wall-paintings we only see lavra (indigo) and blue with a greenish tinge. In Greek icons, dark blue is used before the end of the fourteenth century; in Russia it only appears in the sixteenth. Both light and dark blue are called azure (Iázor’): vissón and is the name for a dark lilac shot with blue: golubéts, a pale blue colour like modern cobalt, only appears during the sixteenth century, and in backgrounds is a sign of western influence.
48. Saint John the Baptist, middle of the 14th century.
Egg tempera on plaster on wood, 87.5 × 66 cm.
The State Russian Museum, St. Petersburg.
49. Photius Kontoglou, Saint John the Baptist, 1963. Private Collection.
A very interesting colour is prázelen’,[57] which includes not only green but various dark blue tones and indigo. It is the chief mark of Nóvgorod painting in the fifteenth century, being used freely in place of light blue in Greek draperies. It is noticeable that the very word is a corruption of the Greek term used by the Byzantines for the green of grass and the juice obtained from leeks, which has a green colour with a soft brown shade. This green colour has no body in it; it is liquid and transparent and combines very well with brown (it corresponds to terra verde). It is this colour which has most part in the highlights of draperies and in reflexes complementary to brick and chestnut browns.
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Примечания
1
Kustár’ (adj. kustárny) from German Kunst means a craftsman who works on his own, whether in wood, metal, or any material, in his own house in a town or more often a village, as opposed to a manu-facturer and his employees. See, e.g., L’Art Populaire Russe à la Seconde Exposition Koustare de toute la Russie à Petrograd, 1913, pubd. by the Ministry of Agriculture, P. 1914. Text in Russian and French: 35 icons illustrated, many with prices.
2
Podubórnoe, a board painted only where the flesh parts showed through the metal riza.
3
Frydz’, a style of icon so deeply influenced by western methods as to be an unsatisfactory compromise.
Примечания
1
Kustár’ (adj. kustárny) from German Kunst means a craftsman who works on his own, whether in wood, metal, or any material, in his own house in a town or more often a village, as opposed to a manu-facturer and his employees. See, e.g., L’Art Populaire Russe à la Seconde Exposition Koustare de toute la Russie à Petrograd, 1913, pubd. by the Ministry of Agriculture, P. 1914. Text in Russian and French: 35 icons illustrated, many with prices.
2
Podubórnoe, a board painted only where the flesh parts showed through the metal riza.
3
Frydz’, a style of icon so deeply influenced by western methods as to be an unsatisfactory compromise.
4
I retain this the usual translation of Sobór, literally a ‘bringing together’; hence (1) a Synod or Great Council of Church or State; (2) an Assembly of holy persons joining in praise round the Virgin, an Archangel, etc.; (3) a service conducted by several clergy; (4) a Collegiate Church and so the principal churches of towns or monasteries, but not a Bishop’s seat, e.g. the five Sobors in the Kremlin at Moscow, the little ancient church of Spas na Boric (Our Saviour in the Pine-wood), the Great Uspénski Sobor (Dormition), Blagovêshchenski (Annunciation), Arkhángelski with the graves of the old Tsars, and Voznesénski (Ascension) with the graves of the Tsaritsas.
5
Otéchestvennÿa Dostopámyatnosti (Memorials of the Fatherland), 1823-4; I. Snegirëv and Martýnov, Pámyatniki drév-nyago Khudózhestva v Rossíi (Monuments of ancient Art in Russia), 1850 (two icons); Drévnosti Rossíyskago Gosudárstva (Anti-quités de l’Empire Russe), 1849-53 (ten icons); I. Snegirëv, Pámyatniki Moskóv-skikh Drévnostey (Monuments of Moscow Antiquities), 1841-2 (five icons); K. Tromónin, Dostopámyatnosti Moskvý (Memorials of Moscow), 1834! A. L. Vel’tman, same title, 1848; Evgeni [Bolkhovítinov], Kíevo-Pechérskaya Lávra. Kievo-Sofiyski Sobór; for his works see E. Shmúrlo, The Metropolitan Evgeni as a Scholar, P. 1888; M. Pogodin, ‘The Fate of Archaeology in Russia’, Journ. Min. Jnstr., 1869, No. 9.
6
N. I. Veselóvski, Istóriya Imperátor-skago Rússkago Arkheologícheskago Óbsh-chestva (Society), P. 1900.
7
Byt Rússkikh Tsaréy i Tsaríts, M. 1872, 2nd ed. 1915: Materiály dlya Istórii Rússkago Ikonopisániya po arkhívnym dokúmentam.
8
G. D. Filimonov, Description of the Contents of the Korobánov Museum, M. 1849. A Pódlinnik is a guide to iconography describing fully how a scene or person is to be represented; if illustrated, it is called Litsevóy Pódlinnik.
9
Zapíski (Transactions) Imp. Arkh. Obshch. (Soc), viii (1856), pp. 1-196: re-issued by A. S. Suvórin, P. 1901.
10
For this church see P. Gusev in Trans. XV (Novgorod, 1911) R. Archaeological Congress, ii, pp. 138-50, Pl. i-vI, M. 1916.
11
Newly cleaned icons: A. I. Anísimov, he Icon of S. Theodore Stratelates in his Church at Novgorod, 1922; and The Icon of Our Lady of Vladimir in the Cathedral of the Assumption at Moscow, in preparation.
12
N. P. Kondakov, Iconography of the B. V. M.: Connexions, P. 1910
13
N. P. Likhachëv, Istorícheskoe Znachénie Italo-grécheskoy Ikonopisi (Hist. Significance of Italo-Greek Icon-painting), P. 1911, takes the same line.
14
P. Murátov, ‘History of Painting, I. Introduction to the History of Old Russian Painting, II. Origin of Old Russian Painting’, in vol. vi of I. Grabar’, History of Russian Art, M. 1909-. He regards both Italy and Russia as learning side by side from the late
<p>57</p>
Zélen in Russian is ‘green colour’: pra is a rare prefix suggesting antiquity.
wall-paintings we only see lavra (indigo) and blue with a greenish tinge. In Greek icons, dark blue is used before the end of the fourteenth century; in Russia it only appears in the sixteenth. Both light and dark blue are called azure (Iázor’): vissón and is the name for a dark lilac shot with blue: golubéts, a pale blue colour like modern cobalt, only appears during the sixteenth century, and in backgrounds is a sign of western influence.
