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The Moscow Kremlin Museums present

     Byzantine Antiquities
Works of Art from the Fourth to Fifteenth Centuries
in the Collection of the Moscow Kremlin Museums

                            Catalogue
Cathedral Square of the Moscow Kremlin:
      cathedrals and royal palaces
The Annunciation Cathedral of the 16th century and palaces of the 16th and 19th century
The Oratory of the Kremlin Terem Palace. Photograph of the 1870-s.
The legendary
“Cross of Philotheus” of the
      Russian tsars.
 Byzantine staurotheke,
   the 11th-12th century
Icons of the state
treasury:
St Demetrius
of Thessalonica.
Steatite icon,
the 13th-14th century

Pantocrator enthroned.
Sapphire cameo,
15th century
Royal pectoral icons and crosses
from the Armoury Chamber.
Photo of the 19th century
Detail of the scene of the Dormition
on the Kremlin cameo and fresco of the Sopochani Monastery (1265-1270)
• Christ holding the soul of the Virgin Mary
•   detail of the Kremlin cameo, fresco of Sopochani (1265-70)
       • and mosaics of the Chora Monastery (1315-21)
Agate cameo
10th century
Michael the Archangel. Jasper cameo of the 13th century
  The Nativity. Glass paste cameo of the 13th century
Ceremonial Helmet
Belonged to a Russian grand prince
and served both as an armour and as an insignia.
Comes from the Great Treasury of the tsars.

Moscow, Greek and Russian makers,
second half of the 14th century




                                     Seal of Alexius I
                                of Trebizond, 13th century
The Annunciation Cathedral of the 16th century, home church of grand princes and tsars
The iconostasis of the Annunciation Cathedral
        The Deisis Row of the 14th century
The Eleousa of Vladimir

Moscow, Greek painter
late 14th – early 15th century
Mother of God Hodegetria

Icon and cover
Constantinople (?),

first third of the 14th century
Star on the headdress
Western Europe,
2nd half of the 15th c.,
Pendilia
Balkany 15th c.
Descent into Hell. Reliquary

Constantinople,
late 12th century.

Belonged to Tsar Ivan the Terrible
Cameo

11th century

The gold setting

with the dynastic
double-headed eagle
of the Palaeologoi

13th-14th century
St John the Baptist
Steatite icon with gilt silver frame with the monogram of Thomas Palaeologos, Despot of the Morea
                                             14th-15th century
Christ Pantocrator
   Constantinople, 11th –12th centuries
Mount: Rus’, 13th – first third of the 14th century
Stone cup
Jasper with agate inclusions
Byzantium (?) before 1329; chalice: Novgorod, 1329
Carved icon
Front: The Presentation,
the Entry into Jerusalem,
the Crucifixion,
the Descent into Hell,
second half of the 12th – early 13th
century
Back: The Seven Sleepers
of Ephesus, 13th –14th century
Frame: Moscow,
second half of the 16th century
The Dormition Cathedral
is the main church of Russia housing many ancient icons
Icon of Christ Pantocrator
Fragments of the silver cover. Greek makers.
First third of the 14thcentury
The Praises of
the Mother of
God with the
  Acathist

Moscow, Greek
   master,

third quarter of the
   14th century.
      Detail
The Crucifixion
Mistra (?)

first third of the 15th c.
Gold cover of the Dormition Cathedral’s Gospels
            Moscow, Greek craftsmen
                1410–30. Detail
Cover of the Icon

  of the Virgin
  of Vladimir

Moscow, Greek and
Russian craftsmen,

    1410–1431
     Details
Processional cross
From the Dormition Cathedral, 1570




                                            The Archangel Michael.
                                     Ivory relief, first third of the 15th century
Reliquary of St Demetrius of Thessalonica from the Cathedral of the Dormition
           The military saints Nestor and Lupus. Constantinople, 1059–1067
Gold icon with 12th century
Byzantine sapphire cameo

depicting the Virgin
and Child enthroned

Belonged to Tsar Ivan,
brother of Peter the Great
Byzantine enamel
medallion
on the Ryazan’ “Armills” from
the hoard found in 1822
Staurotheke (detail)
Crucifixion with attendant figures; SS Constantine and Helena
                End of the 10th – early 11th century
The Transfiguration

Cameo on two-banded onyx:
Constantinople,
last third of the 13th century

Mount:
Russia, 19th century
Cup and spoon
The Procession of Dionysus; Heracles

Eastern Mediterranean (?),
late 4th – early 5th century
Banqueting cup

Centaur musician
Asia Minor (?),
12th–13th century
The Major Sakkos of Metropolitan Photius.
    Moscow (?), Greek craftsmen, 1414–1417
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London
The Moscow Kremlin Museums collections come to London

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The Moscow Kremlin Museums collections come to London

  • 1. The Moscow Kremlin Museums present Byzantine Antiquities Works of Art from the Fourth to Fifteenth Centuries in the Collection of the Moscow Kremlin Museums Catalogue
  • 2. Cathedral Square of the Moscow Kremlin: cathedrals and royal palaces
  • 3. The Annunciation Cathedral of the 16th century and palaces of the 16th and 19th century
  • 4. The Oratory of the Kremlin Terem Palace. Photograph of the 1870-s.
  • 5. The legendary “Cross of Philotheus” of the Russian tsars. Byzantine staurotheke, the 11th-12th century
  • 6. Icons of the state treasury: St Demetrius of Thessalonica. Steatite icon, the 13th-14th century Pantocrator enthroned. Sapphire cameo, 15th century
  • 7. Royal pectoral icons and crosses from the Armoury Chamber. Photo of the 19th century
  • 8. Detail of the scene of the Dormition on the Kremlin cameo and fresco of the Sopochani Monastery (1265-1270)
  • 9. • Christ holding the soul of the Virgin Mary • detail of the Kremlin cameo, fresco of Sopochani (1265-70) • and mosaics of the Chora Monastery (1315-21)
  • 11. Michael the Archangel. Jasper cameo of the 13th century The Nativity. Glass paste cameo of the 13th century
  • 12. Ceremonial Helmet Belonged to a Russian grand prince and served both as an armour and as an insignia. Comes from the Great Treasury of the tsars. Moscow, Greek and Russian makers, second half of the 14th century Seal of Alexius I of Trebizond, 13th century
  • 13. The Annunciation Cathedral of the 16th century, home church of grand princes and tsars
  • 14. The iconostasis of the Annunciation Cathedral The Deisis Row of the 14th century
  • 15.
  • 16.
  • 17. The Eleousa of Vladimir Moscow, Greek painter late 14th – early 15th century
  • 18. Mother of God Hodegetria Icon and cover Constantinople (?), first third of the 14th century
  • 19. Star on the headdress Western Europe, 2nd half of the 15th c., Pendilia Balkany 15th c.
  • 20. Descent into Hell. Reliquary Constantinople, late 12th century. Belonged to Tsar Ivan the Terrible
  • 21. Cameo 11th century The gold setting with the dynastic double-headed eagle of the Palaeologoi 13th-14th century
  • 22. St John the Baptist Steatite icon with gilt silver frame with the monogram of Thomas Palaeologos, Despot of the Morea 14th-15th century
  • 23. Christ Pantocrator Constantinople, 11th –12th centuries Mount: Rus’, 13th – first third of the 14th century
  • 24.
  • 25. Stone cup Jasper with agate inclusions Byzantium (?) before 1329; chalice: Novgorod, 1329
  • 26. Carved icon Front: The Presentation, the Entry into Jerusalem, the Crucifixion, the Descent into Hell, second half of the 12th – early 13th century Back: The Seven Sleepers of Ephesus, 13th –14th century Frame: Moscow, second half of the 16th century
  • 27. The Dormition Cathedral is the main church of Russia housing many ancient icons
  • 28. Icon of Christ Pantocrator Fragments of the silver cover. Greek makers. First third of the 14thcentury
  • 29. The Praises of the Mother of God with the Acathist Moscow, Greek master, third quarter of the 14th century. Detail
  • 30. The Crucifixion Mistra (?) first third of the 15th c.
  • 31. Gold cover of the Dormition Cathedral’s Gospels Moscow, Greek craftsmen 1410–30. Detail
  • 32. Cover of the Icon of the Virgin of Vladimir Moscow, Greek and Russian craftsmen, 1410–1431 Details
  • 33. Processional cross From the Dormition Cathedral, 1570 The Archangel Michael. Ivory relief, first third of the 15th century
  • 34. Reliquary of St Demetrius of Thessalonica from the Cathedral of the Dormition The military saints Nestor and Lupus. Constantinople, 1059–1067
  • 35. Gold icon with 12th century Byzantine sapphire cameo depicting the Virgin and Child enthroned Belonged to Tsar Ivan, brother of Peter the Great
  • 36. Byzantine enamel medallion on the Ryazan’ “Armills” from the hoard found in 1822
  • 37. Staurotheke (detail) Crucifixion with attendant figures; SS Constantine and Helena End of the 10th – early 11th century
  • 38. The Transfiguration Cameo on two-banded onyx: Constantinople, last third of the 13th century Mount: Russia, 19th century
  • 39. Cup and spoon The Procession of Dionysus; Heracles Eastern Mediterranean (?), late 4th – early 5th century
  • 40. Banqueting cup Centaur musician Asia Minor (?), 12th–13th century
  • 41. The Major Sakkos of Metropolitan Photius. Moscow (?), Greek craftsmen, 1414–1417

Editor's Notes

  1. Византийский сапфировй крест вероятно, был сооружен в связи с рождением сына ивана грозного царевича Ивана . Оправа для него была создана западноевропейским мастером, работавшим при московском дворе
  2. Византийское собрание Московского Кремля по своему значению можно сравнить с собраниями Сан Марко и Сан Шапель, рассрадоточено потому что до второй половины 19 в. византийские памятники воспринимались как национальные святыни, памятники русской государственности.
  3. Почти все они происходят из личных сокровищ государей, хранившихся в постельной казне, образной палате и молельнях и храмах дворца.
  4. Вплоть до 19 века, и после переезда царского двора в Петербург в молельне теремного дворца сохранялись древние. В том чиле. И византийские святыни
  5. Как, например,т ставротека конца 11- 12 веков
  6. Многие византийские иконы, известные по описям царской казны 16 и 17 вв., были похищены из Кремля в 1611 и 1812 г., но затем чудесным образом вернулись в собрание музея
  7. Среди царских и императорских наперсных крестов и икон были и украшенные византийскими камеями. Камея на хризопразе была подарена жене царя Федора Ирине Годуновой Сильвестром, патриархом Александрийским, была в Патриаршей ризнице, а в 18 веке вновь вернулась в императорскую казну и хранилась в Зимнем дворце храни , затем мы находим ее в казне патриарха Никона, в конце 17 в. она украсила панагию патриарха Иоакими. Византийский сапфировый крест вероятно, был сооружен в связи с рождением сына Ивана Грозного царевича Ивана . Оправа для него была создана западноевропейским мастером, работавшим при московском дворе
  8. Приведем лишь один пример.
  9. Эти камеи, в 16-17 веках поднесенных русским государям, переходили с одного предмета на другой, украшали энколпии русских патриархов и опять возвращались в царскую казну, в 18 в. были увезены в Петербург, а после учреждения в 1806 г. императором Александром Первым музея Оружейной палаты были переданы им в Москву. Среди них важнейшие для истории византийский глиптики памятники, такие, как эта камея раннемакедонского времени.
  10. Византийские камеи подносились русским царям не только иерархами Православного Востока, но и послами западноевропейских стран и затем вкладывались в различные монастыри. Большая камея и литик были вложены царями в Соловецкий монастырь и богослужебные украсили облачения
  11. Важнейшим памятникам, хранившимся в царской Оружейной палате, был виликокняжеский шлем, украшенный золотой наводкой Изображения семифигурный деисуса и святителя Николая позволяют видеть в нем своего рода государственную регалию. Датировка была уточнена– вторая полорвина 14 века
  12. С 17 в.. с воцарением династии Романовых, многие родовые святыни Рюриковичей хранятся уже на в казне, а в ризнице царского домового храма – Благовещенского собора в Кремле
  13. Деисусный ряд иконостаса собора принадлежит кисти выдающегося византийского живопитсца конца 14 в.
  14. Среди маленьких моленных икон принесенных в собор из комнат дворца и составивших так называемый пядничный ряд, также были древние, кисти греческих художников
  15. Как например недавно раскрытая реставраторами музея икона Богоматерь Умиление
  16. Драгоценные иконы в окладах хранились в ризнице собора. Как Богоматерь Одигитрия. Вероятно, привезенная в Москву деспиной Софьей Палеолог
  17. Украшающие икону драгоценности – западноевропейская звезда на очелье и серьги, могли принадлежать самой великой княгине
  18. С наследием Софьи Палеолог можно связать и другие драгоценности из ризницы Благовещенского собора, например, ковчег, содержащий святыни Фаросского храма Большого императорского дворца в Константинополе
  19. А также большую двустороннюю камею из лазурита в оправе конца 13-начала 14 вв. с гербом Палеологов
  20. Резная икона с образом Иоанна Предтечи также была привезена в Москву Софьей, на ее обороте монограмма Фомы Палеолога
  21. И более ранние драгоценности из ризницы Благовещенского собора включают византийские эмали и камеи. Оправа этого образка была выполнена новогодским ювелиром 14 столетия и попала в Москву. вероятно, после присоединения к ней Новгорода
  22. Как и драгоценная икона-мощевик с византийской лазуритовой камеей и с владельческой надписью новгородского архиепископа Евфимия (в центре) которая была поднесена новгородским архиепископом великому князю Ивану III во время его похода на Новгород
  23. Из Новгорода происходит и драгоценный потир Благовещенского собора, сооруженный, согласно надписи на оправе, в 1329 году архиепископом Моисеем с более ранней византийской каменной чашей
  24. Из ризницы собора происходит и четырехчастная стеатитовая икона в серебряной оправе царских ювелиров 16 века –когда икону во время подготовки каталога размонтировали . Открылось эскизцое изображения Семи спящих отроков Эфесских вторая половина XII – начало XIII в.; оборот - палаологовский
  25. Древние византийские иконы как святыни собирались из разных русских земель, присоединявшихся к Москве, в главном соборе Русского государства - Успенском. Современный солбор был построев в 1472 году (проверить), но сохранил более ранние иконы
  26. Эта икона середины 14 века сохранила на полях фрагменты византийский оклада
  27. Прочли надписиНекоторые иконы с14 века сохранили как русские, так и греческие надписи . Они были впервые в полном объеме прочитаны и опуликованы в связи с подготовкой каталога
  28. Из Успенского собора происходит и евангелие в золотом окладе первой трети 15 века, это проищзведение греческих торевтов, работавшихв Москве
  29. Именно в Москве сохранились выдащиеся произведения византийских торевтов ё15 векеа – единственный золотой оклад
  30. На запрестольном кресте, вложенным в Успенский собор царем иваном Грозным в1570 году сохранилось несколько рельефов слоновой кости, созданных в Москве греческими мастерами и первой трети 15 века
  31. Из Третьего кремлевского собора Архангельского, места погребения москоувских великих князей, происходит икона в золотом оклад, созданная к свадьбе царя ивана Алексеевича и царицы прасковьи. Ее украшает и крупный византийский резной сапфир.
  32. По законам российской империи все клады представлялись государю императору. ОЛдин из самых интересн кладов был найден в 1822 на месте древней Рязани, вожерелье украшено византийской эмалью
  33. В недавнее время музеем были приобретены три памятника византийской торевтики
  34. Важнейшей частью собрания музея являются шитые облачения два саммоса, епитрахиль и омофор 14- первой трети 15 вв. с изображениями исторических лиц и святых
  35. Потому дизайнер книги Ирина Тарханова сделала ткани основным элемантом оформления обложки каталога
  36. Он состоит из шести разделов, предопределенных составом коллекции.
  37. Мы стремились к максимально полному воспроизведению и всестороннему исследованию памятников
  38. Каталог предваряют вступительные статьи, посвященные истории собрания, судьбах византийских икон, почитавшихся в Кремле, в частностиЮ иконе Владимирсок Богоматери, хранящейся ныне в ГТГ. Надеемся, что это издание будет востребовано знатоками и любителями византийского искусства многих стран.