The Parallel Texts in the History of Russian Medieval Art: Three Ekphrases in the Novgorod Chronicles of the Second Quarter of the Sixteenth Century

The article analyses three texts from the second quarter of the 16th century, dedicated to works of ecclesiastical art and architecture, and contained in the Novgorod chronicles. These can be identifi ed as three precisely dated entries, in which individual objects and complexes created in Novgorod on the orders of the Novgorod Metropolitan Macarius and the abbot of the Novgorod Khutyn Monastery Theodosius are described in considerable detail. The first text, which represents a true ekphrasis, describes the royal gates of the iconostasis of the Novgorod St. Sophia Cathedral and the monumental painting adorning the western facade of the cathedral (1527/1528). The second text provides a detailed description in 1533. Finally, the third chronicle entry, dated 1535, discusses the Church of St. Gregory of Armenia in the Novgorod suburban monastery of the Transfi guration of the Savior at Khutyn. The architectural design of the church is notable for its octagonal shape, the presence of five entrances, the positioning of bells at the uppermost point, and the crowning of the structure with a solitary dome. The chronicle names the architect of this building - the Tver master Ermola - and emphasizes that there were no such buildings in the city before, although the church of 1535 was preceded by a small bell tower church from 1445, built at the request of the Novgorod Archbishop Euphemios II. The descriptions under consideration in this article are distinguished not only by literary processing, as evidenced by the use of elevated epithets and the highlighting of the unusualness of the objects and their sizes, but also by attention to detail. This attention enabled the author of the Novgorod ekphrases to “see” not only the number of corners, sculptures, or icon inserts, but also some features of the forms. These texts can be regarded as early manifestations of an inclination towards aesthetic form, which can be termed an interest in art in general. The descriptions are incomplete and fragmented, but they already reveal a historical and persistent view, characteristic of the scribes of the late Middle Ages.