The Development of Arts in the Context of the Stroganovs’ Activity as Ktitors and Art Patrons in the 16th-17th Centuries

The family Blagoveshensky Cathedral was another matter. Being for a long time the only stone construction of the Usol'e land the Cathedral was the Stroganovs' pride and joy. The rooms underneath the Cathedral housed the family archives. Near the Cathedral there was the burial place of the family members that made the Cathedral sacred. The best samples from the icon painting and needlework chambers, silver workshops and scriptorium were collected in it. There was the place where the landowners organized their choir, which later turned into the centre of a new singing school. The most outstanding master of it (“the Usol'e priest”) Ivan Lukoshkov worked in this Cathedral. All members of the Stroganov family (especially Nikita Grigorevich) donated a great number of chanting handwritten books for the Cathedral library.

Following data also prove in favour of the hypothesis about the emergence of “Usol'e master-singing” at Sol'vychegodsk Blagoveshensky Cathedral. P.I. Savvaitov published the Inventory of the Cathedral compiled some years after the fire in 1579 where the name of Ivan Lukoshkov appeared several times. Thus, enumerating the mirrors, dishes and cups the author of Inventory mentions a costly china cup, which was granted by Ivan Trofimov's son Lukoshkov (Savvaitov, 1886: 77). This record contains the full name of the famous chanting master and connects him with the Blagovesh- ensky Cathedral: “contribution of priest Ivan Trofimov's son Lukoshkov”. If representatives of other churches or monasteries made the contribution, this fact was necessarily indicated in the Inventory. One more record proves that Lukoshkov lived near the Blagoveshensky Cathedral - a document dated December 1614 and compiled by Andrey and Peter Stroganovs according to which the old residence near the Cathedral was divided between the brothers. This paper states that Andrey got the part of the territory with the Lukoshkov's place. Further on it was mentioned as Lukoshkov's yard (RGADA. F. 1278. № 25:1). Similar data can be found in the documents of the 1620s, though at this time (like in 1614) the chanter and the members of his family already left Sol'vyche- godsk.

There is one more peculiar reference. D. V. Razumovsky managed to find a handwritten chant book, which belonged to Lukoshkov the Archimandrite (Razumobsky, 1863: 65). “Belongs to Isaiah Lukoshkov” is written twice on the first page of the book and on each page contains such footnote: “On March, 25, 1615 this chant book belonging to Archimandrite Isaiah was donated to the stone Cathedral of Blagoveshenie (the Annunciation of the Most Holy Theotokos)” (GIM. Synod. № 819: 1-28). Being the Archimandrite of one of the most significant monasteries (Nativity Monastery in Vladimir) Lukoshkov decided to grant a chant book to the Cathedral of Sol'vychegodsk “to commemorate for himself and for his parents”. What could connect him with this Cathedral? Taking into consideration all these facts we can claim that here he became the outstanding master of chanting and didascalos and started his career.

Thus, in the late 1560s - early 1570s when Feodor Krest'anin and Ivan Nos stayed at the Tsar's court in Alexandrovskaya Slo- boda Stefan Golysh was living and teaching pupils in Sol'vychegodsk. At the same time he could grasp the local traditions of singing art. Stefan Golysh proved to be an outstanding chant master and got recognition in the Usol'e land. In July 1584 the Blagoveshensky Cathedral was consecrated and started to perform its functions It is possible that some chapels of the church been in force before, since the Inventory of the Cathedral property appeared in 1579.. The choir of chanters must have existed already. Apparently it was formed during the 1570s. It should be noted that the appearance of the choir that belonged to the prominent landowners was a common practice. The representatives of the Moscow feudal aristocracy had even their own choirs of singing and krestovye diaki For example, on December 27, 1585, the krestovye di-aki of D.I. Godunov, B.F. Godunov, A.Y. Shchelkalov and V.Y. Shchelkalov came to the Chudov monastery to praise (RGADA. F. 196. № 273: 122-123).. The Stroganovs invited Stefan Golysh to teach their chanters. The master paid special attention to his most talented pupil Ivan Lukoshkov and taught him the composition techniques, learned by himself in Novgorod.

According to the “Preface” Golysh, Lu- koshkov's didascalos, at the Stroganovs interpreted a lot of chants and created his own works (RNB. Q.I.1101: 202). As far as there are no chants marked with Golysh's name (which was a typical feature of that time) we can only assume that there are some of his works in the Stroganov scriptorium books of the 16^th century or among some anonymous Ussol'e chants in other collections. Like Feodor Krest'anin in Moscow, Stefan Golysh learnt and fixed some local traditions in Ussol'e thus establishing the foundation for the future activities of Usol'e masters in the framework of the Usol'e tradition. Stroganov choir of the Blagoveshensky Cathedral in Sol'vychegodsk became its centre. The appearance of the highly professional masters also attracted the Stroganovs's interest to the art of church singing. Certain representatives of this family (Nikita Grig- orevich, Maxim Yakovlevich, Andrey Semyonovich) loved this art and greatly contributed to its development. The scribes of the Strogan- ov scriptorium also started to copy numerous chant books. Some of the preserved manuscripts give us an idea of their design, composition and content (Parfentiev, 2008; Seregina, 1987). They testify that the Stroganov masters made an outstanding contribution to the development of old Russian church singing and book handwriting arts.

So, in the second half of the 16^th-17^th centuries Sol'vychegodsk, being the family nest of the Stroganov trade-industrial dynasty, became the centre of the formation and development of their activity as founders-donators of church building and art patrons. This led to the subsequent emergence and development of arts and crafts, which were called the Stroganov ones (architecture and icon painting, needle-working, book writing, silver jewellery and church singing art). The ktitor activity of family members manifested itself in the foundation and construction of monasteries, cathedrals and parish churches, the maintenance and provision of everything necessary for worship at their own expense. The consequence of this activity was the formation of the needs of the founders and donators in the development of crafts and arts. If initially the Stroganovs had to purchase all the necessary church items for worship, then they organized and maintained the own icon painting, book-writing and other art workshops in their possessions. The decision to invite the leading masters of their time to form the arts was strategically correct. The tsar's icon painters, including the famous Procopy Chirin, worked for them in Sol'vychegodsk. The Stroganov school of church singing art was founded by the master Stefan Golysh, a pupil of Savva Rogov, who in Novgorod taught the masters, served at the court of Ivan the Terrible and subsequent tsars. The prominent scribes and drawing-artists, masters of manuscript art, the brothers Basovs worked for the Stroganovs.

Conclusion

As a result, the works of the Stroganovs' workshops began to be distinguished by a high level of artistic skill. With a certain degree of conventionality for that time, the Stro- ganovs can be called not only ktitors, but also patrons of the arts. Representatives of the dynasty were not just customers; they financially supported and formed schools as directions in art, reflecting their ideas and tastes. Being enlightened people (the Stroganovs had one of the largest library collections of the time) they not only gave commissions to already known masters, but also attracted them to teach young talented people of their own region, contributing to professional development of them. Thus the Stroganov schools arose as the leading directions of Russian art of the time in question.

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BRAN - Library of the Russian Academy of Sciences (St. Petersburg)

GIM - State Historical Museum (Moscow)

IRLI - Institute of Russian Literature (Pushkin House) of the Russian Academy of Sciences (St. Petersburg)

RGADA - Russian State Archive of Ancient Acts (Moscow)

RNB - Russian National Library (St. Petersburg)

Приложение

Развитие искусств в контексте ктиторской и меценатской деятельности Строгановых в ХУ1-ХУП вв.

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