Today we will look at a fresco painted in 1527 at the Monastery of St. Nicholas Anapausas, at Meteora in Greece.  Here is an image:

We can see its positioning here, on the upper right-hand wall:

Perhaps you recognize some of the other large images.  To the left of the doorway, we see the “second entry” into Paradise, with Peter at the door, and the Repentant Thief inside, and a soul sitting in the “bosom of Abraham” in the Paradise Garden.  Above the doorway and to its right is a large image of the “Terrible Judgment” — the “Last Judgment.”  But we want to consider the smaller image on the upper left side of the right-hand wall.

Perhaps you have already recognized the depiction.  It is identified by the title inscription at the top:

It reads:


As is common in Greek inscriptions, the words run together.  We can separate them as:


Ho en Kana Gamos
“The in Cana Marriage”

In normal English,
“The Wedding at Cana.”

It depicts the incident recorded in the Gospel called “of John,” 2:1-11:

And the third day there was a marriage in Cana of Galilee; and the mother of Jesus was there:   And both Jesus was called, and his disciples, to the marriage.  And when they wanted wine, the mother of Jesus says to him, They have no wine.  Jesus says to her, Woman, what have I to do with you? My hour is not yet come.

His mother says to the servants, Whatever he says to you, do it.  And there were set there six water pots of stone, after the manner of the purifying of the Jews, containing two or three firkins apiece.

Jesus says to them, Fill the waterpots with water. And they filled them up to the brim.  And he says to them, Draw out now, and take it to the governor of the feast. And they took it.

When the ruler of the feast had tasted the water that was made wine, and knew not from where it was: (but the servants which drew the water knew;) the governor of the feast called the bridegroom, and says to him, Every man at the beginning does set forth good wine; and when men have well drunk, then that which is worse: but you have kept the good wine until now.

This beginning of miracles did Jesus in Cana of Galilee, and manifested forth his glory; and his disciples believed on him.

At left we see Jesus and Mary, identified by their usual inscriptions (abbreviated here) — Meter Theou (“Mother of God”) for Mary, and Iesous Khristos for Jesus, who has the cross in his halo.

To their right, we see a servant filling a jug with the water that is to be miraculously made into wine:

So that is the basic image.  But what is going on at the right side?

The painter has blended the edge of one event into another.  The scene at right is actually a part of a larger type depicting the “Temptation of Jesus” in the wilderness, which chronologically happens right after his baptism by John.

The Gospel called “of Mark” (1:12-13) tells us bluntly and briefly:

And immediately the spirit drives him into the wilderness.  And he was there in the wilderness forty days, tempted by Satan; and was with the wild beasts; and the angels ministered to him.

The Greek text says literally,
Καὶ εὐθὺς τὸ πνεῦμα αὐτὸν ἐκβάλλει εἰς τὴν ἔρημον.
“And immediately the Spirit casts him out (ekballei) into the wilderness.”  Ekballei is the same term used for the casting out of demons.

Luke and Matthew, however, embroider the event considerably, and that is what we see in this depiction.  Here is Matthew’s account covering the portions we see in the fresco (the second we see only in part):

Matthew 4:1-7:

Then was Jesus led up of the Spirit into the wilderness to be tempted by the devil.

2 And when he had fasted forty days and forty nights, he was afterward hungry.

3 And when the tempter came to him, he said, If you are the Son of God, command that these stones be made bread.”

That is what we see here:  the Devil is telling Jesus to turn the stones into bread:

4 “But he answered and said, It is written, Man shall not live by bread alone, but by every word that proceeds out of the mouth of God.

Then the devil takes him up into the holy city, and sets him on a pinnacle of the temple,

And says to him, If you are the Son of God, cast yourself down: for it is written, He shall give his angels charge concerning you: and in their hands they shall bear you up, lest at any time you dash your foot against a stone.

Jesus said uto him, It is written again, You shalt not tempt the Lord your God.”

The portion of the image we can see, however, shows only the Devil pointing to the ground.  Jesus is out of the image and to the right, standing higher up on the Jerusalem temple.

You may recall that according to the biblical story, the Devil also tempted Jesus by taking him to a high mountain and offering to give him all the kingdoms of the world.  We find that in the continued Matthew account:

Again, the devil takes him up into an exceeding high mountain, and shows him all the kingdoms of the world, and the glory of them;

And says to him, All these things will I give you, if you will fall down and worship me.

10 Then says Jesus to him, Get you away, Satan: for it is written, You shalt worship the Lord your God, and him only shall you serve.

In this Russian example of the “Temptation,” (a kleimo (“border image”) from an icon of “The Lord Almighty” enthroned, painted in 1682), we see all three of the temptations:

The large image in the foreground shows the Devil (note the tail!) tempting Jesus to make stones into bread.  At upper right, he takes Jesus to a pinnacle of the Temple and tells him to cast himself down so angels may save him.  And at upper left, he takes him to a high mountain, and shows him all the kingdoms of the world.

Take a close look at the name abbreviation by the head of Jesus:

It reads IИС ХС for  IИСУС ХРИСТОС.  That extra И in the name of Jesus — making it Iisus Khristos — tells us that this is a State Church icon painted after the Old Believers split off from the State Church (or we could say the State Church split off from the traditions of the previous old belief because of the changes instituted by Patriarch Nikon in the mid 1600s).  The Old Believers continued to spell the name of Jesus Isus, while the State Church added another letter, making it Iisus.  But this icon is old enough to be still painted in the traditional manner, instead of in the more realistic “Western” manner quickly adopted by the State Church.


A curious reader in Germany asked about the image in my blog “header” — what icon it is from, who the figures are, and what the inscription on the scroll means.

It is a detail from this icon of the “Joy of All Who Suffer”:

(Courtesy of

Here is a wider view of the “header” detail:

The saints depicted in it are from upper left (below the angel):
Prepodobnuiy Maron — Venerable Maron
Svyashchennomuchenik Antipa — Priest-martyr Antipas
Prepodobnuiy Sergiy Radonezhskiy — Venerably Sergiy of Radonezh
Prepodobnuiy Ioann Novgorodskiy — Venerable John of Novgorod
Prepodobnuiy Ioann Damaskin  — Venerable John of Damascus.

The scroll held by John reads:

Твоя по-
льная деснице [-а]
но в к-
[-вися: та бо, Безсмертне, яко всемогущая, противныя сотре, Израильтяном путь глубины новосоделавшая.]

It is the Irmos from the Canon of the Resurrection, Ode 1:

Your victorious right arm  in godly manner has been glorified in strength;
[it continues:  for, Immortal One, as almighty it struck the adversary, for the Israelites making the path of the deep anew.“]

The Canon of the Resurrection was written by John of Damascus.

The scroll just below the angel is the Stikhera, tone 2 from the Moleben to the “Joy of All Who Suffer” icon.

Всемъ скорбящимъ радость
и обидимымъ предстателница  и
алчущимъ питательница страннымъ…

Joy of all who sorrow, and intercessor for the offended, and feeder of the hungry, of travelers…
[it continues “… the consolation, harbor of the storm-tossed, visitation of the sick, protection and intercessor for the infirm staff of old age, you are the Mother of God on high, O Most Pure One”]

So that is the origin and significance of the present “header” image on this blog.





I have mentioned before that Nikolai/Nicholas is one of the most common icon saints, and also one of the easiest to recognize.  Here is a well-painted example from the year 1908:

(Courtesy of

One of the things that always amused me about icons of Nicholas is that his head down to the lips is a circle.  Have you noticed that?  Look at it:

(Courtesy of

To paint Nicholas, all the iconographer had to do in beginning was to make a large circle for the main part of the head, and then add a smaller, partial circle to the base of that for the bearded portion.

The smaller, lower circle is sometimes not quite so obvious, either because of the shaping of the beard added over it, or because the painter was a bit more adventurous.  But if we look at the following example, the lower portion of the face (with beard) is quite obviously just a smaller circle imposed upon the larger to form the structure of the face of Nicholas:

(Courtesy of

Now let’s return to the first example.  As you know, Nicholas is known in Russian iconography as Nikolai Chudotvorets — “Nicholas the “Wonderworker.”  A “wonder” (чудо/chudo) is a miracle.  It is the Slavic equivalent of Greek θαύμα/thauma, so in Greek a wonderworker is a θαυματουργός/thaumatourgos. We can see that Chudotvorets (Чудотворец) title written on the right side of the image:


One often finds little variations in spelling (usually phonetic), such as the use here of Ю (the “iu” sound) instead of У (the “oo” sound) — often written as the combined o and у:

You will remember that in this “Nicholas of Velikoretsk” type, Jesus is seen at left with the Gospel book he gave to Nicholas, and Mary at right with her donation, his bishop’s stole (Russian omofor, Greek omophorion).

Now this Nicholas icon (the first example shown on the page) is painted considerably “fancier” than most.  And the inscription, instead of calling Nicholas Svyatuiy (Holy) Nikolai Chudotvorets, instead uses the Greek equivalent Άγιος/Hagios, though the rest of the title is written in Church Slavic.

Not only that, this icon in giving the standard Gospel text for Nicholas on the book he holds, actually identifies it in smaller letters at the top of the text, which is rather unusual in such icons.  It says on the left page:

Еvангелiе от луки
Evangelie ot luki
Gospel  of/from Luke

And on the right:
зачало к д е
Zachalo k d  e

Зачало/zachalo in Church Slavic means literally “beginning,” but it also has the sense here of an extract or quote from the Bible.  It is the equivalent of the term pericope (pronounced puh-RI-cuh-pee) used in biblical studies.

But what about the к д  (we can omit the “e” for now)?  Well, as you may recall, Church Slavic letters can also be used as numbers.  And note that on the icon, there is a curved line above the кд.  That means it is to be read as the number 24.  The problem, however, is that the text given is not from Luke 24, but rather is Luke 6:17.  So did the writer of this icon text get it wrong?  No, because here he is not going by the verse numbering of the Bible, but rather by the numbering of Gospel excerpts from the Lectionary, the book of readings to be used at various services during the Church year.  This is one of those tricky little things about icons involving the complex Eastern Orthodox liturgical books, and believe me, that subject gets really boring fast, so no need for details here.  Just remember that in the Eastern Orthodox Church services, there is another numbering system for Gospel texts other than that found in the Slavic Bible.  And in that system, this common Lukan excerpt is “Zachalo/Pericope 24″:

Here is how it is arranged on the pages (with a literal translation).
Во время оно                At time that
ста Исус на ме-            stood Jesus on [a] pl-
сте равне и                   ace level and
народ ученик                crowd of disciples
Его, и множе-                of him, and a multi-

-ство много                   -tude of many
людей от всея                people of all
Иудеи и Иерусали-        Judea and Jerusale-
ма, и помория                -m, and the coast
Тирска и Сид[онска]….  of Tyre and Sid[on]…..

The date inscription is found at the base:

It is given in an imitation of much earlier writing.  It says:
“This holy image was painted in the year 1908, the month of February, finished on the 15th day.”



In previous postings I discussed Russian crosses and their inscriptions in considerable detail, so if you were paying attention, today’s image will present no serious problems.  It is a relief-carved and painted wooden cross, probably from around the end of the 18th-early 19th century.  It should give you a useful review of cross inscriptions.

Again, from the previous postings you should be able to recognize that this is a “Priested” Old Believer cross.  We can tell that from the presence of “Lord Sabaoth” — God the Father — at the top of the crucifix, and also the presence (though partly hidden by the halo) of the letters ИНЦИ.

(Courtesy of

Can we further identify this cross?  Again, if you were paying attention the the previous articles on crosses and their inscriptions, that should be possible.  A major clue is not only the traditional painting style used on the figure of Jesus, but also what is found at the top of the cross.  Let’s look more closely:

There are two important elements here:  the image of “Gospod’ Savaof” — “Lord Sabaoth,” that is, God the Father, and second the presence of the ИНЦИ abbreviation (though it is partly hidden by the halo of Jesus).  These together tell us that this is a “Priested” Old Believer cross — that segment of the Old Belief who kept the notion of the priesthood.  You will recall that when Lord Sabaoth is replaced by the “Not Made by Hands” image,  and the inscription is also absent on such a cross, it is likely to be a “Priestless” Old Believer cross.

Though you should know the inscriptions on the cross by now if you are a regular reader here, we will go through them again just to make sure:

At the top of the cross, we see the carved inscription:


Just below that is the painted inscription:




“We bow before your cross, Master, and praise your holy resurrection.”

We see the usual Gospod’ Savaof inscription by God the Father, and with him we see the darkened sun and the moon that has become red as blood, identified like this:

At left:

At right:

Each of the two flying angels has the abbreviation АГ — AG — abbreviating Ангел Господен –Angel Gospoden — “Angel of the Lord.”

Just below them, we see the abbreviated superscription on the cross, the I. N. TS. I inscription that abbreviates Pilate’s text “Jesus of Nazareth, King of the Jews” (Исус Назорянин, Царь Иудейский ).

Along the upper part of the main crossbeam, we find the partially-abbreviated inscription that is really the title of the type:


You can easily recognize the large carved abbreviation IC XC abbreviation for “Jesus Christ,”   Remember that while the Old Believers use the Ісусъ [Isus] spelling, the Russian State Church uses Іисусъ [Iisus]; “Christ” is Христос — Khristos.

Now let’s look at the lower portion:

We see divided from left to right the painted inscription:

“Son of God.”

And carved in large letters, again jumping left to right, is the Greek word НИКА — NIKA — Greek for “He Conquers.”

With the carved images of spear and sponge on a reed, we see we see by the spear the letter K, abbreviating КОПИЕ — KOPIE, meaning “lance,” “spear.”   And by the sponge is the letter T, abbreviating  ТРОСТЬ — TROST’, meaning the reed/rod.

Below that are the two letters:

Г  Г

They abbreviate

“Hill [of] Golgotha”

By the skull — traditionally that of Adam, the mythical first man, buried on the site of the crucifixion, we see the identifying letters:

Г  А
[the] SKULL (literally “head”) [of] ADAM

And finally, right at the bottom, we find these carved letters:


They abbreviate


“The Place of the Skull Became Paradise.”

It is finding little variations on the usual common themes that helps to make the study of icons enjoyable, so it is interesting to see this wooden cross with its rosy pink background and the two very folkish plants sprouting at the sides of the cross.


Today’s icon type is based upon a phrase from Psalm 150.

Here it is, from the King James Version, with the relevant phrase in bold type:

Praise ye the Lord. Praise God in his sanctuary: praise him in the firmament of his power.

Praise him for his mighty acts: praise him according to his excellent greatness.

3 Praise him with the sound of the trumpet: praise him with the psaltery and harp.

Praise him with the timbrel and dance: praise him with stringed instruments and organs.

Praise him upon the loud cymbals: praise him upon the high sounding cymbals.

Let every thing that hath breath praise the Lord. Praise ye the Lord.

(Courtesy of Zoetmulder Ikonen:

(Courtesy of Zoetmulder Ikonen:

In Church Slavic the phrase (and the title of this icon type) is:

Всякое дыхание да хвалит Господа.
Vsyakoe duikhanie da khvalit Gospoda

Vsyakoe means “All.”
Duikhanie means “things that breathe.”
And then comes that construction I advised you to remember for your basic knowledge of Church Slavic — da, followed by a verb.  You may recall that it has the sense of “may it be,” “let it be.”  So if we combine that with the next word,
Khvalit — meaning “to praise,” we get the meaning “let praise.”Gospoda of course means “[the] Lord.”

So the meaning of Vasyakoe duikanie da khvalit Gospoda is literally,
“Let All That Breathe Praise the Lord,”
or as it is often rendered,
“Let All That has Breath Praise the Lord.”

And that is the title of this icon type.

At the top, in the starry heaven, we see Jesus enthroned, holding the open Gospels, and surrounded by angels.  Below him, Mary stands at left, with more angels, and at right is John the Forerunner, also with angels.

Below them are rows of saints (note the halos), and below them crowds of more ordinary people (without halos).

Around the stylized hill in the center, with its rather abstract trees, we see flights of delightfully-speckled birds, and on and below the hill is an assortment of various kinds of animals and birds, ending with geese swimming in the pool at the base.

This is an easy type to recognize:  just look for all the birds and creatures.



In the third quarter of the 17th century, and under the influence of Western European  religious engravings, icons of the type called Otche Nash — “Our Father” — began to appear in Russia, first in the Armory School of Moscow, then elsewhere.  Icons of this type were never common, and those one finds are somewhat variable in the scenes included.

Here is an example from 1813, painted in the village of Pavlovo na Oke, in Nizhny Novgorod Province:

(Private Collection)

(Private Collection)

Let’s examine the rather formidable-looking Church Slavic inscription at the top:

It reads (put into the modern Russian font):


As I have said many times, one does not have to learn the whole Church Slavic language in order to read the great percentage of icon inscriptions.  They are very repetitive, so a vocabulary of words commonly used in such inscriptions proves surprisingly useful in the number of icons one is able to read.  So don’t waste your time trying to learn the whole language unless you want to go deeply into Slavic studies; learn something else that is pleasant, like Italian, or Romanian, or anything reasonably practical or pleasant.

How then, are we going to translate that long-looking icon inscription?  Well, it is not really as intimidating as it looks, and here’s why:  We already know it is an icon of the “Lord’s Prayer” — Otche Nash.  That is a huge clue, because if we look at the first two words of the inscription, we see they are precisely that — OTCHE NASH.

To translate the remainder of the inscription all we have to do is look at the “Lord’s Prayer” in Church Slavic, and here it is:


I will transliterate and translate it rather literally:

OTCHE             NASH”     IZHE      ESI      NA   NEBESYEKH”     DA    SVYATITSYA
FATHER           0F-US       WHO      IS        IN   [the] HEAVENS   MAY-BE    MADE-HOLY
Note:  Previously, we have seen otche in the form otets — “father.”  when da (the common Russian word for “yes”) is followed by a verb in Church Slavic as here, it takes on the sense of “may it be…”  “let it be…” — so “Da Svyatitsya” means basically “let it be made holy” — “May it be sanctified.”  You already know its root Svyat, meaning “holy.”  This “da + verb” usage is known as the “optative” form, which expresses a wish that something may be so.  Izhe means literally “which,” but we can say “who” here.

IMYA             TVOE       DA     PRIIDET”         TSARSTVIE      TVOE:    DA    BUDET”
NAME         OF-YOU   MAY    COME            KINGDOM         OF-YOU MAY BE
Note:  There are two “da” form phrases in this line:  da priidet” — “may [it] come,” and da budet”, “may [it] be.”

VOLYA           TVOYA      IAKO       NA     NEBESI        I     NA     ZEMLI.        KHLEB”
WILL          OF-YOU      AS            IN     HEAVEN      ALSO    ON    EARTH        BREAD
Note:  Notice that the word i, normally meaning “and”, means “also” in this line.  “As in heaven [so] also on earth.”

NASH”          NASOUSHCHNUIY  DAZHD’        NAM”       DNES’        I       OSTAVI
OF-US          NECESSARY           GIVE             US      TODAY      AND       FORGIVE

NAM”              DOLGI        NASHYA      IAKOZHE      I        MUI        OSTAVLYAEM”

US                   DEBTS      OUR            JUST-AS      ALSO  WE        FORGIVE

DOLZHNIKOM”                      NASHUIM”:           I       NE     VVEDI           NAS”      VO

DEBTORS                               OF-US               AND   NOT    LEAD          US        INTO

ISKOUSHENIE             NO    IZBABI          NAS”   OT    LOUKAVAGO       AMIN’

TEMPTATION           BUT      DELIVER        US     FROM [the] EVIL-ONE   AMEN”

So we can see that the title inscription at the top of the icon reads basically, “Our Father, who is in the heavens, may your name be made holy, may your kingdom come….

In the icon shown above, each scene depicts part of the prayer:

Here is : “Our Father, who is in the heavens…”

“Let your name be made holy”

“May your kingdom come…”

“May your will be done on earth as in heaven…”

“Give us this day our necessary bread…”

“And forgive us our debts, as we forgive our debtors…”

“And lead us not into temptation…”

“But deliver us from the Evil One.”

The very last and astronomical scene has the text of Psalm 103:24 (104:24 KVJ):


“How manifold are your works, Lord; in Wisdom all is made.”


A reader in Croatia kindly sent me photos of this cast brass and enamel cross.

If you read my previous posting on cross inscriptions (, you will find some of that material repeated here.

First, this is a “Priestless” (Bezpopovtsy) Old Believer cross of the type called an “altar cross” (напрестольный крест — naprestol’nuiy krest).  One can tell it is a “Priestless” cross by looking at the image at the very top.  It is the “Not Made by Hands” image of Jesus on the cloth, the so-called “Abgar” image that resulted from the old story that Jesus once pressed a cloth to his face, which became miraculously imprinted on the cloth, and was thus the first Christian icon.  If this had been a “Priested” (Popovtsy) Old Believer casting, it would instead have a top image of Lord Sabaoth (God the Father) and the Holy Spirit as a dove; and it would also have the I. N. TS. I inscription that abbreviates Pilate’s text “Jesus of Nazareth, King of the Jews” (Исус Назорянин, Царь Иудейский ).

(Courtesy of Nino Rilović)

(Courtesy of Nino Rilović)

Let’s take a closer look at the top of the cross:

We see the “Not Made by Hands” image, with the halo of Jesus having the HO ON inscription, meaning “He Who Is.”  Just below it is a Church Slavic inscription identifying the image:



If we join the two lines as they should be, they read:
Obraz Nerukotvorrenuiy, menaing “[the] IMAGE NOT-HAND-MADE,” or in more normal English, “The Image Not Made by Hands.”

Below that are two flying angels, bowing toward the crucified Jesus, their hands covered with cloths to show reverence.  Their abbreviated inscription reads:

ANGLI GOSPODNI (remember that a doubled Г Г is pronounced like English “ng”)
“Angels of the Lord”

And just below the two angels is the abbreviated inscription:


1 Corinthians 2:8 reads:
Which none of the princes of this world knew: for had they known it, they would not have crucified the Lord of glory.

Now let’s look at the middle portion.  At the top, we see the IC XC abbreviation for “Jesus Christ,”   Remember that while the Old Believers use the , Ісусъ [Isus] spelling, the Russian State Church uses Іисусъ [Iisus]. and “Christ” is Христос — Khristos.


Below the IC XC are these words:

“Son of God.”

At left we see the sun, and beneath it is its name:

At right is the moon, with its name:

Below is a long inscription that runs all the way along the main crossbar.  We will begin with the left side:

It reads:

Cross Of-You We-Bow-Before Master, or in better English,
“We bow before your cross, Master…” (Vladiko means “Ruler,” “Master.”)
It is often translated simply, “We honor/venerate your cross, Lord…”

And it finishes on the right side:

…And your holy resurrection we-praise
More smoothly,
“…And praise your holy resurrection.”

So all together, the inscription reads:
“We bow before your cross, Master, and Praise your holy resurrection.”

It is a common text, found in the Liturgy of John Chrysostom as well as in that of Basil, and repeated in the liturgy of the Third Week in Lent, etc.

In the lower portion of the upright beam, we see at left a spear, and at right a sponge on a reed.  By the spear is the letter K, abbreviating КОПИЕ — KOPIE, meaning “lance,” “spear.”   And by the sponge is the letter T, abbreviating  ТРОСТЬ — TROST’, meaning the reed/rod, with the sponge at its top.

In and near the lower crossbar, we see the walls and roofs of Jerusalem, and the letters НИКА — NIKA — Greek for “He Conquers.”

At the base of the upright we see these letters:

М  Л
Р  Б

They abbreviate




[The] Place [of the] Skull Paradise Became

In normal English, “The Place of the Skull became Paradise.”  “Lobnoe” is often more loosely translated as “Execution” or Judgment,” but Mesto Lobnoe refers to the place commonly called Calvary in English, from the Latin Calvariæ Locus, “Skull Place.”

That leads us to the final two inscriptions.

At the sides of the base of the cross are the letters

Г  Г

They abbreviate

“Hill [of] Golgotha”

“Golgotha” ultimately derived from the Aramaic Gagultâ, meaning “skull.”
Remember that Church Slavic (like Russian) has no “th” sound, so it is replaced with the “f” sound.

Just below the base of the cross is an opening in which lies a skull.  This follows the tradition that the Crucifixion happened at the center of the earth, and that was supposedly where the biblical first man, Adam, was buried.  So the skull is that of Adam.  And at the sides of the skull are the letters

Г  А
[the] SKULL (literally “head”) [of] ADAM

Some crosses (like this one) have a little plant at the base, a sprout of new life.

Now let’s look at the reverse inscription, which is the one most commonly found on these Old Believer brass crosses:

(Courtesy of Nino Rilović)

Though it has some variations in spelling (these are common), it is the standard text of the Octoechos: Exapostilarion, Monday Matins, found also in the Prayer of the Praise of the Cross (Похвала кресту — Pokhvala krestu) — which is:

Крест хранитель всей вселенной;
Krest khranitel’ vsey vselennoy

Крест красота церковная;
Krest krasota tserkovnaya

Крест царем держава;
Krest tsarem derzhava

Крест верным утверждение;
Krest vernuim utverzhdenie

Крест ангелом слава;
Krest angelom slava

Крест бесом язва.
Krest besom yazva

“The Cross is the protector of the whole universe,
the Cross is the beauty of the Church,
the Cross is the might of kings,
the Cross is the confirmation of the faithful,
the Cross is the glory of angels and scourge of demons

(Octoechos: Exapostilarion, Monday Matins — Festal Matins for the Feast of the Exaltation of the Cross.

At the base of the inscription we see another eight-pointed cross (the Old Believers would not accept the Latin cross).  Though again the spelling is off, it has the usual abbreviations:



“Son of God.”


“Jesus Christ”

We see the letters K and T for Kopie and Trost‘ (spear and reed/rod).

Note that they have reversed the positions of the letters in the М  Л / Р  Б abbreviation for Mesto Lobnoe Ray Buist, but the meaning is the same — “The Place of the Skull Became Paradise.”

Finally there are the letters Г Г for Gora Golgofa, “Hill of Golgotha.”

I mentioned earlier that the example discussed in this posting is an “altar cross.”  It is useful to know that cast metal Russian crosses are generally classified as follows:

1.  The altar cross (Напрестольный Крест — Naprestol’nuiy Krest):  it is placed on the altar beside the Gospel book.  These are the large crosses one often sees.

2. The pectoral cross (Нагрудный Крест — Nagrudnuiy Krest, or Наперсный Крест,  Napersnuiy Krest)These are the small to medium-sized crosses with a loop or hole at the top, so they may be worn on a cord or chain about the neck.  They are worn both by the clergy (priests, monks) and by certain pious people.

3.  The kiot or “arkcross ( Киотный КрестKiotnuiy Krest):  These are the crosses placed on the shelf in the “beautiful corner” of a room, along with the family icons.  They are of medium size, and have no hole or loop at the top.  They may also be taken on trips as a kind of temporary prayer focus.  They include those crosses one sees with side panels showing Martha and Mary (“Mother of God”) on the left of the Crucifixion and the Apostle John and Centurion Longinos (Login) at the right.  Kiot crosses are sometimes commonly known as “house crosses.”

4.  The body cross (Тельный крест — Telnuiy Krest):  These are the usually quite small crosses with a hole or loop at the top, worn around the neck on a cord or chain, and given to each person at baptism.  So any Russian Orthodox person wore a body cross.