3.5. The Fethiye Mosque is the former mosque of the Mother of God, and the Mihrimah Mosque is the former mosque of Mariam, that is, the same Mother of God? But why is the name of the Murad Mosque mentioned on the map, and not the Selim Mosque? The point is probably that the Western European mapmaker, being

With. 285 The frescoes are generally in good condition. The restoration of 1738 was carried out rather carefully, and the frescoes were not completely painted over, as was usual in the 18th century, but only refreshed with tempera in those places where the painting had especially suffered from time. There are scuffs and mechanical damage to the top paint layer. For more information about the state of preservation of the frescoes in the Church of the Nativity of the Theotokos in the Ferapontov Monastery, see the book: Chernyshev N. M. Fresco art in ancient Rus'. M., 1954, p. 82–84. With. 285
With. 286¦

Among the murals of the Ferapontov Monastery, there are several stylistic groups (at least four). The strongest and most fine master was undoubtedly the one who painted the entrance wall around the western portal. His compositions are the most rhythmic, his slender figures, distinguished by great grace, at the same time have nothing mannered in themselves, his palette is distinguished by softness and special harmony. This master is still firmly connected with the traditions of the 15th century. His brushes in the church itself can be attributed to the saints in the apse and the half-figure of St. Nicholas the Wonderworker in the deacon. Probably this master was Dionysius himself, who in 1502 must have been about sixty years old. Among the masters of the older generation was the author of most of the gospel scenes. But his work is immeasurably worse in quality than the frescoes of the entrance wall. This is, undoubtedly, another individual, less gifted and more primitive in his sense of life.

Next to these two groups of paintings, the most numerous is the one that includes the main episodes of the Mother of God cycle (Protection, Rejoices in You), the Praise of the Virgin, the Annunciation, the Meeting of Mary with Elizabeth and most of the illustrations for the Akathist, the Parable of the Indispensable Servant, Marriage in Cana , the best parts of the Last Judgment and the Cathedrals. The style of this group, close to the style of the 16th century, is marked by a special sophistication: thin figures, exaggeratedly elongated proportions, a light, as if dancing step, detailed cutting of the form, an abundance of decorations. The author of the frescoes that make up this group was a younger master than the author of the frescoes of the entrance wall. I would like to identify him with one of the sons of Dionysius - Theodosius. Apparently, the aged Dionysius, although he played a leading role, left most of the work to his sons. The weakest master was the one who wrote the cycle of scenes from the life of Nicholas the Wonderworker and the Conversations of the Three Hierarchs, who suffered from the restoration of 1738. There is something sluggish and artisanal in the hard, little rhythmic compositions he performed.

The murals of the dome, drum, girth arches also reveal a not very skillful hand. It remains to be clarified whether this is the work of the fifth master or one of the masters just listed. If we stop at the last assumption, then we can only talk about the second or fourth master (that is, the author of the gospel scenes or the author of the life of Nicholas the Wonderworker). Dionysius, who headed the artel and corrected all its work, probably acted as follows: he took for himself those murals that occupied the most prominent place in the temple (the entrance wall, apse and conch of the deacon), he entrusted one of his sons (more gifted) to complete the main and most important part of the order (murals of walls and pillars), for another son (who was much inferior to the first in talent) and for an assistant, he assigned the paintings of the altar, deacon, vaults, girth arches, drum and dome, believing that they are less accessible to the viewer . This stylistic classification of the Ferapontov frescoes needs to be checked and clarified. But it can still serve as a starting point in solving one of the most difficult problems in the history of ancient Russian painting.

S. S. Churakov tried to identify in the Last Judgment scene the portraits of famous Italian architects who took part in the construction of the Kremlin - Aristotle Fioravanti and Pietro Antonio Solari (Portraits in the frescoes of the Ferapontov Monastery. - Soviet archeology, 1959, No. 3, p. 99–113) . This hypothesis seems a little convincing, especially since the faces of the alleged "portraits" are not at all individual. Another assumption of S. S. Churakov has more grounds. He is inclined to see in the fresco illustrating the 11th Kontakion of the Akathist of the Mother of God (Singing, everything is conquered), a group portrait of the Dionysius family (the artist himself, his wife and two sons). However, it should be noted that here, too, the faces are by no means portrait in nature. With. 286
¦

Literature

Georgievsky V. T. Frescoes of the Ferapontov Monastery. SPb., 1911.

Georgievskaja-Druzinina E. Les fresques du monastere de Therapon. Etudes de deux themes iconographiques. - In: L "art byzantin chez les slaves, II. Paris, 1932, p. 121–134.

Lavrov V. A. Frescoes of Dionysius. - Architecture of the USSR, 1939, No. 2, p. 80–82.

Mikhailovsky B. A., Purishev B. I. Essays on the history of ancient Russian monumental painting from the second half of the 14th century. until the beginning of the 18th century. M.–L., 1941, p. 40–52.

Nedoshivin G. Dionysius. M.–L., 1947.

Chernyshev N. M. Fresco art in ancient Rus'. Materials for the study of ancient Russian frescoes. M., 1954, p. 61–96.

Churakov S. S. Portraits in the frescoes of the Ferapontov Monastery. - Soviet archeology, 1959, No. 3, p. 99–113.

Danilova I. E. The iconographic composition of the frescoes of the Nativity Church of the Ferapontov Monastery. - In the book: From the history of Russian and Western European art. [Collection of articles] dedicated to the 40th anniversary of the scientific activity of V. N. Lazarev. M., 1960, p. 118–129.

Tretyakov N. Frescoes of Dionysius. - Creativity, 1962, No. 9, p. 13–16.

Michelson T. N. Picturesque cycle of the Ferapontov Monastery on the theme of Akathist. - Proceedings of the Department of Old Russian Literature of the Institute of Russian Literature (Pushkin House) of the USSR Academy of Sciences, XXII. L., 1966, p. 144–164.

Filatov V.V. On the history of wall painting technique in Russia. - In the book: Old Russian art. Artistic culture of Pskov. M., 1968, p. 58, 65, 66–67.

Danilova I. E. Ferapontov Monastery. (Frescoes of Dionysius). - Artist, 1970, No. 9, p. 44–56.

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Danilova I. Le schéme iconographique dans la peinture de l "ancienne Russie et son interprétation artistique. - In: Actes du XXII e Congrés international d" histoire de l "art. Budapest, 1969, II. Budapest, 1972, p. 515–518; III Tables, Budapest, 1972, pp. 442–444.

Rudnitskaya L. Frescoes of the portal of the Cathedral of the Nativity of the Theotokos of the Ferapontov Monastery. - Zbornik for likovne eloquence, 10. Novi Sad, 1974, p. 71–101.

Bunin A. On the Ferapontovsky paintings of Dionysius. - Art, 1974, No. 8, p. 59–67.

Popov G.V. Painting and miniature of Moscow in the middle of the 15th - early 16th centuries. M., 1975, p. 100–113.

Khlopin I. N. To clarify the date of the painting of the Cathedral of the Nativity of the Virgin in the Ferapontov Monastery. - Monuments of culture. New discoveries. Yearbook, 1975. M., 1976, p. 204–207.

Orlova M. A. Some remarks on the work of Dionysius, II. Painting of the western facade of the Nativity Cathedral of the Ferapontov Monastery. - In the book: Old Russian art. Problems and attributions. M., 1977, p. 334–354.

Kochetkov I. A. On the original coloring of the paintings by Dionysius. - Monuments of culture. New discoveries. Yearbook, 1977. M., 1977, p. 253–258.

Chugunov G. Dionysius. L., 1979.

Gusev I. V., Maistrov L. E. Mathematics of ornaments Dionysius. - Historical and mathematical research, vol. 24. M.–L., 1979, p. 331–339.

Gusev H. B. On the painting of the Nativity Cathedral of the Ferapontov Monastery. - In the book: Old Russian art. Monumental painting of the XI-XVII centuries. M., 1980, p. 317–323.

Michelson T. N. Three compositions on the theme "The Cathedral of the Three Hierarchs" in the paintings of the Ferapontov Monastery. The origins of iconography. - In the book: Old Russian art. Monumental painting of the XI-XVII centuries. M., 1980, p. 324–342.

Danilova I. E. On the Ferapontovsky paintings of Dionysius. On the problem of art synthesis. - In the book: Danilova I. E. Art of the Middle Ages and the Renaissance. M., 1984, p. 12–20.

Ferapontovsky collection, no. 1. M., 1985 (articles by N. I. Fedyshin, I. A. Kochetkov, O. V. Lelekova and M. M. Naumova, M. S. Serebryakova, M. G. Malkin, E. V. Duvakina) .

Rybakov A. A. On the dating of the frescoes of Dionysius in the Nativity Cathedral of the Ferapontov Monastery. - Monuments of culture. New discoveries. Yearbook, 1986. L., 1987, p. 283–289.

Michelson T. N. Frescoes of the western vault of the Cathedral of the Nativity of the Theotokos at the Ferapontov Monastery in the system of church painting. - In the book: Literature and art in the system of culture. M., 1988, p. 310–316.

Ferapontovsky collection, no. 2. M., 1988 (articles by V. V. Rybin, T. N. Mikhelson, L. T. Rudnitskaya, O. V. Lelekova, and M. M. Naumova).

Michelson T. N. Three scenes of "spiritual feasts" in the system of murals on the duct vaults of the Cathedral of the Nativity of the Theotokos at the Ferapontov Monastery. - In the book: Byzantium and Rus'. [Collected articles] in memory of V. D. Likhacheva. M., 1989, p. 188–193.

Popov G.V. Dionisy's trip to Beloozero. - In the book: Old Russian art. Artistic monuments of the Russian North. M., 1989, p. 30–45.

Orlova M. A. To the history of the creation of the painting of the cathedral of the Ferapontov Monastery. - In the book: Old Russian art. Artistic monuments of the Russian North. M., 1989, p. 46–55.

Lelekova O. V., Naumova M. M. Paintings by Dionysius in the Cathedral of the Nativity of the Virgin in Ferapontovo (according to restoration studies). - In the book: Old Russian art. Artistic monuments of the Russian North. M., 1989, p. 63–68.

Gusev N.V. About the initial stages of the work of the masters of the Ferapontov painting. - In the book: Old Russian art. Artistic monuments of the Russian North M., 1989, p. 69–73.

Ferapontovsky collection, no. 3. M., 1991 (articles by V. D. Sarabyanov, V. V. Rybin, S. S. Podyapolsky, M. S. Serebryakova, archim. Macarius, I. P. Yaroslavtsev, O. V. Lelekova, N. M. Tarabukina).

Lifshits L.I. The theme "Entrance to the House of Wisdom" in the painting of the Nativity Cathedral of the Ferapontov Monastery. - State. historical and cultural museum-reserve of the Moscow Kremlin. Materials and Research, XI. Russian art culture XV-XVI centuries. M., 1998, p. 174–195.

Vzdornov G.I. Painting of the Cathedral of the Nativity of the Virgin of the Ferapontov Monastery (list of compositions). M. - Ferapontovo, 1998.

Bugrovsky V. V., Dolbilkin N. P., Rolnik I. A. Dionysius. Culture of Moscow Rus'. History lessons. M. - Kyzyl, 1998, p. 111–148 (Chapter 3: “Painting of the Cathedral of the Nativity of the Theotokos at the Ferapontov Monastery”).

Naumova M. M. Medieval colors. M., 1998, p. 47–53 (Colors of the murals in the Cathedral of the Nativity of the Virgin in Ferapontovo).

Arriving in Kirillov, Vologda region, do not miss the chance to see unique frescoes Dionysius, which are almost completely preserved in the Feropont Monastery. I prefer to visit famous monasteries with a guide, so the day before we agreed with a local private guide, who agreed to show several interesting sights, and, of course, the monastery.

In the morning we met with the guide Lidia in the center of Kirillov and went by our car to travel around Kirillov. It takes no more than half an hour to drive from the city to the monastery, during which we listened to the history of the monastery, got acquainted with the exhibits of the museum in absentia from a book, because outside guides cannot conduct excursions on the territory of the Ferapontov Monastery. Of course, we could take a guide on the spot, but then we would not get a full-fledged program.

Around the monastery you can admire Russian nature, I can imagine what a breathtaking picture it is here in the summer.

It is worth saying that visiting the Feropontov Monastery is not a cheap pleasure. Taking into account that we did not take an excursion from the monastery guides, we paid for the entrance to the museum, watching the film and the right to look at the frescoes for about 800 rubles per person. Of the visitors, we were alone, at the checkout our guide tried to hint very transparently that we should not take money in full, but rules are rules. I was struck by the fact that we had to check with the caretakers how long we can watch the frescoes. Usually they allow no more than 10 minutes (and this is for such a lot of money), but we were lucky - they did not limit the time.

Frescoes of Dionysius

At the end of the 15th century, a stone Cathedral of the Nativity was erected on the territory of the monastery. Holy Mother of God, which, by the way, is seven years earlier than in the neighboring Belozersky monastery, which was much richer.

The cathedral was painted by Dionysius, a well-known Russian icon painter. For example, his hand touched the Assumption Cathedral of the Moscow Kremlin. The master's style is easily recognizable thanks to bright colors, elongated, light figures, and smooth lines. Dionysius is one of the most famous temple artists in Rus', along with Theophanes the Greek and Andrei Rublev. Thanks to the work of the master and the wonderful preservation of art, the monastery is included in the World Heritage List under the protection of UNESCO.

The murals occupy an area of ​​more than 700 square meters. meters, and this is almost the entire inner surface of the cathedral. Only separate parts of the murals were not preserved, which suffered during the reconstruction of the iconostasis. In general, the frescoes made the Ferapontov Monastery famous throughout the world, as it is the only one where the original frescoes of the early 16th century have been fully preserved.

Before entering, you will be given a map of the frescoes, with the help of which the painting can be “read” even by a person who is not very well prepared.

You can read about paints and painting technology before entering.

In addition to the painting of the temple in the Feropont Monastery, you can watch an introductory film about the frescoes and visit the museum, which contains a number of curious exhibits.

Museum of the Ferapontov Monastery

First we went to the museum, which is a large hall.

For example, here you can see the reconstruction of the cell of a monk according to the charter of Cyril Belozersky, in which there is not even a bed.

In the cell, no one was allowed to have anything except the most necessary things, it was not allowed to call anything one's own, but everything was shared. Even a piece of bread was not allowed to be kept in the cell, just as there should not have been drinks. If a monk wanted to eat or drink, he would go to the refectory, where, with a blessing, he could quench his hunger and thirst.

In the far corner is a sample of the fraternal refectory.

In the refectory, each novice sat in accordance with the rank of seniority in his place with meekness and silence, and no one was heard, only the reader. They were supposed to have three meals, except for fasting days, on which the monks either refused to eat at all, or lived on bread and water.

Behind the display windows you can find a copy of the Cathedral Code of 1649.

Here you can see the icon of Patriarch Nikon, who was in these parts during the period of exile.

This is, presumably, a piece of tiles from Nikon's cell.

Of course, the exposition demonstrates the solemn attire of the priests.

And here are the jobs of Igumeni.

About the founding of the monastery

Ferapontov Monastery was founded in 1398. The monastery is named after the founder of Ferapont, who, before staying here, was a novice in the Simonov Moscow Monastery, and then even became one of the founders of the Kirillo-Belozersky Monastery. To find greater solitude, Ferapont went further and settled on a small hill near Borodava Lake.

Here Thepapont built for himself a small wooden cell and lived in solitude with his labors and prayers. But one day the robbers came to him and demanded to give them the treasures or leave this place (surprisingly, how similar it is to an ordinary racket). True, the Monk Ferapont was not afraid of them and shamed them, so much so that the robbers left and no longer disturbed the elder.

People began to come to Ferapont and ask permission to settle nearby. So there was a small settlement, about ten people. But St. Ferapont refused to become hegumen, and the newly minted monastery was headed by another man, whose name history has not preserved. But Ferapont appointed himself the blackest work, as he called himself a "great sinner." He carried water, chopped wood, cleaned stoves. By the way, this is how Sergius of Radonezh lived, who was the mentor of St. Ferapont.

Ten years later, a church was erected here, which was consecrated in honor of the Nativity of the Most Holy Theotokos. It seems that everything turned out the way Elder Ferapont wanted: he lived in silence and repentance, prayed, worked, but soon he had to leave the monastery. The prince of Mozhaisk wanted to establish a similar monastery nearby and asked the Monk Ferapont to help him in this. The reverend elder did not want to start all over again, but humility is a virtue that Christians should possess, so Ferapont humbled himself. But at that time he was already seventy years old. It is worth noting that the reverend elder stayed in the Luzhetsky Mozhaisk monastery for another twenty years, there is a church of the Nativity of the Virgin, as well as in Feropontovo, where the elder is buried. Despite the fact that Ferpont spent the last twenty years elsewhere, he is remembered and revered as the Belozersky elder. Around the monastery dear to his heart on Lake Borodava, a village was formed, which to this day is called Ferapontovo, part of Lake Ferapontovsky, and the monastery, which grew up on the site of the first cells, was named Ferapontov.

It is interesting that the Ferapontovsky Monastery always remained in the shadows, as if in the background, but at the same time the monastery had a very great spiritual influence. Here there were kings, princes, famous people, and everyone found here peace and answers to disturbing questions.

After the Monk Ferapont left the monastery, Prince Mozhaisky sent the promised help here, but there was no confessor who would properly dispose of the funds received. Years passed, abbots changed, but the Ferapontov Monastery remained the same as during the life of its founder. But then the Monk Martinian came to the monastery, a disciple of Kirill Belozersky rector of the Kirillo-Belozersky monastery. Reverend Martinian came to this Holy place a simple pilgrim, but his brothers persuaded him to stay here and become rector of the Ferapontov monastery.

In the 15th century, bloody events took place, which, although they occurred in Moscow five hundred kilometers away, were reflected in the Ferapont Monastery. In Moscow, there was a struggle for the throne of the Grand Duke and the then Prince Vasily II was overthrown by Dmitry Shemyak. They took an oath from him on the cross that he would not oppose the new prince, and singled him out. Vasily, who was nicknamed the Dark One because he was blind, came to bow and pray at the Ferapontov Monastery. Here the Monk Martinian freed Basil from this oath and even blessed him to oppose the invader, who illegally sat on the throne of the Grand Duke. The support of the church at that time had great importance, therefore, many supporters joined Vasily the Dark, which sealed the fate of Shemyaka, he had to flee urgently.

Grand Duke Vasily summoned the Monk Martinian to the capital and asked him to take the abbotship at the Trinity-Sergius Monastery. And despite the fact that Martinian did not want to leave Ferapontovo, he, like his predecessor Ferapont, had to take the position of hegumen in another monastery.

After some time, the Monk Martinian returned to the beloved monastery in Ferapontovo and began to arrange it. And for the next twenty he arranged everything here so diligently that everyone marveled. Here he rested in the Church of the Nativity of the Virgin.

At the beginning of the sixteenth century, the Church of the Annunciation was erected with a refectory, which was built in honor of the birth of Tsarevich John, who went down in history as Ivan the Terrible. Approximately at the same time, the Treasury Chamber was built - a unique civil building on the territory of the monastery. Rooms for books, barns were equipped here, a hiding place for the monastery treasury was equipped.

In the Ferapontov Monastery you can see a lot of interesting and unique things, but before you enter the walls of the holy monastery, you will pass through the Holy Gates. It is worth noting that the stone walls, arches, gate churches of Ferapont and Epiphany and even windows have not changed since the day of construction. The floor in the churches is covered with small tiles, the vaults are supported by oak beams, which have already darkened with time, black altar altars.

The fate of the Ferapontov Monastery, similar to many other monasteries that survived Soviet times, was closed. But, fortunately, it did not suffer the fate of being a state farm, the Ferapontov Monastery was transferred to the museum and today it is under the protection of UNESCO. But prayers are still heard here - Nikon's temple has been given to the brethren for worship.

When you arrive Kirillov, you will understand the connection between several holy places located around: Kirillo-Belozersky Monastery , Nillo-Sor desert , Feropontov Monastery and the Goritsky convent, to which we headed further (read about it).

Address: Vologda region, Kirillovsky district, Ferapontovo village, st. Kargopolskaya, 8.

Museum opening hours:

Historical reference:

Ferapontov Belozersky Nativity of the Virgin Monastery was founded at the turn of the XIV-XV centuries, during the expansion of the political influence of the Moscow Grand Duchy, for about 400 years it was one of the prominent cultural and religious educational centers in.

The history of the Ferapontov Belozersky Nativity of the Virgin Monastery, founded at the end of the 14th century, is closely connected with the historical events of the 15th - 17th centuries: the capture and blinding of Grand Duke Vasily II the Dark, the assertion of the power of the first "sovereign of all Rus'" Ivan III, the birth and reign, the formation of a dynasty Romanovs, .

In the second half of the 15th - early 16th centuries, the Ferapontov Monastery became a significant spiritual, cultural and ideological center of Belozerye, one of the famous Trans-Volga monasteries, whose elders provided.

The entire 16th century is the heyday of the monastery. This is evidenced by the preserved contributions and letters of commendation of the secular and spiritual authorities, primarily Ivan IV. Vasily III and Elena Glinskaya, Ivan IV come to the monastery on a pilgrimage. The deposit book of the monastery, begun in 1534, names among the contributors “the princes of Staritsky, Kubensky, Lykov, Belsky, Shuisky, Vorotynsky ... Godunov, Sheremetev” and others. The lords of Siberia, Rostov, Vologda, Belozersk, Novgorod are also mentioned here.

In 1490, with the construction of the first stone church of Belozerye, the Cathedral of the Nativity of the Virgin, by the Rostov masters, the formation of the stone ensemble of the Ferapontov Monastery of the 15th - 17th centuries began. In the XVI century. the monumental Church of the Annunciation with a refectory, a state chamber, service buildings - a stone dryer, a guest chamber, and a cookery are being built in the monastery. After recovering from the Lithuanian ruin, in the middle of the XVII century. the monastery erects gate churches on the Holy Gates, the Martinian Church, the bell tower.

After the destruction by the Nazis during the Second World War of the famous Novgorod churches of the 12th-15th centuries (the Savior on Nereditsa, the Assumption on the Volotovo Field, the Savior on Kovalev, the Archangel Michael on Skovorodka), the murals of Dionysius remained the only completely surviving fresco ensemble of Ancient Rus' of the Moscow school of murals.

The current state of the property:

Currently, the monuments of the Ferapontov Monastery house the Dionysius Frescoes Museum, which has the status of a historical, architectural and art museum-reserve. Since 1975, the formation of a modern museum began, which turned into a research and educational center that spreads knowledge about the unique monuments of the Ferapontov Monastery ensemble through various forms of museum work. At the end of 2000, the ensemble of the Ferapontov Monastery with the paintings of Dionysius was included in the UNESCO World Heritage List.

Frescoes of Dionysius

Dionisy is an outstanding icon painter, the most revered artist of Rus' in the late XV - early XVI centuries, a contemporary of Raphael, Leonardo, Botticelli, Durer. The miraculously preserved wall painting of Dionysius in the Cathedral of the Nativity of the Theotokos in the Ferapontov Monastery (1490) was unknown until 1898. Dionysius painted the cathedral in 1502, together with his sons Vladimir and Theodosius, in 34 days.

Ferapontov's paintings are not classical frescoes, they are made in the technique of multi-layered painting. The mural area of ​​the cathedral is about 600 square meters. m. The murals of the Cathedral of the Nativity of the Virgin, numbering more than 300 plots and images of individual characters, occupy all surfaces of the walls, vaults, pillars, window and door slopes. The dimensions and proportions of Dionysius's compositions are subordinated to the architectural divisions of the cathedral, organically connected with the interior of the temple and the surfaces of the walls. Elegance and lightness of the drawing, elongated silhouettes emphasizing the weightlessness of “floating” figures, as it were, as well as exquisite paints radiating unearthly light and a unique tonal richness of colors and shades determine the uniqueness of Ferapontov’s painting.

The frescoes of the Ferapontov Monastery are united by the common theme of the glorification of the Virgin Mary, headed by the akathist to the Most Holy Theotokos. This is a picturesque embodiment of poetic hymns written by the Byzantine poet Roman the Melodist in the 6th century. The desire to glorify the Mother of God in this way was introduced into the work of Dionysius by the Orthodox tradition. The murals adorn not only the interior, but also the facade of the temple, which depicts the plot - "The Nativity of the Virgin". The theme of the glorification of the Mother of God was not chosen by chance as the basis of the system of murals. At the end of the 15th century, the Mother of God began to be regarded as the patroness of the Russian land.

The restoration of the Ferapontov Monastery debunked the legend that Dionysius used local pebbles in the painting of the cathedral, with which the shores of local lakes were dotted. Microchemical analysis of the mineral raw materials of genuine painting showed that Dionysius, like all other artists, painted with imported paints (probably Italian and German), purchased in bulk at the trading floors of Rostov or Moscow.

Dionysius used both artificial and natural pigments: malachite, poznyakite, atakamite, pseudomalachite. Such a quantity of green copper pigments is not contained in the paintings of any of the studied monuments of Western European painting. There is no such diversity in ancient Russian icon painting, which is the individual handwriting of the master.