TOBOLSK PANAGIA*

The article deals with morphological and stylistic features of a copper-cast gilded panagia found during excavations in the territory of Verkhny posad in Tobolsk. A detailed description of the find and the conditions of its discovery is given. It is established that the artifact belongs to an early group of copper-cast stone panagias, which can be dated to the second half of the XVI - first half of the XVII century. It is suggested that the appearance of this cult object in Tobolsk is connected with the creation of a new diocese here in the early 17th century and the presence of the first Siberian and Tobolsk archbishops in the city.

Keywords: archeology, history, Western Siberia, Tobolsk, copper casting, objects of Christian worship, Putnaya panagia.

Introduction

An expedition of the Institute for Humanitarian Studies of Tyumen State University began excavations in Tobolsk in 2007 and today has very representative collections of artifacts related to the initial period of the history of the first capital of Siberia [Matveev, Anoshko, Seliverstova et al., 2008; Matveev, Anoshko, Somova, Seliverstova, 2008a, b; Anoshko, Seliverstova, 2009; and These collections also include quite rare items.

One of them was found on the territory of the Second Gostiny Dvor excavation, laid in 2008 north-east of the Gostiny Dvor building during the study of structure 15. The latter was a wooden building with an area of approx. 30 m2, from which the three lower crowns of the log house and the remains of the plank floor have been preserved. The residential nature of the structure is evidenced by the remains of a furnace and underground, as well as fragments of leather shoes and household utensils.

The structure was located just 40 m from Gostiny dvor , one of the oldest brick buildings in Tobolsk, whose construction began no earlier than 1702 and no later than 1703 [Abramov, 19986, p. 478; Kopylov and Pribylsky, 1975, p. 40; Kopylova, 1979, p. 31, 32; Kochedamov, 1963, p. 60, 61], but it was not possible to determine which of these objects is older. In some areas of the excavation, a continental discharge was recorded associated with the digging of a pit for the Gostiny dvor building, but structure 15 was located outside this clay layer. It is only clear that it was built not on top of the already existing cultural deposits, but directly on the surface of the soil horizon, and the remains of the log house were disturbed by a later construction 16, which contained several coins from the middle of the XVIII century. Thus, building 15 should be considered one of the earliest on the exposed site, destroyed before the middle of the XVIII century.

The object to which the article is devoted was discovered during an examination with a metal detector in the north-east of the Russian Federation.-

* This work was supported by the Russian State Scientific Foundation, grant No. 10-01-00293a "Upper Posad of Tobolsk and material culture of its inhabitants in the XVII-XVIII centuries based on archaeological and historical data".

page 104

1. Panagia in the closed state. 1 - rear view; 2 - side view; 3-front view. The lost upper part of the table of contents is reconstructed by analogy with the panagia from the collection of the Museum of Christian Art in Esztergom [Gnutova. Ruzsa, Zotova, 2005, N 53].

as it turned out, the artifact was lying in situ in a gap between the second and third crowns of logs, where it was undoubtedly hidden by someone. This circumstance allows us to interpret the find as a treasure hidden during the existence of the building, most likely by one of its inhabitants.

Artifact Description

After cleaning the object from oxides, it became clear that it belonged to the class of double-leafed metal panagia, which served both as a receptacle for pieces of prosphora - bread consecrated in honor of the Mother of God, which the Greeks called "panagia" (παναγía) - the All-holy One (Barsov, 1995a; Gnutova, 1993, p.17), and as a breastplate of bishops. Small bivalve panagia were small forms of panagiar - a dish with a lid, on which prosphora was placed before eating [Antiquities of the Russian State..., 1849, p. 85; Sterligova, 2009]. Sometimes the relics of saints were kept in folding panagias [Makarii..., 1879, p. 17-18].

The product consists of a movable table of contents and two flaps: upper and lower (Fig. 1). Its components were cast from a copper alloy, engraved, gilded, and then connected to each other by means of hinges. Dimensions of the closed item: height 74 mm, width 57 mm, thickness 9 mm.

The table of contents of the panagia resembles a square in a sub-rectangular cross-section, with a side of approx. 14 mm, 8 mm thick (Figs. 1, 3). Most of the faces of this part of the product are slightly convex, with clear, but not sharp edges. The upper edge looks different: under the microscope, you can see a depression in the center and a series of long longitudinal drawings, but you can't see any traces of file work or sawing. There is little doubt that in the very center of this plane there was some later lost detail, most likely the same as on the table of contents of the panagia from the Museum of Christian Art in Esztergom (Kereszteny Muzeum) in Hungary. Here, a large movable loop was attached, which presumably served to connect the object to the chain [Gnutova, Ruzsa, Zotova, 2005, N 53]. This fastening in the form of a small loop (such are part of other hinges), probably, was broken off. However, the item was not sent for repair. From the table of contents, they simply broke off the remains of the loop or cut them down with something sharp, and then leveled the damaged surface with a rough blade. It was not difficult to restore the product to its former appearance, but its owner apparently did not consider that the object had become unusable, since for its suspension in the table of contents there was also a horizontal through hole with a diameter of 3 mm, the ends of which were designed in the form of cylindrical protrusions with a diameter of 6 mm.

The table of contents is connected to the lower leaf of the product by a three-loop hinge. There are two extreme hinges of the hinge on it, and on the table of contents - one, central. A wire pin with a diameter of 2 mm is passed through the holes in the hinges. Blanks of loops in the form of pegs with a length of about 15 mm, most likely, were cast together with the corresponding parts of the panagia, and only then processed and bent into rings. Each of them is decorated with shallow thin grooves. It should be noted that just such a loop is found on the upper face of the table of contents of the panagia from the mentioned museum in Esztergom. We believe that it was originally included in the table of contents of the Tobolsk panagia. The front side of this part of the found cult object is decorated with a relief image of the Savior Not Made with Hands (Figs. 1, 3).

The upper leaf of the product is cast in the form of a convex-concave disk with a diameter of 46 mm with a three-bladed projection (raincoat) 22 mm wide from the bottom (Fig. 1, 3). The leaf thickness along the edge is 2 mm. It is connected to the lower leaf by two exactly the same hinges as described above. However, the function of the rotary mechanism was performed only by one, and the other served as a lock that locked the panagia. The upper flap was flung back by the left (from the point of view of the person wearing this object on his chest) hinge. It was in it that the pin that connected the hinges of the lower and upper flaps was preserved. In addition, the left hinge, unlike the right one, has clearly visible traces of harmony (Fig. 2, 1).

page 105

2. Panagia in the open state. 1 - lower sash; 2 - upper sash.

It was not possible to completely clean the outer surface of the sash from patina, so some details of its design are indistinguishable. The cloak and outer edge of the disk are decorated with floral ornaments (see Figures 1, 3). Inside this circle is another one with the inscription:

which is an excerpt from the prayer "It is worthy to eat", which is dedicated to the Mother of God and includes the formula "the most honest cherub and the most glorious seraphim without comparison" [Molitvoslov..., 2006, p.19]. The letters of the inscription are raised, with a smooth surface, stand out on a fluted background covered with thin risks.

In the center of the sash, in a round stamp with a diameter of 15 mm, the Crucifixion of Christ is depicted with four upcoming ones, above which two flying angels are shown. Between them, above the head of Jesus, is an inscription: IC (iησους)XC(Χριστóς). Two more unreadable inscriptions are placed over the heads of the participants.

The inner surface of the sash is much better preserved than the outer surface (see Figs. 2, 2). A relief inscription is applied along the edge of the sash:

excerpt from the prayer dedicated to the Trinity. The size of the letters of this inscription is much smaller than the previous one, their height is only 3 mm. The beginning and end of the text are separated by the Calvary Cross shown at the top of the disk.

The main part of the sash is occupied by the image of the Old Testament Trinity inscribed in a circle with a diameter of 38 mm. Compositionally, this is the most complex and detailed image on the panagia, undoubtedly dating back to Andrei Rublev's" Trinity " [State Tretyakov Gallery, 1957, ill. 1], but it has a number of features. Thanks to the relief and placement on the concave surface of the disk, the stage acquired a volume that iconographic works do not have.

Most carefully, the master worked out the details of the foreground of the composition. You can clearly see the poses of angels sitting at a rectangular meal, as well as the halos above their heads, their faces, hairstyles, wings,folds of clothing and even fingers. In the hands of the extreme angels-staffs with tridents at the top (Fig. 3, 1), and God the Son-with a more complex pommel in the form of an oblique cross with a crossbar in the middle (Fig. 3, 2).

A bowl is shown on the table, in which the head of the calf slaughtered by Abraham is guessed (Fig. 3,3). This vessel differs from the bowl depicted on the Rublev icon: it has an extension in the upper part of the leg. It is the same as on the bowls of the "Trinity" by master Paisius, written later than Rouble's creation-

3. Details of images and inscriptions on panagia doors. 1-the pommel of the staff of the left angel; 2-the pommel of the staff of the middle angel; 3-the bowl and loaves at the meal; 4-the face of the Mother of God; 5, 6 - inscriptions to the right and left of the face of the Virgin. The magnification is different.

page 106
va, - in the 80s of the XV century. [Popov and Ryndina, 1979, No. 18, pp. 308-311, 434]. To the right and left of the bowl are two loaves with crosses on the surface (Figs. 3, 3), comparable to prosphora, for which these signs have been characteristic for a long time (Barsov, 19956; Kuznetsov, 1997, pp. 13, 14, 25). Quite early images of the Holy Trinity with similar loaves at a meal are also known (Pokrovsky, 2009, fig. 68).

Among the background details, the most realistic is the image of the Mamre oak tree, which is located above the head of the middle angel. The house of Abraham above the head of the left (from the viewer) traveler looks like a plot covered with oblique grid hatching, and the mountain above the head of the right-as a pyramid figure cut by cracks (see Figs. 2, 2).

The lower valve of the panagia is not convex-concave like the upper one, but flat, although it is identical in shape and size (see Fig. 2, 1). An inscription is placed on the edge of the inner surface of the disk:

which is another passage from the already mentioned prayer "It is worthy to eat". In terms of the size of the letters and the presence of a schematic image of the Calvary Cross, this inscription is identical to the inscription around the image of the Trinity.

In the center of the sash in a circle with a diameter of 38 mm there is an image of Our Lady of the Sign. This two-figure composition is made in the same high relief as the Trinity, and no less carefully. The Virgin is shown full-face (see Figures 3, 4), in a flowing maforia cloak, with her hands raised to the sky. The infant Jesus Christ is in the womb of the Mother of God. With his right hand he blesses the world, and in his left hand he holds a scroll-as a sign of the gracious law and the saving teaching. On the smooth background of the medallion, the following inscriptions can be clearly read: at the level of the face of the Virgin, to the left and right of her - Mkητηρ) and (Θ ε ο υ), just below-IC and XC. They are embossed, but not cast, and made by the method of coinage (see Fig. 3, 5, 6).

There are no inscriptions on the reverse side of the lower leaf, but in the center there is a round protrusion with a diameter of 35 mm and a height of 1 mm (see Figs. 1, 1). This is, of course, a decorative element, but it imperceptibly increases the thickness of the disk in the weakest place - in the center, where the background areas of the relief image of the Virgin and Jesus Christ were necessarily thinned. It should be noted that almost all the gilding that once covered the sash on the reverse side has been erased. This indicates that the panagia was worn for a long time.

Typological attribution and product dating

Panagias are well-known to specialists, but rather rare items of Christian worship. They are found in the collections of many museums, but in most collections they are isolated [Gulyaeva, 1993, p. 133; Gormina, 1993, p. 112; Zhdanova, 1993, p. 144; Zotova, 1993, p. 88; Mishneva, 1993, p. 104; Fesenko and Tchaikovsky, 1993, p. 123; etc.] Panagia was made of wood, bone, stone, tin, copper, silver and gold, as well as other materials.

The most expensive panagias in terms of materials and decoration were decorated with scania, precious stones, pearls, etc. [Gormina, 2009; Antiquities of the Russian State..., 1849, pp. 61,62,160,167,172-174; Nikolaeva, 1960, N 96, 100 - 103, 116, 117; 1968a, N 38, 46-49, 52; 19686, N 97, 105, 116, 117; 1976, rice. 14, 15, 30, 31, 38, 39, 58, 59, 69, 79, 80; Panagia Moisei, 2009; Popov and Ryndina, 1979, N 8, 10; Ryndina, 1978, il. 64 Orthodox bishops used to wear them when serving the clergy and on other solemn occasions. In addition to the expensive ceremonial panagias, the higher clergy also used much simpler ones, which in ancient church inventories were called traveling, marching, etc. [Gnutova, 1993, p. 17]. They formed part of the daily vestments of bishops, and were worn during trips and journeys. Among such panagia can be attributed and found in Tobolsk.

According to S. V. Gnutova, bivalve copper panagia appeared in Russia in the XIV century, and became widespread in the XV-XVI centuries [Ibid.]. Determining the date of each such item is not easy. The fact is that it was not difficult to make a cast from any panagia, and then, using it as a form, get one or several more or less accurate copies. It is clear that replication could occur in different territories and at different times. Therefore, some art historians doubt the possibility of any precise determination of the date of cult casting based on its iconographic features (see, for example: Berestetskaya, 1993, p. 57; Krasilin, 1993, p.68; Savina, 1993, p. 53). However, with regard to copper-cast road panagias, similar to Tobolsk, this fear is hardly justified: they are quite clearly divided into several chronological groups (Fig. 4).

The first one, in addition to the Tobolsk find, includes: 1) the silver and gilt panagia from the Museum of Christian Art in Esztergom, which is virtually identical to it and already mentioned, is the only one that has an additional loop in the upper part of the table of contents [Gnutova, Ruzsa, Zotova, 2005, N 53]; 2) the copper-cast gilded panagia from Zagorsko-

page 107

4. The main chronological groups of copper-cast church panagias with images of the Crucifixion of Christ, the Old Testament Trinity and Our Lady of the Sign. 1-Tobolsk city; 2, 7, 10-private collection [Obraz...]; 3 - collection of the Central Research Institute of Oriental Research [Gnutova and Zotova, 2000, N 193]; 4-private collection [Petersburg Treasure Hunter]; 5-collection of the Novgorod State United Museum-Reserve [Gormina, 2005, N 18]; 6, 8 - private collection [Kladenets]; 9 - private collection [Smolenskiy kladoiskatel].

page 108
66) [Nikolaeva, 1960, p. 251, 252, N 112]; 3) the upper sash of the panagia with the image of the Old Testament Trinity from the collection of the Central Museum of Ancient Russian Culture and Art named after Andrey Rublev (CMiAR) [Gnutova and Zotova, 2000, N 192]; 4) the lower one the panagia sash with the image of Our Lady of the Sign from the same museum [Ibid., N 193]; 5) the upper sash from excavations on the territory of Novgorod [Sedova, 1981, Fig. 22, 1, 2]; 6) a panagia without a table of contents and a cloak, but with two large figures of angels in the image of Our Lady of the Sign from Museum of Applied Arts (Iparmuveszeti Museum) in Budapest [Gnutova, Ruzsa, Zotova, 2005, N 52]. Similar items were previously kept in the Gorky Historical and Architectural Museum and the Rybinsk Historical and Art Museum [Nikolaeva, 1960, p. 252], and are part of some private collections [Obraz...; Peterburgsky kladoiskatel; Sammler].

The similarity of these products is so obvious that it suggests that they were made, if not by one master, then at least in one workshop (Fig. 4, 1-4). The main signs of similarity of the objects under consideration can be considered: a) the presence of movable tables of contents; b) on the front side of the upper leaves of the products, the inscriptions are made on a fluted background; c) the pommels on the Trinity staffs are shown in the form of tridents and an oblique cross with a horizontal crossbar; d) cross-shaped signs on the loaves lying on the meal; e) a clear study the trunk and branches of the Mamre oak located above the head of the middle angel; f) the image of the chambers of Abraham above the head of the left angel in the form of a section covered with mesh hatching; g) the inscriptions on the inner surface of the lower sash next to the figures of the Virgin and Jesus Christ are not cast, but hammered.

The second group of items under consideration (Figures 4, 5, 6) looks rather small so far, although it is quite possible that a significant part of the items related to it has not yet been published. In our view, this group should include: 1) one of the panagias kept in the Novgorod Museum [Gormina, 2005, il. 18]; 2) at least two panagias, images of which are posted on the Kladenets website. They are very similar to the panagia mentioned above, but they have their own characteristics: a) their table of contents are fixed, cast together with the lower leaves and only imitate the looped hinges characteristic of the products of the first group; b) many pictorial details and inscriptions look indistinct, blurred; c) inscriptions accompanying the image of Our Lady of the Sign, do not reflect the image of Our Lady of the Sign. chased, but cast. From this we can conclude that the panagias of the second group are not authentic works of decorative and applied art, they are cast according to models that were used as objects belonging to the first group.

The third group includes the largest number of items that are represented in both museum and private collections (Figs. 4, 7-10). In these panagias: a) the table of contents is not just fixed, but those that do not even imitate the hinge joints with the lower sash; b) there are no inscriptions on the edges of the sashes; c) there are high relief rollers with so-called rope ornaments around the perimeter of disks, stamps with images and cloaks; d) all images are made roughly, with a violation of the proportions of figures and with poor elaboration of details; e) cast inscriptions accompanying images of the Crucifixion of Christ, the Old Testament Trinity and Our Lady of the Sign, as a rule, are illegible. Although the castings of the third and first groups can be formally attributed to the same type of objects, they are very far from each other in artistic terms. The big-headed and bug-eyed figures on the panagia of the third group are as strikingly different from the elegant and finely worked images characteristic of the products of the first group, as children's drawings from the engravings of recognized masters. This, however, has its own explanation. If the panagia assigned to the second group were cast according to the samples of the first group, then the most recent ones considered are more correctly considered not even copies, but rather clumsy imitations of both. All this is confirmed by the data on the chronology of panagia of the third group. The most accurate analogues of them are found among the products of Old Believers foundry workers of the XVIII and XIX centuries, which are quite late even by the standards of the period under consideration. [Gnutova and Zotova, 2000, N 100, 216, 218, 220, 221, 224, 225 Sukhova, 2005, No. 28, p. 564].

Thus, it is quite obvious that the items of the first group, including the panagia found in Tobolsk, are at the very beginning of the typological and chronological series of copper-cast panagias with images of the Crucifixion of Christ, the Old Testament Trinity and Our Lady of the Sign, which we have outlined. Their prototypes can be found among the folding and composite panagias of the XV-XVI centuries, the doors of which were cut out of wood, bone or stone, and then inserted into metal frames. In the State Historical Museum there are metal - framed stone and wooden doors with the image of the Old Testament Trinity, attributed respectively to the second half of the XIV-first half of the XV century. [Ryndina, 1978, p. 65,66, il. 61] and the second half of the XV century. [Nikolaeva, 1968a, p. 30, N 61]. A series of similar items is available in the Sergiev Posad (formerly Zagorsk) State Historical and Art Museum-Reserve. The oldest of these panagias was made by master Ambrose, who lived as a monk in the Trinity-Sergius Monastery in the second half of the 15th century. [Nikolaeva, 1960, p. 218-220, N 97; 19686, p. 28-30,

page 109
ill. 55, 56]. Its doors are carved from oak, set in a silver-and-gilt-edged frame and decorated with images of the Crucifixion of Christ, the Old Testament Trinity, and Our Lady of the Sign, which are also characteristic of the first group of copper panagias. Seven other items from the collection of the Sergiev Posad Museum are attributed to the XV-XVI centuries [Nikolaeva, 1960, N 98, 99, 104 - 107, 111]. One of them is made of bone, the rest are made of wood. Almost all of them are enclosed in scanned silver frames with or without gilding. They also depict the Crucifixion of Christ with two or four upcoming ones, the Old Testament Trinity with one or three bowls on the surface of the meal and, as a rule, with a smooth background, as well as Our Lady of the Sign. Circular inscriptions are absent on the front surfaces of the upper wings, but are present on the inner ones, around the images of the Trinity and the Virgin. Some of the objects described are quite specific in the manner of carving, but all together they clearly demonstrate the origin of those iconographic features that can be considered typical for copper-cast products of the first group. Since at least some of the composite panagias discussed above were made by the masters of the Trinity-Sergius Monastery, it can be assumed that the artistic traditions developed in their environment became decisive in the formation of those stylistic features that are characteristic of early copper-cast panagias, including those found in Tobolsk. It is hardly possible to determine the center of their production (judging by the high degree of similarity of the products of the first group, there was only one) on the materials available to us. So far, presumably, we can only say that these items were the products of Moscow masters.

Today, it is just as difficult to give an exhaustive answer to the question of the time of production and existence of panagia of the first group. Objects from museum and private collections are usually taken out of the historical and cultural context, so you can only outline the time frame for their creation and use in the most general form.

According to information about the conditions of discovery of the Tobolsk panagia, it fell out of use in the first 100 - 150 years of the history of the Siberian capital: between 1587, when the city was founded, and the middle of the XVIII century, when a new one was erected on the site of the building in which the cult object was hidden. Perhaps the specified chronological framework should be significantly narrowed, but this information will still not be enough to determine the time of making the panagia. A unique opportunity to double-check our data is provided by the well-known panagia from the Museum of Applied Arts in Budapest, on the surface of which the Cyrillic alphabet indicates the date-7149 from the creation of the world, corresponding to the last four months of 1640 and eight months of the next 1641 [Gnutova, Ruzsa, Zotova, 2005, N 52]. Given that this date is generally consistent with the information about the time of burial of the Tobolsk panagia and both items can be attributed to the group of early copper-cast road panagia by stylistic features, they can presumably be dated to the second half of the XVI-first half of the XVII century. or a slightly wider period.

Tobolsk Panagia in a historical context

An important question is also when and under what circumstances the panagia discovered in Tobolsk ended up in Siberia. Almost everything we know about the panagias of the period under review is connected with the highest Orthodox clergy. They could be conferred on bishops by the tsars or presented as sacred gifts by the bishops to the reigning persons. In the history of the Russian Church, there are cases of patriarchs voluntarily resigning their panagia and depriving them of this sign. Sometimes panagia were used as receptacles of lots with the names of applicants for the patriarchate [Makarii..., 1866, p. 299, 300; 1877, p. 65, 305, 363, 368, 369; 1879, p. 136; 1881, p. 17, 18, 36, 92, 93, 130; 1882, p. 78 - 82, 96, 97; 1883, p. 290, 327, 712, 734, 735, 743, 744, 746, 747, 763]. Panagia could be stored in churches and monasteries as personal items (Nikolaeva, 1960, p. 52). Sometimes the right to wear this sign of episcopal distinction was granted to archimandrites of Stavropol monasteries [Antiquities of the Russian State..., 1849, p. 171; Barsov, 1995a].

Orthodox churches began to be built in Siberia along with the" delivery " of Russian cities here. However, there were no bishops outside the Urals until 1621, when the first head of the newly established Siberian and Tobolsk diocese, Archbishop Kiprian, arrived in Tobolsk (Abramov, 1998a). After him, until the middle of the XVIII century, four more bishops and ten metropolitans were replaced in the capital of Siberia [Vysshiye tserkovnye hierarchs..., 2009, p. 663]. Probably, panagia, which was found at the Second Gostiny Dvor excavation, came to Tobolsk with one of these lords.

The surviving documents leave no doubt that the Tobolsk bishops, like all others, had panagia. Thus, from the census books of 1625 compiled during the transfer of the property of the Tobolsk Bishop's house to Archbishop Makarii after the appointment of Vladyka Cyprian as Metropolitan of Krutitsk, it follows that in the cathedral Church of St. Sophia there is a Prelate.-

page 110
The wisdom of the Word of God had one panagiar and at least four precious panagias. According to the source, Cyprian attached one panagia to the image of Sofia, and took the rest with him to Moscow [Perepisnye knigi..., 1994a, pp. 49, 53, 65-66]. None of these items can be identified with those found during the excavations.

In 1636, after the death of Archbishop Makarii, two new inventories of the property of St. Sophia's House were drawn up in Tobolsk - the January and February ones. The first one included information about five panagias that were "in Archbishop Makariev's back cell." One of them - a panagia "on a black bone, on which the image of the life-giving Trinity is carved, overlaid with silver and stone" - was sent to Moscow to the new Archbishop Nektary, and the rest was transferred to the Sophian house treasury upon arrival in Tobolsk [Romodanovskaya, 1988, p. 7 - 8, 11 - 12, 27, 29]. In the February inventory, five more panagias were noted, which were located in the cathedral church near the image of Sofia. Among them were "two panagias in silver crystal, and they have stones and pearls (one of which, apparently, was attached by Archbishop Cyprian. - Auth.), and three ponagias carved in silver, gilded, and carved on them: on one the Annunciation of the Virgin, and on the other Sophia the Wisdom of God, and on the third the Assumption of the Virgin" [Perepisnye knigi..., 19946, p. 85]. None of the ten panagias described in 1636 can also be identified with the one found in the excavation.

From sources of a later period, only the inventory of the cathedral and house episcopal churches, compiled in 1701 after the departure of Metropolitan Ignatius to Moscow, is put into scientific circulation. According to this document, 65 years after the February inventory was compiled in 1636, only two "crystal in silver" panagias remained in the cathedral Church of St. Sophia of the Wisdom of the Word of God [Inventory..., 1885, p.145]. At least three other religious objects of the same type were located in the church of the Forty Holy Martyrs in St. Sophia's courtyard: one decorated with yakhonts, frets and emeralds "ponagia in gold, in the middle of the stone of lalit, on it is carved the image of the Savior standing"; the other " ponagia silver under gold, on it is carved a cross under glass, on the 3 pearls in their sockets"; the third is sandalwood, with the image of the Trinity, set in gilded silver, with grain, pearls and some stones [Ibid., p. 155]. In the same church, there were four items designated in the inventory with the words "ponagia cross"; perhaps these were panagia in the form of a cross of the same type as stored in the State Historical Museum [Ibid.; Shpolyanskaya, 2005, N 31, pp. 488-489]. The document also mentions two panagias that were taken from Tobolsk to

Moscow by Vladyka Ignatius: overlaid with silver "under gold" and decorated with pearls, with stones, bone, with the image of Our Lady of the Sign, as well as" a golden ponagia, in the middle of the stone the Image of the Savior is imagined, encrusted with pearls, a silver chain under gold " [Inventory..., 1885, pp. 161, 162]. As you can see, among these products found by us also does not appear.

It is possible that in addition to the inventories of 1625, 1636, and 1701, other documents of the 17th and early 18th centuries describing the movable property of the Tobolsk bishop's house were preserved, but they are not known to us. As for the analyzed sources, although they do not allow us to exclude Cyprian, Macarius, and Ignatius from the list of possible owners of the panagia found, they make it more plausible that this item belongs to one of the 17th-century Tobolsk lords who have not yet been mentioned by us: Nektary, Gerasim, Simeon, Cornelius, Paul, A., perhaps, and Philotheus, who headed the diocese at the beginning of the XVIII century. The panagia could be located in the house or cell treasury of one of the listed bishops or serve as a butt to one of the Tobolsk icons. And if in the archives there are property documents of the St. Sophia House from the period when the aforementioned archbishops and metropolitans were in the Tobolsk department, then we can hope for the continuation of this investigation, and not so much archaeological as historical. Moreover, so far we do not know under what circumstances the panagia ended up with its last owner and who hid it between the logs of one of the Tobolsk houses.

Acknowledgements

The authors of the article express their gratitude to the head of the Department of Decorative and Applied Arts TSMIAR kand. S. V. Gnutova, as well as a senior researcher in the same sector of the Candidate of Fine Arts. art critic E. Ya. Zotova for her help in attributing the subject and searching for its analogues. The authors are grateful to the tracer of the archeology and Ethnography sector of the Institute for Humanitarian Studies of Tyumen State University, Yu. V. Kostomarova, who analyzed the features of the find, as well as made micrographs of the details of the panagia for this article. Special thanks to V. P. Korotaev, who provided the authors with electronic versions of some rare publications, and E. Y. Andreev for their help in reading the inscriptions on the panagia.

List of literature

Abramov N. A. Kiprian, the first Archbishop of Siberia / / Abramov N. A. Gorod Tyumen: Izbr. raboty. Tyumen: SoftDesign Publ., 1998a, pp. 96-105.

page 111
Abramov N. A. O starinykh kamennykh stroeniyakh v Tobolsk [On ancient stone structures in Tobolsk]. Tyumen: SoftDesign Publ., 19986, pp. 477-484.

Anoshko O. M., Seliverstova T. V. Characteristics of Russian pottery from excavations on the territory of Verkhny Posad in Tobolsk // Vestn. Tyumen State University. - 2009. - N 7. - p. 80-90.

Barsov N. I. Panagia / / Christianity: an encycl. dictionary: in 3 volumes-Moscow: Bolshaya Ros. encikl., 1995a. - Vol. 2. - p. 282.

Barsov N. I. Prosphora / / Christianity: an encycl. dictionary: in 3 volumes-Moscow: Bolshaya Ros. encikl., 19956. - Vol. 2. - pp. 404-405.

Berestetskaya T. V. " My research was the first experience... "(In memory of V. G. Druzhinin) / / Russian copper casting, Moscow: Sol System, 1993, issue 1, pp. 56-64.

Higher Church hierarchs (bishops, archbishops, metropolitans) / / Historical Encyclopedia of Siberia. Novosibirsk: Publishing House "Historical Heritage of Siberia", 2009, vol. 3, pp. 657-665.

Gnutova S. V. Mednaya melkaya plastika Drevnoi Rus ' (Tipologiya i bytovanie) [Copper small plastic of Ancient Russia (Typology and everyday life)]. Russkoe mednoe litye, Moscow: Sol Sistem, 1993, issue 1, pp. 7-20.

Gnutova S. V., Zotova E. Ya. Kresty, ikonki, skladni [Crosses, icons, folds]. Copper art casting of the XI-early XX century. From the collection of the Central Museum of Ancient Russian Culture and Art named after Andrey Rublev: album. - Moscow: Interbukbusiness, 2000. - 136 p.

Gormina N. V. Pamyatniki mednogo litovaniya v sobranii Novgorodskogo muzeya [Monuments of copper casting in the collection of the Novgorod Museum]. Russkoe mednoe litye, Moscow: Sol Sistem, 1993, issue 1, pp. 109-111.

Gormina N. V. Christian antiquities. Khudozhestvenny metal of the XI-XIX centuries in the collection of the Novgorod Museum-Reserve: a guide to the exhibition. - Moscow: Sever, Pilgrim, 2005. - 104 p.

Gormina N. V. Panagia pectoralis of Archbishop Pimen / / Veliky Novgorod. History and culture of the IX-XVII centuries: an encyclopedia. dictionary. Saint Petersburg: Nestor-Istoriya Publ., 2009, p. 377.

State Tretyakov Gallery, Moscow: State Publishing House of Fine Arts, 1957, 224 p.

Gulyaeva N. A. Sobranie mednolitoi melkoi plastiki Rybinskogo muzeya-zapovednik [Collection of copper-cast small plastics of the Rybinsk Museum-Reserve]. Russkoe mednoe litye, Moscow: Sol Sistem, 1993, issue 1, pp. 129-138.

Drevnosti Rossiiskogo gosudarstva, izdannye po Vysshimym zakazdenii [Antiquities of the Russian State, published by the Highest Order], Moscow: [tip. A. Semyona], 1849. - Otd. I: Sv. ikony, kresty, khramovaya utensils and vestments of the spiritual order. - VIII + IV + XLIII + 175 p.

Zhdanova A.D. Melkaya mednaya plastika Drevnoi Rus ' v Permskoi khudozhestvennoi galere [Small copper plastic of Ancient Russia in the Perm Art Gallery]. Russkoe mednoe litye, Moscow: Sol Sistem, 1993, issue 1, pp. 142-146.

Zotova E. Ya.Sources of formation of the collection of copper casting of the Museum named after V. I. Popov. Russkoe mednoe litye [Russian Copper casting], Moscow: Sol Sistem Publ., 1993, issue 1, pp. 88-97.

Kladenets: [website]. - URL:http://kladenets.ra?p=41081@ cpage=1; http://kladenets.ru/wp-content/uploads/postimg/55/54083-3-800x599.jpg.

Kopylov D. I., Pribylsky Yu. P. Tobolsk. Sverdlovsk: Sredne-Ural Publishing House, 1975, 224 p.

Kopylova S. V. Kamennoe stroitelstvo v Sibiri (kontsa XVII - XVIII V.) [Stone construction in Siberia (late 17th-18th centuries)]. Novosibirsk: Nauka Publ., 1979, 256 p.

Kochedamov V. I. Tobolsk (how the city grew and was built). - Tyumen: Kn. izd-vo, 1963. - 156 p.

Krasilin M. M. Monuments of copper casting in religious communities of Latvia and issues of their dating / / Russian copper casting. Moscow: Sol System Publ., 1993, issue 1, pp. 65-70.

Kuznetsov V. P. History of the cross form development. Short course of Orthodox stavrography, Moscow: [B. I.], 1997, 40 p.

Makary, Archbishop of Kharkiv. Istoriya russkoy tserkva: v 12 t. - SPb.: [type of Yu. A. Bokriana], 1866. - Vol. IV-385 + XI p.

Macarius, Archbishop of Lithuania and Vilna. Istoriya russkoy tserkva: v 12 t. - SPb.: [type of Yu. A. Bokriana], 1877. - Vol. VIII. - VIII + 414 p.

Macarius, Archbishop of Lithuania and Vilna. Istoriya russkoy tserkva: v 12 t. - SPb.: [type of R. Golike], 1879. - Vol. IX. - XX + 489 p.

Macarius, Metropolitan of Moscow and Kolomna. Istoriya russkoy tserkva: v 12 t. - SPb.: [tip. R. Golike], 1881. - T X.-XV + 500 p.

Macarius, Metropolitan of Moscow and Kolomna. Istoriya russkoy tserkva: v 12 t. - SPb.: [tip. S. Dobrodeeva], 1882. - Vol. XI. - XVI + 629 p.

Macarius, Metropolitan of Moscow and Kolomna. Istoriya russkoy tserkva: v 12 t. - SPb.: [type of R. Golike], 1883. - Vol. XII. - XXVI + 792 p.

Matveev A.V., Anoshko O. M., Seliverstova T. V., Somova M. A., Bormotina Yu. V. Preliminary results of the first year of excavations of the archaeological expedition of the Tyumen University in Tobolsk //AV ORIGINE: Problems of the genesis of Siberian cultures. - Tyumen: Tri T, 2008, issue 2, pp. 114-149.

Matveev A.V., Anoshko O. M., Somova M. A., Seliverstova T. V. Archaeological research of the Tyumen University expedition in Tobolsk // Tr. II (XVIII) Everything is clear. archeol. Congress in Suzdal, Moscow: PA RAS, 2008a, vol. 1, pp. 488-490.

Matveev A.V., Anoshko O. M., Somova M. A., Seliverstova T. V. Issledovanie ob " ekta s palisadom i podternom khodom na territorii tobolskogo posad [Research of an object with a palisade and underground passage on the territory of Tobolsk posad]. Kul'tura russkikh v arkheologicheskikh issledovaniyakh [Culture of Russians in archaeological research]. Omsk: Apelsin Publ., 20086, pp. 115-127.

Mishneva E. Russkoe mednoe litye [Russian Copper Casting], Moscow: Sol Sistem Publ., 1993, issue 1, pp. 104-108.

Prayer Book and Psalter. Kiev: Oranta Publ., 2006, 496 p. (in Russian)

Nikolaeva T. V. Small plastic works of the XIII-XVII centuries in the collection of the Zagorsk Museum: catalog. Zagorsk: Zagorsk State Historical Center. - art museum-reserve, 1960. - 338 p.

Nikolaeva T. V. Drevnerusskaya melkaya plastika XI-XVI vekov [Ancient Russian small plastic of the XI-XVI centuries]. Moscow: Sov. khudozhnik, 1968a, 176 p.

Nikolaeva T. V. Sobranie drevnerusskogo iskusstva v Zagorskom muzey [Collection of Ancient Russian Art in the Zagorsk Museum].

Nikolaeva T. V. Prikladnoe iskusstvo Moskovskoi Rusi [Applied Art of Moscow Russia]. Moscow: Nauka Publ., 1976, 288 p. (in Russian)

Cast, vintage image: [site]. - URL: http://mednolit.ru/photo/panagii/202-0-895; http://mednolit.ru/photo/panagii/202-0-897.

Inventory of the Cathedral and house episcopal churches of 1701 / / Tobolsk: Materials for the history of the city of the XVII and XVIII centuries. Moscow: Volchaninov Publishing House, 1885, pp. 145-163.

page 112
Panagia of Moses // Veliky Novgorod. History and culture of the IX-XVII centuries: an encyclopedia. dictionary. Saint Petersburg: Nestor-Istoriya Publ., 2009, p. 377.

Census books of 1625 // Tobolsk Bishop's House in the XVII century / ed. by N. N. Pokrovsky, E. K. Romodanovskaya. Novosibirsk: Siberian Chronograph Publ., 1994a, pp. 37-80.

Census books of 1636 // Tobolsk Bishop's House in the XVII century / ed. by N. N. Pokrovsky, E. K. Romodanovskaya. Novosibirsk: Siberian Chronograph Publ., 19946, pp. 81-13.

St. Petersburg Treasure Hunter: [website]. - URL: http://kladoiskatel.spb.ru/cgibin/foram/YaBB.pl?board=finds;action=display;num=111411536 0.

Pokrovsky N. V. Illustrated encyclopedia of Christian art. - Moscow: Eksmo, 2009. - 640 p. - (World of Orthodoxy).

Popov G. V., Ryndina A.V. Painting and applied art of Tver. XIV-XVI centuries, Moscow: Nauka Publ., 1979, 640 p.

Romodanovskaya, E. K., Inventory of the property of the Siberian Archbishop Makarii (1636), Istochniki po istorii Sibiri dosovetskogo perioda (Sources on the History of Siberia of the pre-Soviet period). Novosibirsk: Nauka Publ., 1988, pp. 5-29.

Ryndina A.V. Drevnerusskaya melkaya plastika [Ancient Russian small plastic], Moscow: Nauka Publ., 1978, 192 p.

Savina L. N. K istorii proizvodstva i bytovaniya mednogo khudozhestvennogo litovaniya v XIX - nachale XX veka [On the history of production and existence of copper art casting in the XIX-early XX century]. Russkoe mednoe litye, Moscow: Sol Sistem, 1993, issue 1, pp. 48-55.

Sedova M. V. Jewelry of Ancient Novgorod (X-XV centuries), Moscow: Nauka Publ., 1981, 196 p.

Smolenskiy kladoiskatel: [website]. - URL: http://smolenskMad.ru/view/170/8-8-47.html.

Sterligova I. A. Panagiar 1435 / / Veliky Novgorod. History and culture of the IX-XVII centuries: an encyclopedia. dictionary. Saint Petersburg: Nestor-Istoriya Publ., 2009, pp. 376-377.

Sukhova O. And Crosses-moscheviki in the collection of the Murom Museum // Stavrographic collection. - Moscow: Publishing House of the Moscow Patriarchate: Drevlekhranilishche, 2005, Book 3, pp. 530-575.

Fesenko M. L., Chaykovskaya N. I. Kollektsiya mednogo litovaniya Yaroslavskogo muzeya-zapovednik [Collection of copper casting in the Yaroslavl Museum-Reserve]. Russkoe mednoe litye, Moscow: Sol Sistem, 1993, issue 1, pp. 122-1128.

Shpolyanskaya D. V. Pectoral crosses-relics of the XIV-XVI centuries and crosses-relics with owner's inscriptions in the collection of the Department of Precious Metals of the State Historical Museum / / Stavrographic collection. - Moscow: Publishing House of the Moscow Patriarchate: Drevlekhranilishche, 2005. - Book 3. - P. 459 ^ 194.

Gnutova S., Ruzsa Gy., Zotova E. Prayers locked in bronze: Russian metal icons. - Budapest: Museum of Applied Arts, 2005. - 247 p.

Sammler: [site]. - URL: http://sammler.ru/index.php7s=6b6e3978567957d047052ed461fc7785&act=ST&f=710&t=24 765.

The article was submitted to the Editorial Board on 25.04.11. The final version was published on 13.07.11.

page 113

Permanent link to this publication: