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figures inclined towards each other, smooth attitudes, laconic lines of the|
drawing create a measured linear rythm. This rythm is supplemented by
special interruptions, it becomes interspersed with architectural grounds which|
are always strictly harmonious with the figures. A peculiar analogy with a
musical composition is created.
The system of wall-painting of the cathedral in general is likewise strictly
and logically arranged. Dionysius proceeds from the arch itectural articula
tion of the interior, the size and proportions o f pictorial compositions are
subordinated to them. By this he achieved the harmony o f architecture and
painting, clear visibility of the walls, the correlation o f the image to the
onlooker. The idea o f dedicating this cathedral to the Virgin had been con
sistently applied here. The theme of the Virgin is revealed in the painting of
the ou ter west wall of the building, where the central place is occupied by
the composition «the Nativity o f the Virgin». Inside the cathedral, the scenes
dedicated to the Virgin occupy the most important places. Manyfigured com
position «the Intercession o f the Virgin», «In Thee Rejoieth», «the Synaxis
o f the Virgin» are in the big lunettes, on the cheek o f the east vault there is
«the Virgin o f the Sign», and in the conch of the central apse there is «the
Virgin and Child Enthroned». A whole tier of painting is devoted to the
Illustration o f the «Acathistos of the Virgin». The Acathistos cycle begins on
the inner facets o f the eastern piers, where four composition of «the Annu-
ciation», a peculiar brief introductory suite, are located; it is then continued
on the inner sides of the western piers completing thus a circle in the space
under the dome of the cathedral. The narration goes to the south-west and
later to the north-west corners of the monument and finally forms another
wide circle including the south wall, outer facets of the western piers and
the no rth wall. The circular treatment o f the subject emphasizes the main
sections of the cathedral. This is the most ancient illustration of the Acathistos
in Russian monumen tal painting.
Other parts o f the cathedral are not linked directly with the theme o f the
Virgin. There is a half-length image of Christ Pantocratoi in the dome,
archangels are depicted in the spaces between the windows o f the drum, a
little lower there are the forefathers in round medallions, the evangelists are
represented in the pendentives. The subject matter of this part o f the murals
is very traditional. Such compositions as «the Teachings o f the Fathers of
the Church» are rare. In the Ferapontov cathedral they occupy the cheeks
o f the no rth , sou th and west vaults. The arches under the drum (supporting
the drum) are covered with round medallions with half-length figures of
saints, the vaults — with parables and scenes from the life o f Christ. The
west wall is traditionally occupied by a big composition of «the Last Judge
ment». The lower part of the north, south and partly the west wall is occu
pied by representations o f the Seven Oecumenical Councils also rare in
Russian monumen tal painting.
Saints holding liturgy texts and deacons worshipping the Eucharistical
Child are dep icted in the altar. In the «diakonnik» room which housed the
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