Saint Jonah, Metropolitan of Moscow and All Russia / Orthodoxy.Ru

St. Jonah, Met. Moscow

Jonah (Odnoushev)
(+ 1461), Metropolitan of Kiev and All Russia, wonderworker, saint Commemorated March 31, May 27 for the transfer of relics, June 15, in the Cathedrals of the Moscow Saints, Vladimir, Kiev, Lipetsk, Moscow and Ryazan Saints

Born near Soligalich [1] in a pious Christian family. The father of the future Saint was called Theodore.

In the 12th year he became a monk in Galich, then moved to the Moscow Simonov Monastery. Here he was a strict guardian of monastic rules, for which he was persecuted.

One day Saint Photius of Moscow visited the Simonov Monastery and, after a prayer service, having given a blessing to the archimandrite and the brethren, he wished to bless the monks who performed obedience in the monastic work. When he arrived at the bakery, he saw the monk Jonah, who had fallen asleep from much labor, and the right hand of the tired monk was bent in a blessing gesture. Saint Photius asked not to wake him, blessed the sleeping monk and prophetically predicted to those present that this monk would be a great saint of the Russian Church and would guide many on the path of salvation.

Bishop of Ryazan and Murom

In 1437 he was installed as bishop of Ryazan and Murom.

St. Jonah was elected successor to Metropolitan. Photius. Fearing that the patriarch would reject this candidate, the Grand Duke arranged his election with special solemnity, inviting all bishops, representatives of the white clergy, monasticism, boyars and zemstvo people to participate in the election. But Bishop Jonah, who was named metropolitan at the end of 1432, was unable to go to Constantinople for consecration for quite a long time. Apparently, the figure of Met. Gerasima, due to the inconsistency of the Patriarchate of Constantinople (and partly corruption), adorned with the title of “All Rus',” demanded that Moscow fight and remove him from the path of its candidate for “All Rus'.” And undoubtedly another great obstacle was a series of troubles on the Moscow grand-ducal table. Yuri Dmitrievich continued to quarrel with Vasily Vasilyevich and in 1433-34 he twice defeated him and took the great reign. Only with the death of Yuri in 1434 did Prince Vasily firmly sit on the great reign. Now, at the end of 1436 or the beginning of 1436, Jonah goes to Constantinople. But excessive slowness was the reason that Jonah did not receive the metropolis, since before his arrival (in the middle of 1436), the Greeks installed their own outstanding candidate, Isidore, who was extremely necessary for them, to the Russian metropolis.

Metropolitan of Moscow and All Rus'

When Isidore was deposed after accepting the union, Jonah was consecrated metropolitan of Moscow on December 15 (1448) by a council of Russian saints in Moscow [2]. For the first time since Metropolitan Clement, the Metropolitan of Moscow was installed by a council of Russian bishops.

Having thus encroached, from their point of view, on the rights of the patriarch, the Russians were very concerned about the expectation of some unpleasant complications and consequences of their act. There was a party among the Russians themselves that did not recognize the legality of the appointment of Metropolitan Jonah.

It is known about the Monk Paphnutius of Borovsk that he was tempted by the appointment of Metropolitan Jonah, and did not allow him to be called metropolitan in his monastery and to carry out his decrees. Summoned to Moscow on this matter, he spoke to the Metropolitan “unsmoothly and inappropriately, as it befits to speak smoothly and befittingly of great power,”

why mit. Jonah beat him with his rod and put him in chains in prison for repentance. A certain boyar Vasily Kutuz also did not recognize the archpastoral authority of St. Jonah did not want to accept his blessing.

The Russians waited with apprehension to see how the Constantinople authorities, who did not even bother to inform them of the accomplished fact, would respond to the appointment of Metropolitan Jonah. However, the circumstances developed so favorably for the Russians that Constantinople had to, without objection, tacitly acknowledge the correctness of the appointment of Metropolitan Jonah. The latter was installed at the very end of 1448, and at the beginning of 1449 in Constantinople, instead of the deceased organizer of the Florentine Union, Emperor John VIII Palaiologos, his brother Constantine XI Palaiologos ascended the throne, who declared himself a supporter of Orthodoxy. The Orthodox emperor, of course, could not interrogate and blame the Russians for appointing a metropolitan for themselves independently of the Uniate patriarch. Therefore, when Constantine formally restored Orthodoxy in 1451, expelling Patriarch Gregory Mamma, the Grand Duke of Moscow Vasily Vasilyevich in July 1452 prepared a report to send to the emperor, justifying the independent installation of Metropolitan Jonah and with a proposal to restore harmony and alliance with the Constantinople Church. Having congratulated the emperor on his accession to the ancestral throne “to strengthen the entire Orthodox Christianity of the Greek powers and the dominions of the Russian land,” the Grand Duke sets out to him in order the entire matter of Metropolitans Isidore and Jonah. There is one interesting detail here, as if given incidentally, which, obviously, was considered an argument in favor of the home appointment of Metropolitan Jonah. According to the assurance of the Grand Duke, the Patriarch blessed Jonah for the metropolis on his first trip to Constantinople, when Isidore was appointed to Rus' before him. Then the patriarch allegedly said to Jonah: “What should we do? You didn’t have time to come to us, and we installed someone else in that most holy metropolis and cannot change what we have done; Isidore is already listed as a Russian Metropolitan. You, Jonah, go to your table in the Ryazan bishopric, and whatever the will of God arranges for Isidore - whether he dies, or otherwise, what happens to him, then you will be a metropolitan in Rus' after him.”

Having outlined the history of Metropolitan. Isidora, the Grand Duke speaks of his long-term concerns and ardent desires to legally establish the throne of the Russian Metropolis with the knowledge and consent of Constantinople. But various serious obstacles prevented him from implementing them; firstly, “in the pious powers (Greek) in the Church of God there was discord (i.e., union)”; secondly, the roads to Constantinople were extremely difficult by robbers and robbers; thirdly, the Russian government was too preoccupied with political misfortunes - the invasion of the Hagarians and internecine warfare with Prince Dmitry Shemyaka. In view of all these reasons, the prince writes,

“having looked into the divine and sacred rules of St. Apostle and St. God-bearing father, for the sake of finding those who do not harrow, but command, bishops install a great saint, metropolitan. And according to God's will, the grace of the Holy Spirit, and according to the divine and sacred rule, having gathered our land of saints and rulers, we installed that sacred father of ours, Jonah, Bishop of Ryazan, by those our holy fathers, Russian rulers, to the most holy Russian metropolis, to Kyiv and all of Rus' as metropolitan. And we ask your holy kingdom, do not slander this against us, for we have created this impudence without dishonoring your great dominion; but I did this for a great need, and not with arrogance or insolence. And we ourselves, in all piety, according to our ancient Orthodoxy, will remain until the end of time. And our Russian church - from the Holy Church of God, the Wisdom of God, Saint Sophia of Tsarigrad, demands and seeks blessings, obeys it in everything according to ancient piety, and that our father, Metropolitan of Kiev and all Rus', Cyrus Jonah, therefore in every possible way demands from him blessings and unification , the development of the current newly emerged disagreements.”

In conclusion, the Grand Duke asks the emperor to express his blessing to Metropolitan Jonah and stipulates that he would write about this to the patriarch, but he does not know whether there is one in Constantinople.

From the above message it is obvious that the Russians, when installing Metropolitan. Jonas were the most modest revolutionaries, i.e. violating this time, in view of the Patriarch's Uniate status, his established right to consecrate Russian metropolitans, they have not yet matured to the point of deciding to take advantage of this opportunity to win autocephaly for themselves once and for all.

The above message was written, but was not sent to its intended destination. Emperor Constantine XI Palaiologos, pressed by Sultan Mohammed II, who was besieging Constantinople, in despair again threw himself into the arms of the union and in the same 1452 began negotiations with the pope. Having learned about this, the Grand Duke of Moscow did not consider it necessary to send the prepared act to him, and the question of the mutual relations of the Russian and Greek churches again remained unclear for some, however short, time. On May 29, 1453, Constantinople was captured by the Turks. Although after this the Orthodox patriarchs were restored there again, they found themselves in a situation on which the Russian people could not come to terms with their dependence. Therefore, the fall of Constantinople served as a major impetus for them to establish their actual independence from the patriarchs.

Subordination of the dioceses of Lithuania and Galicia

The Russian dioceses of the Lithuanian state did not immediately fall under the authority of the metropolitans. Ions. Only in the next 1449 Met. Jonah, taking advantage of the peace treaty between Casimir and Moscow, obtained from the ruler of Lithuania the right to actually govern the Lithuanian-Russian dioceses. To exhort the Orthodox population of these dioceses to submit to the metropolitan installed in Moscow, Jonah wrote special messages, of which two have survived to us: 1) to all princes and lords and boyars and governors and governors and the entire Lithuanian-Galician people and 2) to Kyiv Prince Alexander Vladimirovich. The consent of the population, apparently, was obtained, and Casimir, with a letter of 1451, confirmed Jonah’s right to “the capital of the Metropolitan of Kiev and All Rus', as was the first according to the rules and customs of Russian Christianity.”

By this act, the dioceses of Lithuania were subordinated to the Moscow Metropolitan, but the dioceses of Galicia were left outside his sphere of influence. With the division of Lithuania and Poland at that time, Casimir IV in Poland did not have the fullness of state power as in Lithuania, and had to largely submit to the will of the Polish people. Galicia belonged to its own Poland, as its conquered part, and there the king listened more to the voice of the Latin clergy and was guided by narrow national interests. That is why Casimir left Jonah’s special petitions to subordinate the Galician dioceses to him without consequences.

Defense of Moscow from the Nogai Tatars

In 1451, the Grand Duke, leaving Moscow to gather troops against the Nogais, entrusted the security of the capital to Metropolitan Jonah and the boyars. According to modern evidence, when the Nogais who attacked Moscow set fire to its suburbs, St. Jonah, defending the Kremlin, made a religious procession along its walls amid the smoke and heat from the flames - and the wind that was driving the flames towards the Kremlin suddenly died down.

Seeing the elderly monk Anthony, a monk of the Chudov Monastery, who was distinguished by a virtuous life, Saint Jonah said: “My son and brother Anthony! Pray to the merciful God and the Most Pure Mother of God for the deliverance of the city and all Orthodox Christians.” The humble Anthony replied: “Great saint! We thank God and His Most Pure Mother: She heard your prayers and begged Her Son, the city and all Orthodox Christians will be saved through your prayers. The enemies will soon be defeated. Only I alone am destined by the Lord to be killed by enemies.” As soon as the elder said this, an enemy arrow pierced him. Elder Anthony’s prediction came true; on July 2, the feast of the placement of the Robe of the Most Holy Theotokos, confusion occurred in the ranks of the Tatars, and they fled in unknown fear and horror. Saint Jonah soon built a temple in his courtyard in honor of the position of the Robe of the Most Holy Theotokos in memory of the deliverance of Moscow from its enemies.

Demise

Died on March 31, 1461.

During his life and work, two major events took place in the Russian metropolis, which, in turn, divide the history of the highest administrative management of the Russian Church in the first half of the Moscow period under review into two more halves.

One of the events of a quantitative nature is the reduction of the external limits of the Russian Church through the separation from it of the Lithuanian-Galician part, which since then has begun to live its own special life, under peculiar political and cultural conditions.

The other is of a qualitative nature: this is the beginning of the actual (although not formally approved) autocephaly of the Russian Church. The installation of Metropolitan Jonah himself in Moscow occurred without the intention on the part of the Russians to permanently leave the authority of the Patriarch of Constantinople. In the present case, the Russians showed an excessively scrupulous canonical conscientiousness and did not dare to do what they not only rightfully could, but, under the circumstances of that time, even had to do, i.e. openly proclaim their metropolitans independent of the Uniate patriarchs. But such an intention and determination finally took shape during the lifetime of Metropolitan. Jonah, although the Patriarchs of Constantinople at that time had already become Orthodox again. St. Jonah himself blessed, through a special letter placed on the throne in the Assumption Cathedral, to be his successor to the Rostov Archbishop Theodosius.

Reverence

During his lifetime, he was credited with the gift of performing miracles. His biographers tell of many miracles at his relics.

In 1472, the relics of the holy Metropolitan Jonah were found incorrupt and placed in the Assumption Cathedral of the Kremlin (the celebration of the transfer of the holy relics takes place on May 27). Church-wide glorification of the saint by the Russian Church followed at the Moscow Council in 1547, when a special memory was established for him. In 1596, Saint Job of Moscow established the celebration of Saint Jonah in the Council of other Moscow saints, on October 5.

Troparion of St. Jonah

We have embraced the yoke of the Lord from our youth, / and You have followed His footsteps with an irrevocable desire, / and have achieved a sanctified feat, / We have received sanctification for our flock and received gifts of miracles from God, / With faith, those who come to the race of your relics / You have given abundant healing to various ailments, / Our Father Jonah , Saint of Christ, / pray to Christ God to grant us great mercy.

Troparion for the Transfer of Relics

From your youth, having dedicated everything to yourself to the Lord, / in prayers, and labor, and in fasting, becoming an image of virtue, / from there God saw your good will, / he will establish you as a bishop and shepherd of His Church. / Likewise, even after your repose, your honorable body is intact and incorruptible, / Saint Jonah, / pray to Christ God to save our souls.

Proceedings

The “Cell Gospel” written by him and 38 teaching messages, which are among the best works of ancient Russian church teaching literature, have been preserved.
Of these, some are concerned with the welfare of the state and the order of internal government; others relate to the protection of Orthodoxy from Latinism and the fight against the aspirations of the false metropolitan Isidore; still others are addressed to private individuals and contain consolation for those who mourn and exhortations to a holy life. Thirty-five epistles of St. Jonah were published in the “Acts of History” and “Acts” of the Archaeogr. com. and expeditions. Saint Jonah drew up the order for the installation of bishops.

Life of a Saint

The approximate date of birth of the metropolitan is 1390. Jonah was born in the village of Odnoushevo, not far from the city of Galich, which belongs to the Kostroma land. His father's name was Fedor. The parents of the future saint were deeply religious people and raised their son in accordance with all Christian commandments.

At the age of 12, the boy decided to devote himself to the undivided service of the Lord. During this period, he became a monk in the Galich Annunciation Monastery. Later, the young man became a novice at the Moscow Simonov Monastery, where, in addition to performing monastic duties, he served as a baker.

One day, tired Jonah fell asleep right in the bakery, making a gesture of blessing with his hand. He was seen by Moscow Metropolitan Photius, who visited the Simonov Monastery that day. He ordered not to wake up the young monk and not to punish him in any way. In addition, Photius made a prediction that in the future Jonah would become a great saint of the Russian Church and would help many people to be saved.

The prophecy of the current metropolitan was destined to come true. A few years later, Jonah, who had distinguished himself during his years of monasticism by his strict observance of Orthodox canons, was appointed Bishop of Murom and Ryazan.

Used materials

Encyclopedic Dictionary of Brockhaus and Efron.
Life of St. Ions
A.V. Kartashev. Essays on the history of the Russian Church. Volume 1

[1] According to days.ru - in Galich.

[2] After the flight of Metropolitan Isidore from Russia, Lithuanian Rus'... could still accept him again as its legal superior, which Isidore negotiated with her just before the installation of Jonah. Deciding on this order, Grand Duke Vasily Vasilyevich communicated with the Grand Duke of Lithuania and, together with the Polish King Casimir (1440-1492), and only after receiving his consent, he convened a council that ordained Jonah - A.V. Kartashev. Essays on the history of the Russian Church

AND SHE

In the iconographic originals, the following descriptions of I.’s appearance are found: “Sed, brada shorter than Vlasieva’s, with little rootstock at the end, on the head is a hat, sakos” (IRLI (PD). Peretz. No. 524. L. 141 vol., under 30 Martha); “gray-haired, like Blasius with a brad, a saint’s robe, both in amphorae” (described together with St. Photius, Metropolitan of Kyiv and All Rus'; Ibid. L. 165 vol., under May 27); “oversid, brada dole metropolitan Peter, narrower ends, in the bay” (IRLI. OP. Op. 23. No. 294. L. 116, under March 30); “Grey-haired, brada Sergiev, hair from the ears, in a hat and in an amphora and sakosa, in his hand the Gospel. Sak bakan, under the azure” (BAN. Strict. No. 66. L. 93, under March 30); the same text with the addition of “cross chasuble, sakos prazelen” (RNB. Weather. No. 1931. L. 132, under March 30). In the manual by V.D. Fartusov, I. is presented as “a very old man of the Russian type... his face is thin, pale, his beard is gray, a little more than average in size, slightly forked at the end, his hair is short; wearing a sakkos, an omophorion and a club, on the head a miter like a cap. You can also write him a charter with the saying: Child, do not doubt anything, for while the essence from man is impossible, the essence from God is possible. Or: Let your evil tongue be bound, and let your blasphemous lips be stopped" (Fartusov. Guide to the writing of icons. P. 233, under March 31; also I. mentioned under May 27 and June 15 with a reference to March 31 - Ibid. pp. 295, 318).

St. Jonah, Met. Kyiv and all Rus'. Icon from the Deesis rank. Ser. XVII century (YIAMZ) St. Jonah, Met. Kyiv and all Rus'. Icon from the Deesis rank. Ser. XVII century (YIAMZ)

The earliest image of I. is his tombstone icon from the Assumption Cathedral of the Moscow Kremlin with the image of the Mother of God “Prayer for the People”, with the upcoming chosen saints and the praying people (1st third of the 16th century, GMMC; Tolstaya T.V. On the history of the iconostasis Peter and Paul chapel of the Assumption Cathedral // Filimonovskie Readings M., 2004. Issue 2. P. 84. Ill. 12; Preobrazhensky A. S. Traditions of patron iconography in the decoration of the Annunciation Cathedral // GMMK: Materials and research. M. , 2008. Issue 19: The Royal Temple: Annunciation Cathedral of the Moscow Kremlin in the history of Russian culture. P. 47. Ill. 3). On it the saint is presented as a prayer book for Christ. clan and patron of the state, including the princely house, since his image precedes the figures of 2 princes. I. is depicted in old age with a gray beard of medium length, dressed in a green sakkos with light crosses and a red underside, and on his head is a bishop’s cap (ancient Russian type of miter).

Among the Russians Hierarchs and saints I. is found on icons and in works of facial embroidery. On the shroud “Saints Nicholas the Wonderworker, Peter and Alexy of Moscow, with selected saints” (1st third of the 16th century, State Historical Museum), to the right of the half-figures of 3 Ecumenical Saints, on the upper field there is a full-length image of I. embroidered (signature: “( ) ") paired with St. Philip (Kolychev), Metropolitan. Moscow. He has a thick dark brown beard of medium length, is dressed in a green sakkos with a red underside and with light crosses, an omophorion, and a bishop's cap on his head; He blesses with his right hand and holds the closed Gospel in his left. According to N.A. Mayasova, the style of facial sewing and the technology of making veils are characteristic of items produced in the Grand Duke's workshop.

After all-Russian glorification, the image of I. is found on objects made by the best craftsmen of the era of Tsar Ivan IV the Terrible, where he is presented as the new patron of the capital and state, an example of hierarchical service. The development of iconography coincides in time with the creation of St. Makaria, Met. Moskovsky, 3rd edition of the Life of I.

St. Jonah, Met. Kyiv and all Rus'. Fragment of the title page of the book. "John Chrysostom. Conversations on 14 epistles. Paul." Engraver I. Zubov. M., 1709 (RSL)

The image of I. appeared on gilded silver beads, with which church clothes and church furnishings were decorated. Such a fragment in the form of a quadrifolium was preserved on a sakkos, presented by Tsar Ivan the Terrible “to the house of the Most Holy Theotokos and the great wonderworkers Peter, Alexei, Jonah” during the reign of St. Makaria (sakkos of St. Makaria, 1549, GMMK; Vishnevskaya I.I. Sakkos of Metropolitan Makaria // Makaryevsky Readers. Mozhaisk, 2001. Issue 8: Russian sovereigns - patrons of Orthodoxy. P. 109-130; Faith and power. 2007. pp. 48-49. Cat. 8). The fragment with the image of I. was on a precious frame made by royal order for the miraculous Velikoretsk icon of St. Nicholas the Wonderworker in 1555-1556. during the stay of the Vyatka shrine in Moscow (not preserved, known from descriptions of the 19th century - see: Kashminsky S., Archpriest About the Velikoretsk miraculous icon of St. Nicholas // Vyatka EV. 1875. No. 10. P. 323; Voznesensky A., Gusev F. Life and miracles of St. Nicholas the Wonderworker, Archbishop of Myra, and his glory in Russia. St. Petersburg, 1899. P. 308, 688. Note 258). Figures of I. and St. Peter, Metropolitan Moscow, placed on the right field of the Vladimir (Volokolamsk) icon of the Mother of God (c. 1572, TsMiAR; Saltykov. 1981. P. 250. Ill. 143; Faith and power. 2007. P. 134-135. Cat. 53), written capital master commissioned by Malyuta (Grigory Lukyanovich) Skuratov-Belsky. The figure of the saint is turned half-turn towards the centerpiece; with both hands he holds the closed Gospel to his chest. I. in a light patterned sakkos, in an omophorion with blue crosses, in a green cassock with gold sleeves, in a bishop's hat.

Special veneration of I. and the creation of his images on church utensils are associated with the Assumption Cathedral of the Moscow Kremlin. According to the inventories of the cathedral, primarily according to the earliest preserved one - early. XVII century (according to the dating of T. S. Borisova, 1609-1611), a silver shrine with a relief figure of a saint, several. facial coverings on his relics, icons in the altars of the cathedral (the main and “censer”, i.e. altar) with a single image of I. and other wonderworkers - patrons of Moscow. “By the command of the pious Tsar and Grand Duke Theodore Ivanovich of All Rus', and by his undoubted faith, and with warm tears, they began to make forged silver crayfish, valuable as a great lamp, a pillar of the Russian land...” (PSRL. T. 34. P. 199-200). So, in 1585-1586. a precious shrine with a relief image of I. appeared on the lid and shrines for the relics of other Rus. saints Most likely, the idea of creating such a tombstone-reliquary was formed during the reign of Ivan the Terrible; The Life of I. mentions a miracle that occurred in 1555-1556, when a certain blind wife, praying for healing at the Velikoretsk Icon of St. Nicholas the Wonderworker in the Assumption Cathedral, as well as at the tombstones of saints and at miraculous icons, she was healed at the relics “by the breath of Saint Jonah” (PSRL. T. 21. Part 2. P. 523; Usachev. 2007. P. 57). The side walls of the crayfish, lined with silver (GMMC), have been preserved; the chased image on the lid is known from cathedral inventories (Inventory. 1876. Stb. 299, 418-419, 611-612). The relief image of I. made of silver was gilded and decorated with precious stones (yakhonts, emeralds and lalas) on the clothes and crown. The saint was dressed in “sak” (sakkos), an omophorion, a bishop’s cap, and held the Gospel in his hand. In the upper part of the lid, above the full-length relief figure of the saint, images were minted: in the center - the Holy Trinity, in the corners - the Mother of God and St. John the Baptist. To the beginning XVIII century The lid of I.'s reliquary was installed in an icon case above the tombstone and began to be revered as an icon. There is a wooden relief with the image of I., which possibly also served as the lid of his shrine (last quarter of the 17th century, GMMK - see: Sokolova I.M. Russian wooden sculpture of the 15th-18th centuries: Cat. M., 2003. pp. 176-179).

Vision of St. St. Basil's Vladimir Icon of the Mother of God and Moscow Saints. The mark of the icon “Our Lady of Vladimir, with miracles.” Ser. XVII century (c. 1654?) (YIAMZ)

In the Assumption Cathedral of the Moscow Kremlin, 5 tombstone facial coverings with the image of I., made in the middle, have been preserved. XVI - beginning XVIII century (all in GMMC). As a rule, these are contributions from Moscow queens, made in their workshops; the oldest ones were donated to the cathedral by Queen Anastasia Romanovna. The first cover was created, probably, after the Council of 1547 (according to the dating of Mayasova, in 1549-1552; according to the inscription, it was placed by the queen in the Assumption Cathedral to celebrate the memory of I. in 1558 - see: Mayasova. 1995; She. 2004. Cat 18; Faith and Power. 2007. pp. 168-169. Cat. 70); the other was invested in 1551-1553. (Christian relics. 2000. Cat. 66; Mayasova. 2004. Cat. 19); there is a cover from the workshop of Queen Maria Ilyinichna of the 50-60s. XVII century (Mayasova. 2004. Cat. 119). In addition, the coverings for I.’s tomb in the Assumption Cathedral were created in the 2nd half. XVII - beginning XVIII century in the largest workshops: in Solvychegodsk by A. I. Stroganova (1657; Ibid. Cat. 113) and in Moscow by A. P. Buturlina (late 17th - early 18th centuries; Ibid. Cat. 155). The covers, made according to the general iconographic scheme, differ in the technique of execution and some details. Thus, the oldest cover from the workshop of Tsarina Anastasia Romanovna is sewn with multi-colored silks, the inscription: “”. Characteristic details of the image: a small bishop's hat with a short edge and a low, round crown that fits tightly to the head; on the cover of the Gospel there is a Calvary cross with the inscription: “” (on other covers there is a Crucifixion). Personal and bodily sewing is performed without cutting (the right hand with the two-fingered blessing is given only as an outline) and shading. Dr. the cover of Queen Anastasia (1551-1553) is distinguished by denser proportions of the figure, the use of predominantly gold embroidery, as well as an abundance of precious stones and pearls; inscription: " () ". The extensive inscription places emphasis on I.’s prayer for the health of the representatives of the ruling family, especially the royal “children.” Perhaps the veneration of I. in the royal family was associated with “prayer for childbearing” and with patronage of children during illness. It was known about I.’s intercession for the children of the leader. book Vasily the Dark, princes Ivan and Yuri during the feudal war, as well as a miracle with the healing of his daughter. book Vasily II. Throughout the 17th century. a cover embroidered with gold and silver, placed in 1551-1553, is mentioned in the inventory of the cathedral sacristy (Inventory. 1876. Stb. 346, 418-419).

In the XVI-XVII centuries. one of the covers, a gift from Queen Anastasia, together with the face cover of St. Peter was carried out during religious processions from the cathedral on the days of celebrating the memory of the saints, as well as on Easter, during Bright Week and on certain twelfth holidays (Saenkova. 2004. pp. 15-16). In written sources, primarily in the Service Books of the Moscow Assumption Cathedral, it is not specified whether this was a cover placed in 1551-1553. or in 1558. Over time, both covers began to be perceived as shrines associated with the veneration of I.; to the beginning XVIII century they were in the shrine on his relics (Inventory. 1876. Stb. 613-614). Perhaps during this period, on the ancient cover of the I. contribution of 1558, a cut was made under the right, blessing hand of the saint, intended for worshipers to apply to the relics (Faith and Power. 2007. P. 168).

The creation of facial coverings on the relics of I. became a tradition for royal craftswomen of the 17th century. The cover, made in the workshop of Tsarina Maria Ilyinichna, celebrated by the royal craftsmen, is decorated with pearl edges, the edges subtly frame the contours of the figure and details of the vestments, as well as enamel cufflinks. At the top there is an image of the Holy Trinity. Inscription: " ". As on the ancient cover of Tsarina Anastasia Romanovna, the halo above I.’s head is decorated with ornaments, and the bishop’s hat has a rounded shape. Mayasova correlates with this monument written news about the veil, which at the end. 1650 “famous icon painter Stepan Rezanets” (Zabelin. 2003. P. 728); in Jan. In 1652, the head of the workshop, noblewoman Aksiniya Eropkina, accepted silk threads for “Metropolitan Jonah for the cover” (Ibid. p. 686). Based on stylistic features, the researcher believes that I.’s cover was completed already in the 60s. XVII century

The 1657 cover was sewn in the workshop of A.I. Stroganova “on the promise” of her son, G.D. Stroganov, who was still an infant, perhaps due to his recovery. The appearance of the saint on this cover is traditional, with the exception of the pointed form of the end of the bishop's cap and the image of the Crucifixion on the Gospel frame. Like the works of the royal workshops, gold and silver threads dominate the sewing of the cover. In the signature, I. is called “Metropolitan of Kyiv and All Rus', Wonderworker,” and in the inscription, “Metropolitan of Moscow.” On the cover from the workshop of A.P. Buturlina there are details of vestments characteristic of the late period: a miter with beads, a pectoral panagia and a club at the right hip.

Saints Theognostus, Jonah, Gerontius and St. Saint Basil in prayer to the Mother of God. Folding sash. Icon painter Istoma Savin. Con. XVI - beginning XVII century (TG)

The inventory of the cathedral mentions the icon of I. in the altar (“what stands at the top place”), which served as a portable image in religious processions from the Assumption Cathedral. It was one of the icons that glorified the memory of the Moscow metropolitans of the 14th-15th centuries, buried in the cathedral, along with the icon of Saints Peter, Cyprian and Photius, as well as the Vladimir Icon of the Mother of God “letter of Metropolitan Siman” (Inventory. 1876. Stb. 328 ). The icon of I. was placed in a rich frame; the front veil with an embroidered figure of I. has been preserved from its decoration (mid-16th century, GMMK; Mayasova. 2004. Cat. 20). On the shroud I. is depicted like St. Nicholas the Wonderworker (Zaraisky) and in the same pattern as the Moscow saints Peter and Alexy on the icons of Dionysius: full-length, with arms raised and spread to the sides, with his right hand he blesses, with his left the saint holds the Gospel on the plate. Hierarchal vestments - sakkos with crosses, omophorion; the bishop's hat with a cherub sewn on it fits the head tightly, the beard is without a fork at the end. Inscription: " ". The type of face is close to the face depicted on the 1st cover of the work of Queen Anastasia’s workshop, although in general researchers note different proportions of the figure (Ibid. p. 122). As a frame, just like on the tombstones, a fragment of the text of the troparion to the saint was used (voice 4: “... from my youth...”). In the inventory of the cathedral, this “shroud is mentioned, and on it is embroidered the image of Jonah the Wonderworker in gold and silver on tausin damask” (Inventory. 1876. Stb. 328, 351). To the beginning XVIII century the icon and the shroud are already called old (Ibid. Stb. 517). Icons of small size, “piadnitsy”, in precious frames were in “both altars” of the cathedral (Ibid. Stb. 334, 432, 513), i.e. in the main and northern ones. side (altar), including above the doors, together with the images of other Moscow saints (Ibid. Stb. 435). The image of I., apparently in prayer to the Mother of God, was “created by the mob” on a golden icon with a red yacht in the title, attached to the ancient icon of the Great Martyr. Demetrius of Thessalonica in the south. parts of the local row of the iconostasis (Ibid. Stb. 391).

In addition to the preserved facial coverings and shrouds in the Assumption Cathedral, other works of the royal workshops with the image of I are known from published written sources. In the books of the “upper reference” (issuance of materials for the palace workshops) under December 15. 1616, “the cover of Metropolitan Jonah is indicated, the damask coat is purple, the troparion is sewn around: “from his youth” in silver, his image is marked with white, the lining is white canvas” (Zabelin. 2003. P. 634). Probably, work on this cover began even before the Time of Troubles. Since the cover was transferred to the mansion of the nun Queen Marfa Ivanovna, it can be assumed that the entourage of the young Tsar Mikhail Feodorovich, upon completion of sewing the figure of I. in the centerpiece, hoped for the patronage of the saint. In 1642, Master Mark celebrated 6 days on the ubrus “in yellow taffeta” with a Deesis composition depicting Saints Peter, Alexy and I., as well as St. Theognosta. This embroidered butt was intended, perhaps, for one of the palace icons. in honor of the Nativity of St. Mother of God “what is in the entryway” (Ibid. p. 726).

Finding the relics of St. Jonah, Met. Kyiv and all Rus'. Miniature from the Facial Chronicle. 70s XVI century (RNB. F.IV.232. L. 34)

The appearance of the image of the “new miracle worker” I. in the works of the 2nd half. XVI century glorified the grace of the Russian Church, which gave numerous saints and ascetics. In the paintings of the Annunciation Cathedral of the Moscow Kremlin (1547-1551), the figure of I. in prayer is included in the composition “Adoration of the Sacrifice” in the lower tier of the central altar apse. I. is depicted with Saints Philip, Peter and Alexy in the altar part of the Trinity Cathedral of the Ipatievsky Monastery (1685, artel of Gury Nikitin). In the murals of the Cathedral of the Assumption Monastery in Sviyazhsk (mid-2nd half of the 16th century; according to the dating of A. S. Preobrazhensky, late 16th - early 17th centuries), I. is placed in the central register to the north. north side pillar located in the altar part of the building. The saint is presented in full vestments, with his blessing hand raised high.

An icon with the image of I., originating from c. ap. Philip of the Cathedral of the Twelve Apostles of the Moscow Kremlin (1690, GMMK; see: Moscow High Hierarchs / Introductory article: N.V. Bushueva. M., 2001. P. 140-141. Cat. 12). The saint is presented full-length, blesses with his right hand, and holds the Gospel on a plate with his left. He is wearing a patterned greenish sakkos, an omophorion and a bishop's cap.

Life icons of I. are extremely rare. The most extensive cycle of miracles and deeds is shown on the icon of the Vologda icon painter Yakov Tarasov (Taranov) (1644, State Historical Museum), created for the chapel in the name of I. Ts. in the name of the Three Saints in Golenishchevo, the ancient countryside Patriarchal residence. The icon was damaged by fire and was restored to the beginning. XX century In the middle according to tradition. scheme of hagiographic icons of saints, adopted from the end. XV - beginning XVI century, the figure of I. is shown full-length, in metropolitan vestments; with his right hand he blesses, with his left he holds the Gospel. The centerpiece is surrounded by 20 marks with hagiographic scenes of birth, ordination, and burial. The deeds and miracles of I. are illustrated in detail; 2 stamps depict his tonsure into monasticism and the prophecy about I. St. Photia. There are 2 scenes of ordination: presbyter and bishop of Ryazan and Murom. The journey to Constantinople “for the sake of becoming a metropolitan” is reminiscent of an episode from the Life of St. Petra. Also presented are scenes of I.’s deeds and lifetime miracles, following the text of I.’s Life, included in the Degree Book: the healing of his daughter led. book Vasily the Dark Anna (3 brands), boyar Vasily Kutuzov; a prediction of death for the greedy key keeper, the “dispenser of alms,” and the wife of the slow key keeper of the Assumption Cathedral, Maxim Myakota, who late conveyed the news of I.’s imminent death. The hagiographic cycle includes an episode of the rescue of Moscow from the “invasion of the Hagarians” (apparently dedicated to the events of 1451. ), its composition, even with the poor preservation of the image, resembles an illustration of the akathist I. The life cycle of I. could be shortened, as, for example, on the icon “St. Peter, Alexy, Jonah of Moscow, with the marks of the lives” from the prayer house at the Preobrazhenskoe cemetery (XVII century ., State Russian Museum; see: Images and symbols of the old faith. 2008. pp. 132-133. Cat. 114). The Life of I. occupies 16 hallmarks adjacent to the middle. According to researchers, the origin of the icon could be connected with the work of icon painters of the Moscow Kremlin. The set of plots corresponds to the text of the Degree Book, the miracles about the paralytic and about Vasily Kutuzov are highlighted. Several are reproduced in most detail. scenes of ordination and acquisition of relics.

I.'s image was often included in compositions of icons glorifying Moscow saints. Probably the most widespread was the version with the image of 3 Moscow saints: Metropolitans Peter, Alexy and I. The formation of special veneration of these Moscow saints immediately after the glorification of I. can be evidenced by the above-mentioned inscription on the sakkos of St. Macarius 1549. A similar version of the icon was painted already in the middle - 3rd quarter. 16th century: according to the inventory of Kolomna 1577/78, such an icon was in the icon case on the right side of the local row of the iconostasis of the Kolomna Assumption Cathedral (Cities of Ancient Rus' of the 16th century: Materials of scribal descriptions. M., 2002. P. 5 ). The veneration of the 3 Moscow saints took root in church life towards the end. 16th century: in 1592, water from their relics was sent from Moscow to pestilence-stricken Pskov (1st Pskov Chronicle // Pskov Chronicles. M.; Leningrad, 1941. Issue 1. P. 114). During the Time of Troubles, the patrons of Moscow and Russian. The armies are considered to be precisely 3 Moscow saints, including I.: them, as well as St. Russians prayed to Sergius of Radonezh. soldiers under the command of M. V. Skopin-Shuisky before the battle with Hetman R. Ruzhinsky at Aleksandrovskaya Sloboda in November. 1609 (PSRL. T. 34. P. 252), which was possible only with the widespread distribution of icons of this type. The icon of 3 Moscow saints took part on March 14, 1613 in a religious procession in the Kostroma Ipatievsky Monastery to “beg” Mikhail Feodorovich Romanov to ascend to the royal throne (The Legend of Abraham Palitsyn / Edited by L. V. Cherepnin. M.; L., 1955. P. 233); such an icon is shown among the images during the religious procession during the meeting of Tsar Mikhail Feodorovich with his mother nun Marfa Ivanovna in the summer of 1613 in the illustrations of the “Book of the election of Mikhail Feodorovich to the kingdom” of 1672-1673. (Drawings belonging to the Book about the election of Tsar Mikhail Feodorovich to the kingdom. M., 1856. Fig. 6; Three centuries: Russia from the Time of Troubles to our time: Historical collection / Edited by V. V. Kallash. M., 1912. P. 225). There was a similar icon in the Moscow Assumption Cathedral near the shrine of St. Peter (“over the tomb of the wonderworker”) in the north. on the altar - “an image, a large puppet, of the wonderworkers Peter, Alexy and Jonah, overlaid with silver, filigree crowns” (Inventory. 1876. Stb. 434, 518). On the pedestal from the sacristy of the Solovetsky Monastery (late 16th - early 17th centuries, AOKM) I. is represented in an ocher-colored saccos with green-backed circles in red frames, a miter, an omophorion thrown over his left hand (Heritage of the Solovetsky Monastery in museums Arkhangelsk region: Catalog of exhibition / Compiled by: T. M. Koltsova. M., 2006. Cat. 8. pp. 25-26). Three Moscow saints could be compared with the K-Polish saints, as evidenced by the image located in the icon case above the local icon “Praise the Lord from Heaven” in the left, northern part of the local row of the iconostasis in the Assumption Cathedral of the Kirillov Belozersky Monastery (“Images of Saints Peter, Alexei , Jonah, Basil the Great, Gregory the Theologian, Ivan Chrysostom. The same image has a worm-like damask veil" - Inventory of buildings and property. 1998. P. 54). Probably all the saints, both Moscow and Poland, were depicted in the same way, without differences in size or arrangement of the figures, thereby emphasizing their unity and similarity. A composition with images of 3 Moscow saints, including I., could be used to depict on the back of an altarpiece or external icon, as, for example, on the back of the Vladimir Icon of the Mother of God from the collection of P. P. Shibanov (mid-17th century. , State Historical Museum). A rare type of icon of I., together with Saints Cyprian and Photius, was supposed to remind of the day of the discovery of their relics during the 1st perestroika of the Moscow Assumption Cathedral (1472): “... his relics are all purposeful and indestructible, for the flesh of his bones did not move compose it; and the saint did not rot away the vestments, and amophoras, and the rest of all these three, according to the years of their repose” (PSRL. T. 18. P. 238).

St. Jonah, Met. Kyiv and all Rus'. Relief. 4th Thursday XVII century (GMMK)

There were multi-figure icons depicting I., such as, for example, the 3-leaf fold “Moscow Wonderworkers in Prayer to the Mother of God and Child” written by Istoma Savin, which belonged to M. Ya. Stroganov (late 16th - early 17th centuries, Tretyakov Gallery). Its doors depict saints and holy fools, whose burials are located in Kremlin churches and monasteries, praying to 3 different icons of the Mother of God. Kneeling I. is depicted on the right door, between the figures of the prostrate Metropolitan. Theognosta and Met. Gerontius bowing at the feet of the Mother of God standing on a cloud. I. is dressed in a patterned sakkos, an omophorion, and a bishop's hat with a patterned crown decorated with “small towns.” He has short gray hair and a pointed gray beard; next to it is the inscription: "". The images of the 3 Moscow saints could be presented in prayer not only to the Mother of God, but also to the Savior, for example. on a framed frame from the sacristy of the Solovetsky Monastery with the image of the Savior of Smolensk, angels and crouching saints Peter, Alexy, I. and martyr. Theodora (late 16th - early 17th century, State Historical Museum; Preserved shrines of the Solovetsky Monastery: Cat. exhibition / Author: I. A. Bobrovnitskaya. M., 2001. Cat. 25): I. dressed in a golden sakkos, omophorion and bishop's cap, he has a short, thick beard. The image of I. was compared with the images of other Russians. saints, for example on the icon (contribution to the monastery), described in 1601 in the chapel church of the Assumption Cathedral of the Kirillov Belozersky Monastery over the burial of St. Kirill (Inventory of buildings and property. 1998. P. 89). In the signature, I. is called “the great miracle worker” and is presented together with St. Nikita, bishop Novgorod, with the Monks Zosima and Savvaty Solovetsky and Alexander Svirsky.

After the glorification and transfer of the relics of St. Philip (Kolychev) in 1652, an edition of 4 Moscow miracle-working saints was formed, where the image of I. is often paired with the image of St. Philippa. This version became widespread and was found in works of church art of various techniques already from the middle. XVII century In face sewing, e.g. on the epitrachelion from the Moscow Assumption Cathedral with sewn earlier facial fragments (late 16th century - apostles Peter and Paul), which depict Moscow wonderworkers, including I. (1700, GMMK; Mayasova. 2004. P. 234- 235. Cat. 70), I. is represented half-turned, carrying the Gospel, wearing a bishop’s cap, sakkos, and omophorion; his beard is shorter than the usual length, his appearance is similar to that of St. Philippa. Together with St. He is depicted by Philip on an embroidered hood intended for Jonah (Sysoevich), Metropolitan. Rostov and Yaroslavl; this hood was inserted into the Rostov Assumption Cathedral by D. A. Stroganov (GMZRK; Silkin. 2002. pp. 285-289). As a prayer book for the city of Moscow, I., among 4 saints, is represented on the front fragment of the omophorion, embedded in the Novgorod St. Sophia Cathedral, possibly by Patriarch Nikon (mid-17th century, NGOMZ; Ignashina. 2003. pp. 66-67. Cat. 40). On the icons, judging by the works of the 17th-18th centuries, and on the drawings, I. turns in prayer to the icon image in the upper part of the composition, which is carried by angels, for example. to the image of the Mother of God “The Sign” on the icon from the Intercession chapel c. in the name of the prophet Elijah in Yaroslavl by master Fyodor Zubov (1660, YaIAMZ), to the image of the Savior Not Made by Hands, as in a drawing from an icon of the 17th century. (Markelov. Saints of Ancient Rus'. T. 1. P. 346-347), or presented directly (Ibid. P. 354-355). The figure of I. among the praying saints of Moscow is engraved on a gilded frame of Moscow work, made in the 17th century. for a stone Novgorod icon with the image of the architect. Michael XV century from the collection of P. I. Shchukin (State Historical Museum; 1000th anniversary of Russian artistic culture. 1988. Cat. 293); I. is depicted among the selected saints on the right field of the icon case frame of the Vladimir Icon of the Mother of God (mid-17th century, GVSMZ; Icons of Vladimir and Suzdal. M., 2006. P. 339. Cat. 75). In later art, icons of the same type can be found, especially among the works of masters who adhered to the traditional manner, such as the Mstera icon painters I. V. Bryagin and V. I. Shitov (1899, Russian Museum). Four saints, the patron saint of Moscow, including I., could be depicted praying to the saint (on the sides of the central figure), for example. St. John Chrysostom, as in a drawing from a 17th century icon. from the Siya facial original (see: Markelov. Saints of Ancient Rus'. T. 1. P. 356-367), or St. equal to book Vladimir, the heavenly patron of the recipient of the icon, as in the icon presented to the prince. V. A. Dolgoruky (made by O. S. Chirikov, 1890, State Historical Museum; 1000th anniversary of Russian artistic culture. 1988. Cat. 207). The image of I., reminiscent in iconography of St. Nicholas the Wonderworker (Zaraisky), along with the images of other Moscow saints and wonderworkers, is placed on the stole made by the nuns of the Ascension Monastery in the Moscow Kremlin and intended for the relics of the saint. Hermogenes, Patriarch of Moscow and All Rus' (1913-1914, GMMK).

St. Jonah heals the sick. Mark of the engraving “Moscow saints Alexy, Peter, Philip, Jonah.” XIX century (GIM)

The image of I. as part of 4 Moscow saints was included in the composition of the Bogolyubskaya-Moscow Icon of the Mother of God (XVIII-XIX centuries). In the 17th century on the icon “Praise to the Vladimir Icon of the Mother of God” (“Planting the Tree of the Russian State”) from c. St. Trinity in Nikitniki (master Simon Ushakov, 1668, Tretyakov Gallery), the region glorifies the Muscovite kingdom and the Church, I. is depicted full-length, as a reminder of the images of the prophets, on the left side of the vine in a medallion on a yellow background, with a scroll in his left hand .

There are known images of I. as part of the Deesis row of the iconostasis, for example. in c. Resurrection on the Debra in Kostroma (1652; see: Kostroma icon of the XIII-XIX centuries: Cat. / Comp.: N. I. Komashko, S. S. Katkova. M., 2004. Cat. 107. P. 507- 508). I. (the inscription has not been preserved) is presented together with St. Philip (Kolychev) (?) in holy vestments: a bishop's cap, a cross-patterned phelonion, a blue cassock, an epitrachelion and an omophorion thrown over his left hand, with both hands he supports the Gospel; he has a long beard without forks. The life-size icon of I. was in the Deesis rank c. in the name of the prophet Elijah in Yaroslavl (mid-17th century, YaIAMZ; Icons of Yaroslavl XIII - mid-17th century: Masterpieces of ancient Russian painting in the museums of Yaroslavl / Author: V.V. Gorshkova. M., 2009. T. 2 pp. 148-149. Cat. 134). According to the drawings of the Siysk facial original, an icon composition of the 17th century is known, where I. is presented opposite St. Philip, depicted with his hand raised; the saints are shown as interlocutors, dressed identically, the older I. has a longer beard (Markelov. Saints of Ancient Rus'. T. 1. pp. 292-293).

The image of I. in prayer is presented on the icons of Moscow saints, for example. on a drawing from a 17th century icon. (Ibid. pp. 340-341), on 2 pyadnitsa icons. XIX - early XX century (CMiAR; on the back of one of them there is an ink stamp from the workshop: “1st Moscow Artel of Artistic and Icon Painting”).

I. was depicted as part of the Russian Councils. saints: on the Vygov icons. XVIII - beginning XIX century (MIIRK) and 1st half. XIX century from the village Chazhenga, Kargopol district, Arkhangelsk region. (Tretyakov Gallery; see: Icônes russes: Les saintes / Fondation P. Gianadda. Martigny (Suisse); Lausanne, 2000. P. 142-143. Cat. 52), on the icon of the letter of the Old Believer master P. Timofeev, 1814 ( State Russian Museum; see: Images and symbols of the old faith. 2008. pp. 82-85. Cat. 70; prophet see: Markelov. Saints of Ancient Rus'. T. 1. pp. 456-457). I. is also represented on the icon of the 1st half. XIX century from the Old Believer prayer house at the Volkov cemetery in St. Petersburg (GMIR). In the art of the 18th-19th centuries. Iconography changes: instead of the traditional miter, a hood appears, for example. on the half-length engraved image of the saint on a fragment of a silver and gilded folding reliquary by the Moscow master A. A. Zhdanov (1720, GMMK).

The image of I. is included in the group of saints of the 14th century. in the murals of the gallery leading to the cave church. St. Job of Pochaevsky in the Pochaev Dormition Lavra (painting in the academic style of the late 60s - 70s of the 19th century, by hierodeacons Paisius and Anatoly, renewed in the 70s of the 20th century). On the relief of the monument to the 1000th anniversary of Russia in the Novgorod Kremlin (1862, sculptors M. O. Mikeshin, I. N. Schroeder, architect V. A. Hartman) I. is depicted among Russian enlighteners.

St. Jonah, Met. Kyiv and all Rus'. Cover. 1549–1552 (GMMK)

Several images of I. were presented in the decoration of the Cathedral of Christ the Savior in the 70s. 19th century: on the icon to the left of the royal doors of the main iconostasis (made on a bronze silvered board by K. A. Gorbunov; Mostovsky M. S. Cathedral of Christ the Savior / [Compiled by the final part: B. Sporov]. M., 1996p . P. 61), on the icon of 3 Moscow saints over the north. doors of the main iconostasis (Ibid. p. 63), in the painting of the north. rear walls wings of the temple (full-length, wrote V.D. Fartusov; Ibid. p. 82), as well as among the high reliefs of the lower row of the eastern. sides of the temple, on the arches of the small gates, together with St. Philip (sculptor P.K. Klodt; Ibid. p. 36).

In icon painting of the 20th century. I. is present in the group of Moscow saints on the icon “All Saints Who Shined in the Russian Land,” created in 1934 by the mon. Juliania (Sokolova) for St. Afanasia (Sakharova) (TSL sacristy), as well as in its repetitions of the 50s. XX century (sacristy of TSL, SDM; see: Aldoshina N. E. Blessed Work. M., 2001. P. 231-239). Prot. Vyacheslav Savinykh and N.D. Shelyagina performed a vision with a life-size image of I. for the Menaion MP (Images of the Mother of God and saints of the Orthodox Church. M., 2001. P. 259). I. is also presented in modern times. icons of the Councils of Moscow Saints (for example, on the icon from the Metropolitan Chambers of TSL).

When I.’s relics were found, the items of his vestments were also found incorrupt: “...robes, and amphorae, and so on...” (PSRL. T. 18. P. 238). Of the surviving items that belonged to I., mention should be made of a spoon and a handle. Liar I. from several times. cases were named in the inventory among the vessels in the sacristy of the Assumption Cathedral of the Moscow Kremlin already in the beginning. XVII century: “...the liar of the wonderworker Iona is made of bone, like a fish tooth, and at the end it is bound with gold...” (Inventory. 1876. Stb. 358), to the beginning. XVIII century it was in the altar of the cathedral among the relics and reliquaries (Ibid. Stb. 665-666; see also: Christian relics. 2000. P. 214-215. Cat. 67; warrants I. - Ibid. P. 213. Cat. 65).

Source: Zabelin I.E. Home life Russian. kings and queens in the 16th and 17th centuries: Materials. M., 2003; Inventory of Moscow. Assumption Cathedral of the 17th century. // RIB. M., 1876. T. 3. Stb. 287-811; Inventory of buildings and property of the Kirillo-Belozersky Monastery in 1601 / Compiled by: Z. V. Dmitrieva, M. N. Sharomazov. St. Petersburg, 1998.

Lit.: Uspensky A.I. Life of St. Ions of the Metropolitan: (Translations from the icon of 1644, painted by Yakov Tarasov). M., 1905; Saltykov A. A. Museum of Old Russian. art named after Andrey Rublev. L., 1981; 1000th anniversary of Russian artist culture: [Cat. ext.]. M., 1988; Mayasova N.A. The most ancient cover of Metropolitan. Ions // GMMC. Materials and research. M., 1995. Issue. 10: Old Russian. artist sewing. pp. 26-38; she is the same. Old Russian face sewing: Cat. M., 2004; Christian relics. 2000; Silkin A.V. Stroganov face sewing. M., 2002. С. 180, 234, 249, 285-289; Cat. 12, 50, 61, 89. Ignashina E. V. Old Russian. facial and ornamental sewing in the collection. Novgorod Museum: Cat. Vel. Novgorod, 2003; Kostina I. D. Works of Moscow. silversmiths 1st half. XVIII century: Cat. M., 2003; Komashko N. I., Katkova S. S. Kostroma icon of the XIII-XIX centuries: Code of Russian. iconography. M., 2004; Saenkova E. M. Officials (Typicons) of the Assumption Cathedral Moscow. Kremlin as a source on Russian history. art of the Late Middle Ages.: AKD. M., 2004. P. 15-16; Faith and power: The era of Ivan the Terrible: Cat. vyst. M., 2007; Icons of the XIII-XVI centuries. in collection TsMIAR. M., 2007. Cat. 88; Usachev A. S. Life of Metropolitan. Ions 3rd ed. // VCI. 2007. Vol. 2(6). pp. 5-60; Images and symbols of the old faith: Monuments of Old Believer culture from the collection. Rus. museum: Cat. St. Petersburg, 2008. Cat. 114. pp. 132-133.

M. A. Makhanko

Veneration[ | ]

Metropolitan Jonah at the monument “1000th Anniversary of Russia” in Veliky Novgorod
On May 27, 1472, during the reconstruction of the Assumption Cathedral, his incorruptible relics were discovered (kept in the Assumption Cathedral of the Moscow Kremlin); Pachomius the Serb wrote a church service for him and established his local veneration. In 1547, under Metropolitan Macarius, he was glorified for church-wide veneration.

In 1596, Patriarch Job established the celebration of St. Jonah at the Council of Other Moscow Saints on October 5.

Threat of loss of the western part of the metropolis

However, let us return to the day when Metropolitan Jonah was elected head of the Russian Orthodox Church (1448). Despite all the historical expediency of what happened, the position of the newly elected primate was very difficult. The problem was that only bishops representing the northeastern regions of Rus' took part in the work of the church council, while representatives of the Lithuanian Orthodox Church were not invited, since the majority supported the Union of Florence.

The situation that developed in connection with this could have had very negative consequences, as it provoked the emergence of separatist sentiments in the west of the metropolis. The fear that the Orthodox population of Lithuania, offended by the disdain shown towards their episcopate, would want to break away from Moscow and completely surrender to the power of the Roman pontiff, was well founded. In such a case, the secret and open enemies of the newly elected Metropolitan of Moscow and All Russia Jonah could well have placed full responsibility for what happened on him.

The most famous miracles

The saint united in himself all the gospel virtues, for which he received from the Lord the gift of prophecy and healing. Through the prayers of the current metropolitan, the recovery of incurable patients and other inexplicable phenomena occurred.

Saint Jonah, Metropolitan of Moscow, helped get rid of the lingering illness of the daughter of the Grand Duchess, who was already on the verge of death. The righteous man did not lay on hands or give any drugs. When healing people, he relied only on the support of the Creator and the power of prayer.

Those who did not believe in divine help received severe punishment. As the legend tells, one day a certain man doubted miraculous healings and began to blaspheme the Holy Spirit. This man tried to prove that the illnesses of those healed ended on their own, without influence from above. Jonah humbly asked him not to doubt and trust the Lord, but the man continued to mock. By this he aroused the righteous anger of the Metropolitan, who exclaimed: “Let your wicked tongue be numb. You will die instead of the patient.” After these words, the impudent man immediately lost the power of speech, fell to the ground and died.

There is a well-known story about how the miracle worker saved Moscow from destruction, and protected its inhabitants from imminent death. In 1451, Tatar tribes invaded Rus' and besieged the capital. To save his people, Jonah and other clergy made a religious procession and asked God for liberation from the conquerors. The elder was confident that soon the Mother of God herself would show her heavenly help. And so it happened: when the Feast of the Laying of the Venerable Robe of the Most Holy Theotokos arrived, the Tatars left Moscow, persecuted by an invisible force.

Possessing a prophetic gift, Jonah saw that in the future the Russian Church would have to endure tragic events. The righteous man often spoke about this to everyone who came to him for spiritual conversations, implying the persecution of the Orthodox faith and its champions in the 20th century.

Election of the Moscow Metropolitan

Thus, by installing Bishop Jonah as Metropolitan of Moscow, Shemyaka could well count on his gratitude, and therefore, on the support of the clergy he led. Perhaps such a calculation would have been justified, but life made its own adjustments. In 1446, Moscow was captured by supporters of Vasily II, who had been overthrown by him, and soon he himself, ransomed from Tatar captivity for huge money, came to the capital. The ill-fated Shemyaka had no choice but to flee to save his life.

Nevertheless, the work he began was continued, and in December 1448, a church council meeting in Moscow officially elected Ryazan Bishop Jonah as Russian metropolitan. The historical significance of the event was unusually high, since for the first time a candidate for this post was approved without the sanction of the Patriarch of Constantinople, under whose subordination the Russian Orthodox Church had until then been. Thus, the election of Metropolitan Jonah can be considered as the establishment of its autocephaly, that is, administrative independence from Byzantium.

Researchers note that such a step was largely caused by the extremely negative attitude of the Russian clergy towards the leadership of the Byzantine church, which, by all accounts, committed treason at the Council of Florence. By doing this, it completely undermined its own authority and provoked the Russian episcopate to take previously unacceptable steps.