MARTINIAN
Surviving images of M. are relatively few in number. Despite the local nature of the existing tradition, the iconography of the saint is well developed. M. is depicted as an old man in tradition. clothes of the monk (cassock, mantle, schema, kukol), however, the details of his appearance vary: the beard can be rounded or pointed, the hair can be curly or straight long. This heterogeneity is recorded in the iconographic originals (under January 11), where M.’s appearance is likened to the appearance of various saints: “In all likeness, like Kirill of Belozersky, and in some places he writes like Sergius of Radonezh” (IRLI (PD). Bobk. No. 4. L. 64 vol., XVII century); “Sed, Vlasiev’s brada, venerable vestments” (Ibid. Peretz. No. 524. L. 110 volumes, 30s of the 19th century); “...brada like Vlasiev...ini are written by the priest’s vestments” (Filimonov. Iconographic original. P. 43).
The foundations of the iconography of the saint were laid by the master Dionysius, who made the first image of M. to the south. facade of the Cathedral of the Nativity of St. Our Lady of Ferapont Monastery in 1502, long before its official. canonization. The painting, originally located outside, above M.’s burial place, after the construction of the c. in the name of M. ended up on her inner north. wall. The fresco is mentioned in the inventory of the 1st quarter. XVIII century, where it is reported that above the saint’s shrine there were images of the “Most Pure Mother of God of Pechersk”, as well as the Venerable Ferapont of Belozersky and M. (Malkin. 1985. pp. 177-178). The fresco depicts the archangels Michael, Gabriel and St. Nicholas the Wonderworker in prayer to the Most Holy. The Mother of God (not preserved), and on the sides of the throne of the Mother of God there are figures of kneeling M. (the face is lost) and others. Ferapont, and the location of M.’s figure coincides with the head of his burial. According to A. S. Preobrazhensky, this scene symbolically depicts the delivery of the inhabitants of the monastery in the person of its founders to the care of the Mother of God and reveals a close connection with one of the most developed Byzantine variants. funeral portrait (Preobrazhensky. 2005. P. 192). Despite the fragmentary preservation of the fresco, it can be understood that M. is represented with his head uncovered (the doll is thrown back over his shoulders), his hair is the color of golden ocher; most likely the monks were depicted without halos (He. 2010. p. 401). M.'s vestment is made in gray-green and ocher-yellow tones with translucent layers of paint. It is known that at the time of Dionysius’s arrival, in the monastery sacristy there was M.’s priestly clothing made of undyed linen (the cassock and phelonion have been preserved to this day, KBMZ), which could have influenced Dionysius’ choice of coloristic design for the saint’s clothes.
According to the inventory of the sacristy in 1673, M.’s vestments were stored in it: “... linen, the shoulder strap is azure, with dyed trim around the vestments” (KBMZ. OPI. RK 91. Sheet 27 vol.). In c. in the name of M., the shrine also had the saint’s staff “of birch, an iron coulter” (Inventory 1747; GAVO. F. 496. Inventory 1. D. 1663. L. 74 vol.). By 1860, M.’s casing and phelonion were transferred to the shrine and stored together with the staff, the latter being indicated in the inventory as made of walnut wood (NGOMZ. OPI. No. 10601. L. 27).
The second fresco image of the saint is the composition in the arch of the small span of St. gates of the Assumption Kirillov Belozersky Monastery. On her note. on the slope there is an image of M., executed in 1585 by the mon. Alexander with his students Emelyan and Nikita. The ascetic is presented full-length, blessing with his right hand, and holding a rolled scroll in his covered left hand. M.'s figure has elongated proportions; An expressive face with medium-sized features and a high forehead. These stylistic features indicate the master’s familiarity with the painting of Dionysius: the artist was clearly guided by the fresco in the Ferapont Monastery, including the color of the saint’s clothes.
M., together with the Venerables Kirill of Belozersky, Kirill of Novoezersky and Ferapont, is depicted in a sketch from an icon of the 16th century. “Belozersky Wonderworkers” (RGIA. F. 835. Op. 4. No. 96. L. 108; Markelov. Saints of Other Rus'. T. 1. P. 137). The saint is shown frontally with a rolled up scroll in his hands, his face has common features with the face of the saint standing next to him. Kirill Belozersky (high forehead, short hair, rounded beard).
The icon “Reverend Ferapont and Martinian of Belozersk” (XVII century, KBMZ) closed the local tier of the iconostasis of the Cathedral of the Nativity of the Virgin on the left, according to the inventory of 1747 (GAVO. F. 496. Inventory 1. No. 1663. L. 59 vol.- 60 ). The saints are represented in prayer to the image of the Mother of God with the Child Christ, sitting on a throne surrounded by angels. M. wears a brown mantle, an ocher cassock, a black-and-green schema with red crosses, and a doll rests on his shoulders. Graphic cutting of the folds of clothes with a small, fractional pattern is characteristic of the style of the 17th century. M. has a wide, thick beard and short hair. The personal painting was made in the Middle Ages. tradition: ocher-olive highlights run along the lining layer of red ocher. Strands of hair, beard, eyelids are touched with short thin lines of animation, black description emphasizes eyebrows, eyes and mustache. The composition of the icon goes back to the image above the burial of M., preserving the symmetry of its central part with the images of the Mother of God with the Child Christ on the throne in the “Pechersk” type, the archangels and the monks Ferapont and M. In the upper part, the names of the saints are written in large letters. Below, between the faces, it is signed in small cursive writing: “Belozersky miracle workers.”
Most of the images of M. that have survived to this day were in the c. in the name of M., built in Ferapontov Monastery in 1641. The earliest monastery inventory (1664) records that the iconostasis had “royal doors, a canopy and columns painted in gold”, on the right, 2nd in the row there was an icon “St. . Martinian in the Life" (GAVO. F. 883. Op. 1. No. 40. L. 16) - the first known hagiographic icon of the saint. In the inventory of 1747, this icon is mentioned in connection with its renovation: “The image of St. Martinian the Wonderworker in miracles has been renewed again...” (GAVO. F. 496. Op. 1. No. 450. L. 32-35). According to the monastery inventory of 1826, the hagiographic icon of M. remained in the same place, but later, in the middle. XIX century, apparently, was transferred to the iconostasis c. Annunciation and is mentioned as “Image in the Miracles of St. Martinian, on whom the crown and tsata are gilded silver” (GAVO. 1147. Op. 2. No. 1177. L. 6 vol.). Then in the center in the name of M., the icon “Reverends Cyril, Ferapont and Martinian of Belozersk and Cyril of Novoezersk” (GAVO. F. 1173. No. 80. L. 6-6 vol.) closed the row on the left side.
Most likely, the developed program for stamping the icon “St. Martinian in the Life" served as a source for the hagiographic cycle of M. on the icon "Reverend Ferapont and Martinian in the Life", written by Mon. Theodosius in 1732 (KBMZ). According to the monastery inventory of 1747, the icon was located to the right of the royal doors, it was 4th from the middle (GAVO. F. 496. Op. 1. No. 1663. L. 59 vol.). After a partial reconstruction of the iconostasis in 1751, this image, together with the mentioned 17th century icon. “Reverends Ferapont and Martinian of Belozersky” were placed at the edges of the local rank (Inventory of 1751; RNB. F. IV. 752. L. 6 vol. - 7 vol.). On the hagiographic icon, the figure of M. in the middle looks larger and slightly stooped compared to the figure of the saint. Ferapont; The expressiveness of the appearance is given by the thick beard and eyebrows fused at the bridge of the nose, the face is painted traditionally: ocher on olive-green sankir, there is a bright blush on the cheeks, the hair and beard of the ascetic are touched with pale blue strokes. M. wears a dark brown mantle with black lines dividing the folds, a green paraman with red crosses, and a cockle folded over his shoulders. A special feature of the icon is the three-fingered gesture of M.’s right hand, addressed to the Most Holy One. Mother of God (in the “Tikhvin” version, which is associated with the special patronage of the icon for the North Russian lands). The reading of the marks begins in the center of the upper register. The hallmarks of the icon represent historical figures of that time: St. Kirill Belozersky, leader. book Vasily II against the backdrop of the architecture of the red and green chambers; In the painting, silver is actively used with folds cut out in black, graphic lines; the colors are yellow, ocher, olive green and gold. The icon painter works in open color, without the goal of obtaining gradations of shades, and only introduces white transitions from line to base color for tonal diversity, but they also work as a graphic device. The inscriptions of the stamps (22 in total) of M.’s hagiographic cycle are made on the edge of the forest in white: “And the relatives of the holy youth Michael brought to the Monk Cyril and prayed for him to receive him into the monastery. He accepted it"; “Reverend Kirill teaches the youth of St. Michael to read and write”; “Reverend Cyril tonsured the holy youth Michael and called his name Martinian”; “Ordaining the Monk Martinian as a deacon”; “The Monk Martinian came to the island of Vozhe Ezero and loved the place and set up that cell. Then gather the brethren together and establish a monastery”; “The Monk Martinian came to the Ferapontov monastery and the abbot received him with joy and blessed him”; “Establishment of the Monk Martinian as abbot”; “The Monk Martinian came as abbot to the Ferapontov monastery and blessed and taught their brethren with satisfaction”; “When Grand Duke Vasily the Dark came from Vologda to the Ferapontov Monastery, hegumen Martinian met him with a cross outside the monastery with great honor”; “Reverend Martinian, announce your departure to God and call all the brethren and bless them and instruct them sufficiently”; "The Repose of Our Reverend Father Martinian." In the hallmarks of the life cycle, the image of M. acquires the features of his teacher - St. Kirill Belozersky: squat figure, large head, rounded beard (compare with the icon of St. Kirill Belozersky, 1424-1448, Tretyakov Gallery). The model for the composition of the centerpiece was the 17th century icon that had appeared earlier in the iconostasis of the cathedral. (general coloring of clothes, hand gestures, similarity in the graphic design of the scrolls (with their different shapes), as well as identity in the location of the inscriptions and their scale). The prototype for the general composition in terms of the number of marks, the location of the image of the Mother of God “Hodegetria,” and the portrait resemblance of the monks could be a Pskov icon of the 17th century. (or similar to it) “Saints Euphrosynus of Pskov, John the Theologian, Savva of Serbia, Savva of Krypetsky, with the life of Savva of Krypetsky” (Silina. 2013. P. 30).
Possibly a small icon of the Venerable Ferapont and Martinian, 1st quarter. XVIII century (KBMZ) was also written by mon. Theodosius and was located in the patrimonial church. Robe placement (Borodava village near Ferapontov Monastery). M. has a rounded beard with graying, slightly curly hair, and is wearing a dark brown robe and an ocher cassock. M. with his left hand points to the image of the Mother of God “The Sign” in the upper part of the icon, and with his right hand he points to the desert area in front of it. Features of the icon are the representation of the folds of the cassock, which contradict the form (they do not follow the shape of the hips, but seem to meet them), and the background against which the ascetics are represented (the arched horizon of brown soil is emphasized by a white line, and the greenish “sky”, lightened with white, is darkened towards bottom edge).
The image of M. is included in the compositions of the upcoming and falling chosen saints. Thus, on the icon “The Mother of God with Those Present” (late 17th - 1st half of the 18th century, KBMZ) M. is depicted waist-deep in the right group, in the 2nd top row. His face is easily recognizable: a high forehead and slightly curly hair, touched with gray. On the icon “The Cathedral of Belozersky Wonderworkers” (beginning of the 18th century, Central Museum of Art and Culture), M. is represented at the top of the group of saints, on the right side, next to him are the Venerables Cyril and Ferapont of Belozersky, as well as Nil Sorsky. With his right hand M. gives a name-giving blessing, with his left he points to the Most Holy One. Mother of God. The face is painted with ocher-white highlights with a blush over olive sankir. On the icon “The All-Merciful Savior, with those approaching and falling” (2nd half of the 18th century, VGIAHMZ) M., depicted in a slight turn to the left, is located between the martyr. Demetrius of Thessaloniki and St. Peter of Afonsky.
In the drawing from the icon “Russian Saints” of 1814, M. is depicted from the chest, turned to the right, between the Venerable Philip and Ferapont of Belozersky (see: Markelov. Saints of Other Rus'. T. 1. P. 453). M. has curly hair and a rounded beard of medium length. On the icon-frame, originating from c. Annunciation in Vologda (XVIII century, VGIAHMZ) and intended for a small image of rights. Artemy Verkolsky, there is a life-size image of M. and St. Ferapont. The depositor was probably related to the Ferapontov Belozersky monastery, since in addition to the founders, in the upper part of the board there is a scene “The Nativity of St. Mother of God." Painting M.'s face represents that stylistic option when the technology of personal writing is simplified to a minimum of colorful layers and the contrasts of numerous animations and shadows deprive the image of integrity, making it decorative and fractional. The saint wears a dark brown mantle, a cassock with olive-ocher-colored folds, a golden-colored schema with floral patterns, and a doll. Between the figures of saints there is a scene of death and the discovery of the relics of rights. Artemy Verkolsky. On the right field of the icon of the Mother of God “Hodegetria” (XVIII century, VGIAHMZ) M. is depicted tall, stooped, with a round beard and short hair, in prayer to the Most Holy One. Mother of God.
On the icon “Reverends Ferapont and Martinian with a view of the Ferapont Monastery” (the turn of the 18th and 19th centuries, KBMZ) the saints are represented flanking the image of their monastery. The architecture of the monastery records stone and wooden buildings that have not survived to this day, surrounded by a log fortress wall with towers, along the south. on the sides of the wall there are fraternal cells; to the shore of Borodavskoye Lake. a light sailing ship with passengers on board docks, as if recalling the time when, having crossed the lake, one could enter the river. Borodava, and from it to the river. Sheksna and further into the river. Volga; on the river flowing under the monastery walls. Pasquet - bridge and mill (the image from the icon was first published in the book: Brilliantov. 1994. P. 248). The squat figure of M. is diligently depicted, the face is made in compliance with portrait iconography and has ocher highlights on the olive sankir and thin, fractional lines of animation. The saint holds a rosary in his hands. At the top of the icon, in the cloud segment, is the image of the Mother of God “of the Sign”. The gray-blue background of the icon and the picturesque, with a weakening tone towards the horizon, clouds with pinkish reflections of the sunset are intended to create a feeling of real space, which is characteristic of the icon painting of this period. In the north of Rus', the formation of the iconography of the paired image of the founding fathers of the monastery, standing on either side of the monastery, was associated with numerous images of the Monks Zosima and Savvaty.
An important iconographic source for the artists working in the monastery was the image of M. on the lid of his shrine: full-length, erect, in monastic vestments, with a scroll in his hand (KBMZ). The original image of the time of canonization (mid-16th century) has not been preserved. Probably in the 18th century. the icon was completely rewritten, and in the 19th century. updated twice, as reported by the Book of Cash Expenses dated January 31. 1825: “...for painting the banner, for repairing the iconostasis of the images in front of the tomb of the Venerable Martinian and on it itself, for correcting a large icon in the name of his Venerable... the city of Kirillov, the tradesman Ivan Vasiliev received...” (Book of expenditure of monetary sums of the Ferapontov Monastery , 1823-1835 // GAVO. F. 1147. Op. 2. D. 473). In 1863, the Belozersk painter A. Akinin, fulfilling a large order in the monastery, again renewed the icon: “... and again, as a deposit for a servile amendment, 10 rubles. silver" (Book of records of expenses of the Ferapontov Monastery, 1851-1878 // GAVO. F. 1173. No. 118. L. 41). On the icon, M.’s face was renewed with oil paints in an academic manner, with light and shadow modeling of the form. M. faces to the left, his curly hair and gray rounded beard are worked out with thin light gray strokes, probably dating back to earlier tempera painting of the 18th century. The face is somewhat large in relation to the halo. Perhaps this is due to the fact that it was originally smaller in size and the figure in an ocher-brown cassock tied with a black belt had elongated proportions. The proportions of the figure of the saint, the silhouette simplicity and generality, the coloristic laconicism of the image of M. on the lid of the shrine are stylistically closest to embroidered covers. In M.’s left hand there is a scroll with the text: “Preserve the traditions and order of this monastery and nothing from the order of the world and from the charter as you have seen from us and do God’s same,” which is a modified fragment from the Life of the Venerable (Life of Martinian of Belozersky. St. Petersburg. , 1994. P. 278). In particular, the hagiographic text “from the monastic rank and regulations” is interpreted on M.’s scroll as “from the secular rank and regulations,” which distorted the original meaning. In 1859, a silver-plated metal chasuble (KBMZ) was made for the icon, as evidenced by the entry in the expenditure book for November. 1859: “For the vestments made for the icon of St. Martinian, 75 rubles were paid. Received by Vyaznikovsky tradesman Ivan Ivanov Pypin” (GAVO. F. 1173. No. 118). The image on the robe repeats the icon image, but the text in the scroll has been changed to another, representing a version of the tradition. the appeal of the founder of the monastery to the brethren (“do not grieve, my brethren, and do not lose heart if my deeds are pleasing”). In 1838, for the local row of the iconostasis c. In the name of M., his temple image was painted in oil paints. It is known that in 1836-1838. c. in the name of M. was “renewed, namely: instead of the dilapidated iconostasis, a new one was built and all the icons in it were new and picturesque” (Historical-statistical description of the abolished Ferapontov Monastery of the Nativity of the Virgin, located in the Kirillovsky district of the Novgorod bishopric, archimandrite ., 1856-1860 // NGOMZ. OPI. No. 10601. L. 17 vol.). Since Sept. 1837, the iconostasis contractor, Vologda guild tradesman Nikolai Milavin received a deposit, and then the rest of the sums (Book of expenditures of funds of the Ferapontov Monastery, 1836-1850 // GAVO. F. 1147. Op. 2. D. 765). Probably, the new image of M. (like other icons) was ordered by a contractor to a Vologda painter. On the icon, the saint is represented standing half-turned in prayer to the Lord Almighty, depicted in the upper right corner. The idealized image of M. bears the features of secular romantic painting with subtle echoes of the late provincial baroque. His hair, which goes down to his shoulders, is parted, instead of a schema there is an epitrachelion, in his hands there is a rosary and a scroll. The text on the scroll (“preserve the traditions and order of this monastery and nothing from the order of the world and the charter, as you see from us and do the same from God”) was probably taken from the icon on the shrine. The painting is subtle in execution, the coloring is based on warm ocher-brown colors.
The composition of the icon formed the basis for painting in the West. wall c. in the name of M., located in close proximity to the burial of the saint, made using the technique of oil painting. Akinin. It is known that in the period from May 1855 to June 1856 he worked in the monastery, painting c. in the name of M. and the refectory. Afterwards the painting was renewed twice, and the first time the work was carried out by Akinin himself (Sarabyanov. 1988. Issue 2. P. 87). The painting depicts the Monks Ferapont and M. on a high hill, on the opposite bank of the river. Paski, against the backdrop of the monastery they founded with the buildings that existed at that time: with the 4-pitched roofs of the cathedral and c. Annunciation, extensions at the Holy Gate and the Treasury Chamber. The artist rendered the landscape close to the traditions of realistic painting: a blue sky lightened towards the horizon, a variety of shades of green in the interpretation of the hills and river bed. In the foreground are the Monks Ferapont and M. in prayer to the unpreserved image. In the vestments of the saints, instead of the schema, there is an epitrachelion. M.'s image in the murals is identical to his image on the temple icon. Based on the description of the interior decoration of the c. in the name of M.: “At the entrance, the holy saints are depicted in full height on the sides. On the right is the Venerable Martinian, on the left is the Venerable Ferapont, at the top is the Lord Pantocrator...” (Historical-statistical description of the Nativity of the Virgin Mary of the abolished Ferapont Monastery // NGOMZ. OPI. No. 10601. L. 17 vol. - 19 vol.), you can suggest that Akinin depicted Christ Pantocrator in the upper (lost) part of the composition.
On the walls of the refectory and c. in the name of M. in the 19th century. there was a hagiographical cycle of the founders of the monastery, the iconographic source of which was the stamps of the monastery icon. Feodosia 1732 (to this day, only scenes from the Life of St. Ferapont have been partially preserved). M.'s life was presented in 5 large and 5 small images. The fresco of Dionysius was recorded with the composition “Burial of St. Martiniana" (Inventory 1860; NGOMZ. OPI. No. 10601. L. 19 vol.).
Archival sources indicate a fairly developed iconography of the saint, but in most cases the monuments have not survived. So, at different times in c. in the name of M. there were: an inset image “a puppet in the wings, the miracle workers Ferapont and Martinian are written on the image, a silver basmy frame, carved crowns, everything is gilded, and on the wings at the head of the Fatherland, and on the sides there are images of saints” (Inventory 1692; GAVO. F. 883. Op. 1. D. 78. L. 33-33 vol.); in the altar there is an external altarpiece of the Vladimir Icon of the Mother of God, on the reverse - Ferapont, M. and the Mother of God “The Sign in the Clouds” (Inventory 1747; GAVO. F. 496. Inventory 1. D. 1663. L. 75); in the iconostasis “on one side... painted in paint” are images of “the Venerable Kirill of Belozersky, at the head is the image of the Lord of Hosts, and the Venerable Ferapont, at the head is the image of the Most Holy Theotokos of the Sign, and the Venerable Martinian, at the head is the image of the Savior Not Made by Hands” (Inventory 1767; RNB. F. 209. No. 501. L. 21 vol.). In the same church above the burial of the former. archbishop Joasaph (Obolensky) (M.’s student) “painted on paints without frame” the image of the monks “Cyril, Ferapont, Martinian of Belozersky and Kirill of Novoyezersk” (Ibid. L. 8); according to the inventory of 1775, near the sexton doors there was an icon “Cyril, Ferapont and Martinian of the Beloezersk miracle workers” (RNB. F. IV. 753. L. 30 vol.).
There were also images of M. in other monastery churches. So, in c. Annunciation of the Most Holy The earliest icon of the Mother of God “Saints Cyril, Ferapont, Martinian of Belozersky and Nicholas the Wonderworker in prayer” dated back to the 1st half. XVI century, (Sarabyanov. 1991. Issue 3. P. 56). In the same temple there was an icon of St. Ferapont and M., and in the refectory chamber adjacent to the church at the abbot’s table there is an icon “Nativity of the Virgin Mary, Holy Trinity, Saints Nicholas the Wonderworker, Ferapont and Martinian, Demetrius of Thessaloniki” on one board (Inventory 1673; KBMZ. OPI. RK 91. L. 23-23 vol.).
According to the inventory of 1693 (GAVO. F. 883. No. 78. L. 27-27 vol.), in the same iconostasis there was a new image “The Savior with the Falling Saints Ferapont and Martinian”, executed, probably, in a manner characteristic of the 17th century . iconographic version. In the beginning. XVIII century after renovations and restructuring, the icon “Belozersky Wonderworkers and St. Nicholas the Wonderworker" (GAVO. F. 496. Op. 1, No. 450. L. 33-40). A similar icon (or the same one, but updated) “St. Nicholas the Wonderworker, Saints Ferapont and Martinian of Belozersk" (KBMZ) appears in the 50s. XIX century, closing the local row on the right side (NGOMZ. OPI. No. 10601. L. 16-17). The monks are depicted with their hands folded on their chests - the right one over the left; M. in an ocher-brown cassock and stole. The style of the icon (interpretation of figures, proportions of faces and personal painting) indicates the work of the artist. Akinina.
In the Cathedral of the Nativity of St. The Mother of God was also present several times. unpreserved icons with images of the saint. Probably the images of St. Our Lady of the Sign, which thematically correlated with the paintings of Dionysius, where medallions with images of Our Lady of the Sign and Incarnation were placed along the central axis of the cathedral. Thus, in the inventory of 1747, opposite the left choir, “an image of the Most Holy Theotokos of the Sign with a crown is recorded, in prayer Ferapont and Martinian with silver crowns.” A similar icon was also in the altar. Another monument was mentioned as “Image of the Sign of the Most Holy Theotokos in the Clouds”, St. Ambrose of Milan, Saints Ferapont and M. There, in the altar (or above the royal doors), there was a fold of 2 copper-lined doors. On the 1st - “Presented the Queen”, on the 2nd - “Nicholas the Wonderworker, Peter, Alexy, Jonah and Philip of Moscow, Venerable Ferapont and Martinian.” In addition, in the cathedral there was an icon “Alexius the Man of God, Ferapont and Martinian” (Inventory 1747; GAVO. F. 496. Inventory 1. D. 1663. L. 5-68). A large framed image of the saints (oil on canvas) hung in the abbot’s cell (Ibid. L. 52).
In the gateway Epiphany Church, to the left of the royal doors, there was an icon with a life-size depiction of M. (KBMZ). This image is mentioned in the “Gazette of the Ferapontov Monastery” of 1798 (GAVO. F. 1173. No. 79: Gazette of the Ferapontov Monastery, 1798, sheet 10-10 vol.). Later, in 1863, the image was renewed, or most likely painted anew in oil. Akinin, who carried out work on painting the interior of the church (GAVO. F. 1173. No. 118. L. 36 vol. - 42). On the icon the saint is presented in an ocher-orange cassock, a black-brown mantle and a scarlet stole. In M.’s right hand there is a rosary, in his left there is an unfolded scroll with a text that begins traditionally: “Do not grieve, my brethren...” The face is painted in an academic style, characteristic of the artist. Akinin’s style: white-ocher highlights are placed along the lining layer, with stretching to the edges. An inventory of eyebrows, eyes, lips is made with a dark brown line; the nose, forehead and gray hair in the beard are touched with animation.
Of particular importance in the development of M.’s iconography is the inclusion of his image in the Deesis ranks (the monuments have not been preserved). So, in the inventory of 1747 in the Deesis rank c. Annunciation steam room to the image of St. Cyril of Novoezersk is an icon of M. Nearby, in the refectory chamber, above the abbot’s place, there was also a Deesis, mentioned in the inventory as old (the icons of St. Ferapont and M. were followed by images of the apostles Peter and Paul). In the same inventory it is noted that in c. The Epiphany above the royal doors were “The Image of the Savior Almighty, on the sides are the images of the Most Holy Theotokos, John the Baptist, the Archangels Michael and Gabriel, the Apostles Peter and Paul, Saints Gregory the Theologian, John Chrysostom, the Venerables Ferapont and Martinian” (GAVO. F. 496. Op. 1. D. 1663. L. 78-81). In the decoration of the abbot's cells, according to the inventory of 1775, there are 2 Deesis on solid boards. In the 1st, the images of the apostles were followed by the icons of the apostles. John the Evangelist, St. Nicholas the Wonderworker, Saints Ferapont and M., Kirill of Belozersky, Zosima and Savvaty of Solovetsky and “other saints”; 2nd “Deesis with those falling” “...on one tske, on it are the holy images of the Lord Pantocrator, seated on the throne, the Mother of God and the Forerunner, at the foot of the Venerable Ferapont and Martinian of Beloezero miracle workers.” (RNB. F. IV. 753. L. 7 vol.). In the treasury cells in the icon case there was also a Deesis on one board, where after the archangels Michael and Gabriel the monks Kirill of Belozersky and Kirill of Novoyezersky were presented, followed by Ferapont and M., in addition, there were “two persons” of the “other saints” (Ibid. L. 8).
As an exception, the image of M. is placed in the January Menaion cycle of the icon of the annual Menaion from the Ferapontov Monastery (19th century, KBMZ). Traditionally on January 11-12. St. Petersburg is represented on the menaine icons. Theodosius the Great, VMC. Tatiana and between them St. Mikhail Klopsky. However, on the monastery icon with the signature “Michael” instead of St. Mikhail Klopsky depicts M. in his typical iconographic version: facing the left side, stooped, with a large uncovered head, short hair and a beard “like Cyril’s”. M. - in an ocher cassock and dark robe - points with his left hand to the St. Theodosius the Great, who is a spiritual guide for all monastics. It is noteworthy that the name “Mikhail” does not contradict the image of the saint, being the worldly name of M.
Among the works of decorative and applied art depicting M., only a composition embroidered with pearls, gold and silver threads on a velvet phelonion has survived, representing the founders of the Ferapontov Monastery against the backdrop of the monastery in prayer to the image of the Mother of God in a cloud segment, overshadowing the Ferapontov Monastery with rays (2 1st half, 19th century KBMZ). At the top of the image there are inscriptions embroidered in silver: “Grant peace to your monastery,” as well as “Rev. Ferapo., Rev. Martin". M. is presented with his arms folded on his chest and his head slightly bowed. The face and hands are pictorial inserts. The figure of M. is similar to the image discussed above from the iconostasis c. Annunciation. The iconographic source for the composition on the phelonion probably became widespread back in the 18th century. engravings with images of the founding fathers and their abodes, overshadowed by the Glory of the Mother of God, Christ or the Holy Trinity. According to the inventory of 1747, in the sacristy of the Ferapontov Monastery there was kept “a dyed cover, on it the image of the Venerable Martinian was painted in oil” (lost) (GAVO. F. 496. Op. 1. D. 1663. L. 103).
For c. Annunciation, the icon “Holy Monks Ferapont and Martinian” was created (last quarter of the 19th - early 20th century, KBMZ), which stood in a separate icon case in front of the iconostasis. The saints are depicted frontally; M. wears a cassock, mantle, schema, head is not covered (the doll lies on the shoulders). A specific feature of the painting is the manner of applying gold spaces “in the pen”. M. has long, parted hair and a pointed beard of medium length. In his left hand he holds a rolled scroll. The painting of the face was done in the Middle Ages. manner: highlights are laid step by step along the lining layer. The face has a brownishness characteristic of this technology and short revivals of dynamic strokes of a thin brush. The subtle manner of painting and the decor of the edge of the icon, as well as the background imitating an expensive enamel frame, indicate that the image belonged to an icon-painting workshop in one of the villages of the Vladimir province.
To last Thursday XIX - early XX century refers to the handout icon “Reverends Ferapont and Martinian” (KBMZ), which is a chromolithograph glued to a board and varnished, made in an academic manner. The saints are depicted against the backdrop of the monastery. M. has a beard of medium length, slightly pointed, short hair, and with his right hand he points to St. Ferapont. In 1904, for the opening of Ferapontov's wife. The monastery released a chromolithograph depicting the founders of the monastery in prayer to the Lord Almighty in the upper part of the composition. M. is represented as an old man with a long “Vlasius (schmch. Blasius of Sebastia. - Author)” beard and gray hair flowing down to his shoulders. At the bottom of the sheet is the output: “Spirit. qualification com. oven call Moscow. 16 Sep. 1904 Census. prot. Peter and Paul" (private collection).
In descriptions of the Ferapontov Monastery in archival sources, icons with images of the founders are necessarily noted at the entrances (and exits) to the monastery itself, to its temples, cells and even stables. In this case, the saints act as gatekeepers - guardians of the buildings of their monastery. So, in c. in the name of M. above the church doors “to the east side (outside - Author), in the icon case, the image of the venerable miracle workers Ferapont and Martinian, in the cloud the Incarnation of the Son of God, on the green, behind the mica” (Inventory 1673; KBMZ. OPI . RK 91. L. 21 vol.). Near the entrance to the church, from the porch on the sides, full-length images were depicted: “...on the right is the Venerable Martinian, on the left is the Venerable Ferapont, at the top is the Lord Almighty...” (NGOMZ. OPI. No. 10601. L. 17 vol.-19 vol.). At the entrance to the gateway. Epiphany (with the chapel of St. Ferapont), on the porch, hung the icon “Reverends Cyril and Martinian of Belozersk, Cyril of Novoezersk” (Ibid. L. 79). In the Cathedral of the Nativity of St. In the inventory of 1775, the Virgin Mary is also recorded on the porch “two large images” on canvas - the Lord Pantocrator and St. Ferapont with M. (RNB. F. IV. 753. L. 24). Nearby, in the transition from the cathedral church to the Refectory Chamber, there was a “very dilapidated” icon with images of the Belozersky monks Ferapont, M., Cyril and Sergius of Radonezh, blessed by the Lord Almighty “in the cloud” (Ibid. L. 28).
Small icons of the founders were placed above the entrance doors to the monastery cells. Thus, the image of the saints “on the small tske” hung above the entrance to the treasury cell (Ibid. L. 8). In the large span of St. gate there was an icon in the shape of a semicircle, with images of the Image of the Savior Not Made by Hands, the Nativity, the Annunciation and the Dormition of the Most Holy. Mother of God; on the sides of the holidays there are figures of St. Feraponta and M.; below in the corners are scenes from parables about the exodus of the soul from the bodies of the righteous and the sinner (Inventory 1673; KBMZ. OPI. RK 91. L. 26 vol.). According to the inventory of 1636, “on the stable gates there are three large icons: the image of the Savior Not Made by Hands, and the image of the Passion-Bearers of Christ Florus and Laurus, and the image of the Most Holy Theotokos Hodegetria, and on the field of the venerable Father Ferapont and Martinian” (RGB. OR. F. 17 No. 1228. L. 19). An icon of the founding fathers was also placed above the water monastery gate, located behind the refectory chamber (Inventory of 1767; RNB. F. 209. No. 501. L. 53 vol.). In addition, a small icon image of “the Venerable Ferapont and Martinian of Beloezero miracle workers, painted in paint” was located above the passage doors to the monastery carriage house and the adjacent stable (Inventory of 1775; RNB. F. IV. 753. L. 13 vol.- 14).
Two icons depicting M. are written by mon. Vera (Sokolova) in the end. XX century On the icon “St. Martinian Belozersky" from the parish church. St. Nila Sorsky s. Ferapontov’s saint is depicted waist-deep, blessing with his right hand, holding a rolled scroll in his left, M. is wearing a brown mantle, a golden-ocher cassock and a dark green schema with red crosses; graying hair, a high forehead and a wide, round beard. The technology and style of personal painting, the linearity of folds and color reveal the artist’s appeal to examples of painting by masters of the Moscow school and the heritage of monastery icon-painting workshops of the 17th century. On the lectern icon “Reverends Ferapont and Martinian of Belozersky, with a view of the monastery” (in some details the icon of the late 18th - early 19th centuries is repeated) M. is represented with a pointed beard, his right hand is folded in a nominal blessing, his left is turned to the image of the Most Holy . The Virgin Mary “Hodegetria” in the upper part of the composition (the prototype is the icon of Dionysius from the iconostasis of the cathedral in honor of the Nativity of the Blessed Virgin Mary); The saint wears a golden-olive cassock and a brown mantle.
Arch.: RGIA. F. 835. Op. 4. No. 96. L. 108; GAVO. F. 496. Op.1. No. 166. L. 359 volume - 60; No. 450. L. 32-40; F. 883. No. 78. L. 23 vol., 27-27 vol.; F. 1147. Op 2. No. 1177. L. 6 vol.; F. 1173. No. 79. L. 10-10 volume; No. 80. L. 6-6 volumes; No. 118. L. 36 volume - 42; RNB. F. IV. 752. L. 5 volume - 8 volume; NGOMZ. OPI. No. 10601: Op. 1860 L. 16-17.
Lit.: Malkin M. G. Certain elements of the external painting of the Nativity Cathedral of the Ferapontov Monastery and their connection with the interior // Ferapontovsky collection. M., 1985. Issue. 1. pp. 174-186; Sarabyanov V.D. History of architecture. and artist monuments of the Ferapontov Monastery // Ibid. 1988. Vol. 2. P. 9-88; 1991. Issue. 3. P. 37-118; Diamonds I.I. Ferapontov Belozersky, now abolished monastery, place of imprisonment of Patras. Nikon. M., 1994p. P. 248; Markelov. Saints Dr. Rus'. T. 2. P. 165; Preobrazhensky A. S. Iconography of the tombstone composition in the south. facade of the Cathedral of the Nativity of the Virgin Mary of the Ferapont Monastery // Old Russian. and post-Byzantine. art: 2nd half. XV - beginning XVI century M., 2005. P. 190-204; aka. Ktitor portraits of the Middle Ages. Rus' XI - beginning. XVI century M., 2010. P. 401-402; Silina O. V. Iconography of St. Martinian on the monuments of the beginning. XVI - con. XX century // Russian saints: Cat. Ferapontovo, 2013. P. 30.
O. V. Silina
Canons to the Holy Venerable Martinian of Beloezersk
Brief life of St. Martinian of Beloezersk
The Monk Martinian of Belozersky, in the world Michael, was born around 1397 in the village of Berezniki, not far from the Kirillov Monastery.
At the age of thirteen, he left his parents and secretly came to the Monk Kirill of Belozersky (June 9), about whom he was told a lot as a great ascetic. Young Martinian began to zealously imitate his teacher, to whom he remained in perfect obedience. At the monastery he learned to read and write and, with the blessing of the monk, he began copying books. Over time, Martinian was ordained a hierodeacon, and then a hieromonk. After the death of St. Cyril († 1427), Blessed Martinian retired to a deserted island located on Lake Vozhe for silence. Gradually several monks gathered around him. The Monk Martinian built the Church of the Transfiguration of the Lord for them and introduced a communal charter. Yielding to the persistent requests of the brethren of the Ferapontov Monastery, he agreed to become the abbot of this monastery and brought it to a flourishing state. The Monk Martinian provided spiritual support to Grand Duke Vasily Vasilyevich the Dark during a difficult time for him, when his cousin Dimitri Shemyaka unjustly laid claim to the Moscow throne. He has always been a champion of truth and justice. Later, at the insistence of the Grand Duke, the monk took over the management of the monastery of St. Sergius of Radonezh.
In 1455, the Monk Martinian returned to the Ferapontov Monastery. In the last years of his life, he was seriously ill, could not walk, and the brethren carried him to church. The monk died at the age of 85. His relics were found in 1513; the discovery is commemorated on October 7.
Complete life of St. Martinian of Beloezersk
The Monk Martinian was born around 1397 in the village of Berezniki and was named Michael in Holy Baptism. He received his initial education in his pious family; When he reached adolescence and began to show an inclination towards learning, prudent parents began to think about his education. Not knowing who to send their son to learn to read and write, they brought him to the monastery of St. Cyril, 30 miles from their village. This was around 1410, when Mikhail was not yet 14 years old. Seeing the venerable elder, the pious youth fell at his feet and relentlessly begged him: “Take me to you, sir!”
Touched by the child’s prayers, the ascetic accepted him with joy and fatherly love. At that time, near the Kirillov monastery lived the clerk Alexy Pavlov, who was known in the area for his skill in teaching literacy. The monk called him to him and said: “Friend, fulfill for me the commandment of God’s love: teach the boy you see to read and write, and keep him, like the apple of your eye, in all purity.”
The clerk took the boy with him and diligently carried out the order of the monk. Mikhail soon learned to read and write and, after completing his book studies, was again brought to the Monk Cyril. Then the ascetic, having tested the young man and seeing his spiritual purity and gentleness, tonsured him as a monk with the name Martinian. Moreover, seeing the zeal of the newly tonsured man and wanting to give him the best preparation for monastic life, the holy elder made him his closest disciple and ordered him to live in his cell.
Under the guidance of the great ascetic and mentor of monks, the Monk Martinian entered into the exploits of monasticism. Before his eyes was a living example of monastic virtues. And what an example! Living in the same cell with the Monk Cyril, Martinian saw that neither natural weakness nor illness could weaken the exploits of the holy elder, and he diligently imitated his teacher. Striving for abstinence, he considered fasting a pleasure and tried in every possible way to exhaust his flesh. Young forces are uncontrollably eager for exploits, and the jealousy of the young monk reaches the point that he asks the elder to establish a stricter fast for him than that to which the meager monastic meal forced the brethren; but the experienced elder did not allow him to do this and ordered him to eat bread with the brethren, but not to the point of satiety. Whether it was day or night, when the Monk Cyril stood at the usual rule, and Martinian also bowed. He was the first to appear in the temple for the morning praise and after everyone left it. When the young ascetic was attacked by confusion from thoughts or despondency, that is, zeal for his exploits weakened, he opened his soul to the holy elder and received relief.
In his free time from prayer, Martinian did not remain idle: he fulfilled the obedience assigned to him by the Monk Cyril - reading and copying books. The monastery houses a canon, written by the hand of the Monk Martinian in 1423 “with the blessing of the lord, elder Kirill, hegumen, for the glory of the Holy Trinity,” as stated in the afterword. From his further words one can see the feelings of reverence and deep humility with which the ascetic was imbued.
St. Cyril rejoiced at the success of his student and, thanking God, said to the brethren: “This will be a skillful monk.”
After some time, the monk gives Martinian a new and, moreover, more difficult obedience - he sends him to serve in a bakery and cookhouse. Here the young monk humbly performed difficult work: carried water, chopped wood and brought bread to the brethren, asking everyone for prayers and blessings. With a blessing and in strict silence, he left the cell and also returned to it with obedience to his superior.
It became clear that the young monk had finally become firmly established in the rules of monasticism. Therefore, the Monk Cyril allowed him to live in a special cell, although even after that he did not cease to monitor the spiritual life of his student. So, having once seen that Martinian from the church entered the cell of one brother, Saint Cyril asked him: “Why are you violating the rules of the monastery?” “I doubt that, having entered my cell, I would want to leave it, but I needed to be in my brother’s cell,” answered Martinian. Then the holy abbot remarked to him: “Go first to your cell to say the prescribed prayer there, and your cell will teach you everything.”
Saint Martinian gratefully accepted such instructions from the elder and was guided by them in his life.
Seeing his zeal, Saint Cyril made him a cleric, and a short time later Saint Martinian was ordained a hierodeacon, then a hieromonk.
Honored with holy orders, the Monk Martinian reverently performed the Divine Service, guided by the example of his mentor. With his labors and humility, as well as his closeness to Saint Cyril, the Monk Martinian soon won the love and respect of the brethren. “Blessed is this brother,” they said, “who was worthy to be a disciple of such an ascetic,” and they prayed to God for him.
But among the monks there were also those who envied him and condemned him. Blessed Martinian patiently endured all this, not paying attention to the insults. He treated friends and enemies equally: he gave equal obedience to everyone, and if he was approached, he always responded respectfully and with love, defeating his ill-wishers with love and humility.
But the death of Blessed Cyril approached. On June 9, 1427, he peacefully departed to the Lord. With tears, the Monk Martinian escorted the remains of the Monk Cyril to the burial place, thanking God for being worthy of the instructions of the holy elder. And throughout his subsequent life, he constantly remembered his teacher in prayers, and kept his good example in his heart, as if written on a charter.
Much time has passed since Martinian was tonsured a monk. Seeking higher feats for himself, the monk now wished to remain silent. To do this, after praying to God and bowing to the tomb of St. Cyril, he retired to a deserted wooded island of Lake Vozhe, 120 miles from the monastery, and began a desert life there.
But the monk did not have to be in solitude for long. They heard about the place of his exploits and his companions began to flock to him. One thought animated those gathered - how to erect a church on the site of their desert exploits. Everyone asked the Monk Martinian about this, and through their common efforts they created a church in honor of the Transfiguration of the Lord. The monk consecrated it and provided it with everything necessary, and in the resulting monastery he introduced the order of community life.
One day the Monk Martinian went to pray at the Ferapontov Monastery. The abbot and brethren of the monastery, who were close to him, asked him to stay with them forever, but the monk said: “If the Lord God wills and the Most Pure Mother of God does not reject him, then in the future I am ready to settle with you.”
Now, knowing that the time had not yet come, he returned to his desert, where he lived in labor and exploits for about ten years. During this time, his hermitage grew and his brethren multiplied; The monk became convinced that he could leave the monastery he had created with a clear conscience. Then he leaves his monastery and gives the commandment to his disciples to take special care of the church he has built. Having prayed, he again went to the Ferapontov Monastery, where he was received with great honor and joy by the abbot and the brethren.
In the Ferapontov Monastery, the Monk Martinian began to asceticize with his usual zeal. Thanks to his humility and reverence, as well as his knowledge of the rules of monastic life, he soon became a model for everyone and earned the respect of all the brethren, who saw him as their mentor. At this time, the abbot of the Ferapontov Monastery left his place, and the monks should have chosen a new abbot. Naturally, the choice fell on the Monk Martinian, who began to be asked to accept the abbess. But, citing his unworthiness, the monk humbly refused the honor offered to him. Having gathered again, the brethren again begged the Monk Martinian, and he submitted to their pleas. Then the brethren, together with the monk, went to beat the prince-brothers John and Mikhail Andreevich, on whose estate the monastery was located, asking the princes to approve the abbot they had chosen. Knowing the Monk Martinian well and loving him, the princes approved the newly elected abbot and, having given him gifts, released him to the monastery. This happened around 1435.
Now a new intensified activity of the Monk Martinian began. Concerns about the feats of personal self-improvement were supplemented by concerns about the monastery entrusted to him. The monk tirelessly took care of the improvement of the Ferapont monastery and took the charter and customs of the monastery of St. Kirill of Belozersky as a model. He tried to introduce order not only in the church, but also in the cell life of the monk and at the meals of the brethren, establishing a common meal - “equal for everyone and in strict silence.”
By strictly maintaining the monastic rules, the Monk Martinian elevated and glorified the Ferapont monastery. Just as bees flock to honey flowers, so monks and laymen flocked to the monk: some to settle with them after taking tonsure, others to listen to his instructions and see the monastic life established under his leadership.
Under the leadership of the Monk Martinian, the Ferapont monastery came to a flourishing state and for a long time was called by his name, as the name of the organizer, “Martinian’s monastery.” At the same time, princes John and Mikhail Andreevich, who often sent alms and donated their estates to the monastery, helped the holy abbot a lot in the means to maintain and decorate the monastery.
Life passed quietly and peacefully in the desert monastery, but it was not a peaceful time on Russian soil. Specific feuds between the princes and disputes over the grand-ducal throne did not subside.
In February 1446, the Grand Duke of Moscow Vasily Vasilyevich went on a pilgrimage to the Trinity-Sergius Monastery. Taking advantage of his departure, Prince Dimitry Shemyaka took possession of Moscow and the grand-ducal throne, and Vasily Vasilyevich was blinded and exiled to Uglich with his princess and children; then, fearing a popular movement in favor of the exiled prince and as a result of the admonitions of the betrothed metropolitan Saint Jonah, he released him and gave him Vologda as his inheritance. His followers began to flock here to the offended prince - the boyars and people dissatisfied with Shemyakaya. Encouraged by the help of the Tver prince, Vasily the Dark set off with his troops to look for the Moscow throne that he had lost. But before entering into the fight with Shemyaka, the pious prince wanted to ask for God’s help and therefore, on the way to Moscow, he visited first the Kirillov and then the Ferapontov monasteries.
Hegumen Martinian and all the brethren met Vasily Vasilyevich outside the monastery fence. Having overshadowed him with the holy cross and sprinkled him with holy water, he served a prayer service to the Most Holy Theotokos and after that treated the prince to a meal. Persuading Vasily Vasilyevich to go against the enemy, the monk reassured him with words of consolation. In response to this, the prince said: “Martinian! If I have the mercy of God, the Most Holy Theotokos and the great wonderworkers, and with your prayers I will sit on my grand princely table, God willing, I will take care of your monastery, and I will bring you closer to me.”
Having then accepted the blessing of the holy abbot, Vasily Vasilyevich with his entire army went against the enemy. But Shemyaka hastily fled from Moscow without a fight, and Vasily the Dark again became a great prince.
Having ascended the Moscow throne, Vasily Vasilyevich, according to his promise, summoned the Monk Martinian in 1448 and appointed him abbot at the monastery of St. Sergius, choosing him also as his confessor. In the charter of the Moscow Council dated December 29, 1448, in which Shemyaka, in case of unrepentance, was excommunicated from the Church for bloody unrest, the name of Martinian, already in the rank of abbot of the Trinity Monastery, stands first among the names of other abbots.
The high position of the abbot of the great Lavra and the grand-ducal confessor, however, did not in the least change the strict ascetic, who put truth above all calculations. At that time, one boyar transferred from the Moscow prince to the service of Tverskoy. Vasily Vasilyevich was annoyed and sorry to lose his servant, he was looking for ways to bring him back to himself. He turns to the Monk Martinian, asks him to facilitate the boyar’s return to Moscow, promises him honor and wealth. With the assistance of the ascetic, the boyar returned, but the Grand Duke treacherously took him into custody. Hearing about this from the relatives of the imprisoned boyar, the Monk Martinian was offended by such injustice of the Grand Duke and immediately came to Moscow. Entering the princely chamber, the monk prayed before the icons and then addressed the prince with the following speech: “Have you, autocratic great prince, learned to judge righteously? Why did you sell my sinful soul and send me to hell? Why did you order the boyar, whom I called, vouching for my soul, to be chained? Why did you break your word? May my sinner’s blessing not be on you and your great reign.” And, turning, he left the prince, and then left for the Trinity Monastery.
Soon the Grand Duke realized his sin, and when the boyars came to him, he told them, as if angry: “Look, boyars, what did this swamp monk do to me? He came to me unexpectedly in the palace, denounced me and removed God’s blessing from me, leaving me without a great reign.”
The boyars did not understand what this meant and what to answer to the Grand Duke. But then he himself added: “I am guilty before God and before him! I forgot my word and acted unfairly; Let us go to the Life-Giving Trinity, to St. Sergius and that abbot, to receive forgiveness of sin.”
After this, Vasily freed the boyar and showered him with favors, and he himself went to the monastery of St. Sergius. Hearing that the Grand Duke was approaching the monastery, the Monk Martinian with all the brethren went out to meet him, joyfully blessing his spiritual son, seeing his repentance; After prayers in the temple, the monk gave him forgiveness and himself asked for forgiveness from the Grand Duke. From then on, Vasily Vasilyevich loved his spiritual father even more, did not insult him in anything, listened to him in everything and revered him.
But life in a monastery close to the capital weighed heavily on the desert-lover, who was already in old age and was looking for silence. He recalled the words of his mentor, St. Cyril: “It is good for a monk to observe silence and non-covetousness and avoid everything that can disturb spiritual feelings.” On the other hand, the Monk Martinian wanted to complete the establishment of the Ferapont monastery, which was dear to him. And so, despite the admonitions of the entire Trinity brethren not to be separated from them, the monk gathered his spiritual children and, having taught them his last lesson, handed over control of the monastery. Then he prayed to the Most Holy Trinity, kissed the relics of St. Sergius and said goodbye to all the brethren. Leaving the monastery, the monk went to the Ferapont monastery. This was at the beginning of 1455.
The Ferapontov monks were very happy about the return of their beloved abbot. They welcomed him as their father and celebrated his arrival. The abbot gave up his place to him, and all the brethren asked the Monk Martinian to again be their shepherd and leader. But the monk humbly declined their offer, pointing out his unworthiness and weakness of strength. “For this reason,” he said, “I left the monastery of St. Sergius, so that in old age I could find peace and silence and mourn my sins.”
And only after persistent requests from the abbot and the brethren did he agree to again take on the burden of managing the monastery.
Despite his already advanced age, the Monk Martinian, with the same zeal, took up the final establishment of his beloved monastery. As a merchant returning from distant lands, he brought with him treasures of spiritual experience and tried to pass them on to his beloved monastery. He organized it partly according to the rules of the Cyril Monastery, and partly guided by the orders of the Trinity-Sergius Lavra. The monk remembered well his mentor, the Monk Kirill of Belozersky, with whom he took monastic vows in adolescence in the first years of the existence of the Kirill monastery. And the life of the Monk Cyril was written by Pachomius the Serb mainly based on the stories of his disciple and partner, the Monk Martinian.
The ascetic has reached a ripe old age. But despite this, he did not abandon not only his cell rule and fasting, but also church services. When he became decrepit and could not walk, they led him by the hand or took him to church for Divine services - such was the saint’s fidelity to his monastic vows!
Feeling the approach of his death, the holy elder called to himself all the brethren who labored with him, and in front of everyone he commanded the abbot to preserve the tradition and rules of the monastery. “Fathers and brothers! Do as I taught and acted. May God’s love and mercy and the Most Pure Mother of God be with you all!” - this is how the ascetic ended his speech and then said goodbye to the abbot and brethren. Having received Holy Communion, the Monk Martinian died peacefully on Sunday, January 12, 1483, at the age of 86, having lived in monasticism for more than 70 years.
The abbot and the brethren solemnly buried the venerable relics of the saint near the Church of the Most Holy Theotokos, on the left side of the altar.
God, marvelous in His saints, soon glorified His saint. 31 years after the death of the Monk Martinian, his disciple and tonsure Joasaph, the former Archbishop of Rostov, who later lived in retirement for a long time, died in the Ferapontov Monastery. The abbot and the brethren decided to bury him near the Monk Martinian. Having said a prayer, they began to dig a grave, and when they opened the saint’s coffin, they were amazed to see that not only the body, but also the saint’s clothes remained intact and did not undergo decay, although the entire coffin was filled with water. All who saw this glorified God, and some of them, being special admirers of the memory of the saint, with faith took water from the tomb into their vessels for blessing. And their ardent faith was not in vain. This water served as a source of healing. Thus, the monk of the Ferapont monastery Pamva, being overcome by a serious illness throughout his entire body, took water from the tomb of Saint Martinian and, full of faith in the saint, drank that water, anointed his entire body with it and immediately recovered.
Many other healings were performed at the relics of St. Martinian. Let's mention some of them.
Through the prayers of the monk, an amazing miracle happened over the monk of the Ferapont monastery, Sylvester. For many years, due to relaxation, he could not only walk, but even eat food without assistance. The monks who took pity on the sick man, bringing him food, fed him themselves. Sylvester greatly grieved over his illness, but did not lose hope for God’s help: he patiently prayed to the Lord and His Most Pure Mother to receive health. One night, thinking about his illness, Sylvester wanted to pray at the tomb of the Monk Martinian; but fearing that he would not be carried there outside of school hours, he turned with a fervent prayer to the saint and crawled to his tomb, continuing his prayer with tears: “Have mercy on me for the Lord’s sake, servant of Christ, and pray for me, a sinner, so that He will show I receive Your mercy through your holy prayers! Remember, father, how many years I served your shrine during your lifetime, how many years I served in your monastery.”
So the paralytic prayed and, weeping, laid his head on the saint’s tomb. Suddenly he felt recovered; with joy he fell to the shrine of the Monk Martinian; then he returned to his cell on his own feet. The next morning, the brethren, having learned about Sylvester’s miraculous healing, glorified God, who had given their monastery an invaluable treasure - the holy relics of St. Martinian the miracle worker, endlessly exuding healing to everyone who comes to them with faith.
Once, in the absence of a parish priest, Hieromonk Martinian had to confess to a sick person in a nearby village. Martinian saw a woman in the house, the daughter of this patient. She sat on the stove and laughed furiously. The hieromonk learned that the woman had been ill for a long time, that she had become mute, could see and hear almost nothing, and her relatives did not know what to do with her. He advised to bring the possessed woman to the relics of the Monk Martinian. And when they brought her, during the prayer service she quickly regained consciousness, approached the miracle worker’s tomb, and kissed it with tears and joy. It was clear to everyone who saw this that the demoniac had been healed. She said to the serving priest, the same Martinian: “The miracle worker rose from the grave, blessed me with the cross and left.”
And another demoniac, Aquilina from the nearby village of Susla, received healing from her illness through the prayers of the Monk Martinian. The unfortunate woman suffered for many years. Her husband and relatives took her to the monasteries, visited the monastery of St. Cyril, and finally took her to the tomb of St. Martinian. When they reached the monastery gates, the demoniac screamed and screamed in such a terrible voice that everyone was horrified and ran away. She took advantage of this and tried to escape. But her relatives and some from the monastery managed to hold her back. The possessed woman fought and screamed, repeating many times: “The devil is hitting me with a tree.”
When Aquilina was brought to the saint’s tomb and a prayer service was served, she began to calm down, but still uttered the same words. They tried to persuade her: “What are you saying? Nobody hits you." Aquilina answered this: “Didn’t you see how outside the monastery gates he began to beat me with a stick, saying: “You always walk past my gates and despise me?”
They continued to persuade her that no one beat her, that there was no monk. She pointed her finger and said: “Here he goes!” She approached the saint’s tomb and continued: “Already gone; he was wearing black clothes.”
Those present understood that the sick woman had seen the miracle worker in a vision, that he had tormented the demon in her and drove her away. The priest blessed her with the cross, and Aquilina completely recovered.
The young Pskovite Stefan Fedorov Kleshchev, a silversmith by trade, wandering about his business in different countries, fell ill with leprosy: his right hand became leprous. Having grown heavy, she became motionless and did not rise to make the sign of the cross. Not knowing how to get rid of leprosy, Stephen began to earnestly pray to God for healing and made a vow to go to holy places. He visited many monasteries: he visited the monasteries of Kirillova and Ferapontova and in the Syama volost, where he prayed before the miraculous icon of the Mother of God; however, he did not find even the slightest relief from his illness. Then he dressed in monastic clothes and, returning to the monastery of St. Cyril, began to ask Abbot Athanasius and the elders to be accepted into the monastery. But due to Stefan’s illness, they did not accept him: he was forced to settle in the monastery’s hospice with other sick people and lived here for three weeks. Then, on the advice of his friends, Stefan went to the Ferapontov Monastery. In the clothes of a monk, he appeared before Abbot Gury and strenuously asked him to be accepted into the monastery. Seeing him already as a monk, the abbot gave in to Stefan’s pleas, especially since some of the brethren were asking for him, and, having accepted him into the monastery, entrusted him to the elder. Another three months have passed since then, and Stefan’s illness not only did not weaken, but even worsened. His hand was so rotten that bones were visible in four places, and it was impossible to live with him in the same cell due to the heavy smell. Realizing his plight and fearing removal from the monastery, Stephen again turned to prayer. With bitter tears, he prayed at the shrine of St. Martinian, asking the miracle worker for healing from a serious illness and promising to work in his monastery for the rest of his life. At the same time, feeling remorse that, without having yet been tonsured, he had arbitrarily put on monastic robes, Stefan revealed this to the cellarer, who managed the monastery after the abbot’s departure. The cellarer, in consultation with the brethren, ordered Hieromonk Simeon to tonsure Stefan and name him Sergius, which he did.
From then on, the newly tonsured monk never stopped praying to the monk, and for this he soon received healing from his serious illness. One day, Stefan came with sorrow to the tomb of the Monk Martinian and prayed for a long time with tears, placing his sore hand on the saint’s shrine. And that same night, while dozing, he saw that someone came in, pushed him and said: “Get up and pray.”
Waking up from fear, he no longer saw anyone, but immediately felt relief from the illness: the bandage, like a splint, fell off his hand, and a new, young body appeared on his hand. Both the healed man and the brethren thanked God and the Monk Martinian.
The Monk Martinian was canonized, probably in 1553. Celebrations for him take place locally.
See also: Venerable Martinian of Beloezersky (Belozersky). Mon. Taisiya (Kartsova)
