rods was about ¾ of an inch long, and their mutual inclination was 120°. The flyer shown in the figure, however, has some complications in the form of additional legs. – The remainder of such fliers from the reserves of the former armory of the Trinity-Sergius Lavra is kept in the sacristy of this monastery. “It’s clear that no matter how you throw such a flyer, it will always rest firmly on three legs, while the fourth will stick up with its tip. Therefore, noticeable scribbles have long been used for the purpose of blocking the path of the enemy cavalry: running into generously scattered shells, the horses damaged their legs and fell, and the attack of the besieged completed the defeat. (Valer. Max. III, 7, 2; Gurt. IV, 17). Such a projectile was also used during the siege of the Trinity Lavra by the Poles (for scribbles, see: Antony Rich, - Illustriertes Wörterbuch der römischen Alterthümer, - aus dem Englischen übersetz - von C. Müller. Paris et Leipzig, 1862, S. 407. - E. [E.] Golubinsky, - St. Sergius of Radonezh and the Trinity Lavra created by him, ed. 2nd, M. 1909, p. 266. – N. V. Sultanov, – Monument to the Emperor. Alexander II in the Moscow Kremlin. St. Petersburg, 1898, pp. 606–609). – Such a flyer seems to be a natural symbol for the antinomian dogma, which always says “yes”, establishing itself tightly with any of its edges, but always at the same time puts up its tip, which has the potential to wound the one who imagines that by this “yes” the dogma is weakened and destroyed. With such scribbles in its strongholds, there is no need for the Church to go out into the field and fight the enemy - his cold weapons, rationalism: it is enough that the enemy cavalry will damage its legs horses, without ever approaching the besieged walls. Firearms—the power of the Spirit that strikes from afar—is the direct property of the Church.