Where is the iconostasis in the temple. Why does the temple need an iconostasis and a veil over the Royal Doors? Sedona Whirlwinds and the "Door of the Gods"

Today, the Royal Doors are an obligatory part of the iconostasis of an Orthodox church. They are in the center of the iconostasis and are the main entrance to the altar. However, until about the 8th century there were no iconostases in the temples, and the concept of the “Royal Doors” appears already in the 4th century. Why these gates are “Royal” and what is their significance - explain Alexander TKACHENKO, senior lecturer in the department of liturgy at PSTGU, and Andrey ANISIMOV, chief architect of the Association of Restorers, corresponding member of the Academy of Architectural Heritage.

Gate for the king

“The first Christians gathered for prayer in private homes, and in the 4th century, when Christianity became the state religion, the emperors gave Christians basilicas, the largest buildings in Roman cities used for court hearings and trade. In these buildings, the main gates were called royal, through which the emperor or bishop entered the temple, - Alexander Tkachenko explains. “The people entered the temple through the doors located along the perimeter of the basilica.” In the ancient Church, the chief celebrant and also the head of the community was the bishop. Without a bishop, the service would not begin - everyone was waiting for him in front of the church. The entry into the temple of the bishop and the emperor, and after them of the whole people, was the most solemn moment at the beginning of the Liturgy.

The altar part of the temple did not take shape immediately. At first, it was separated from the main part by low partitions, then curtains appeared in some churches (katapetasma from the Greek katapštasma), which were closed at certain moments of the liturgy, primarily during the consecration of the Gifts. “In the first millennium, there is very little evidence of these veils,” says Alexander Tkachenko. - In the life of St. Basil the Great, it is told that the saint introduced the use of veils covering the Altar for reasons that were not theological at all: the deacon who served with him often looked back at the women standing in the church. In the second millennium, the use of veils becomes widespread. Often they were decorated with embroidery, images of saints, the Mother of God.

The name "Royal Doors" was transferred from the main entrance to the temple to the gates of the iconostasis also in the second millennium. “For the first time, the gates leading to the altar were given an independent meaning only in the 11th century,” says Alexander Tkachenko, “when one of the interpretations of the liturgy says that with the words “Doors! Doors!” it is not the gates of the temple that are closed, but the doors leading to the altar. The iconostasis, as we know it - with the Royal Doors, rows of icons - was fully formed only by the 16th - 15th centuries.

Historical and symbolic

When large church communities broke up into many parishes, the custom of waiting for the bishop disappeared. Priests began to serve in parish churches, who could be in the altar from the beginning of the service. “Therefore, gradually (after the 8th - 9th centuries) the entrance to the bishop into the temple, and then to the altar, received a new meaning: additional chants and prayers appeared that accompany this entrance (today it is called the Small or the entrance with the Gospel). In ancient times the gospel was kept in a guarded and secret place. This was connected with persecution, with the danger of losing the Gospel Code. Bringing the gospel to read was a solemn moment. Now the Gospel is always kept on the Throne, and the Small Entrance connects both actions: the entry of the bishop (priest) into the temple and the bringing of the Gospel, which is taken from the Throne, is taken out through the deacon's gate and carried back through the Royal. The meaning of the Small Entrance is interpreted in different ways: according to the interpretations of some holy fathers, the Small Entrance symbolizes the Incarnation and the coming of the Savior into the world, according to others, the beginning of His public ministry and going out to preach.

Once again, during the liturgy, the procession of clergy passes through the Royal Doors, when the Cherubic Hymn is sung and the Chalice with wine, which will become the Blood of Christ, and the diskos with the Lamb, which will become the Body of Christ, are taken out. This procession was called the Great Entrance. “The very first explanation of the Great Entrance dates back to the turn of the 4th-5th centuries,” Alexander Tkachenko explains. - The authors of this time say that the procession denotes the carrying of the dead Body of Christ taken from the Cross and His position in the tomb. After the Eucharistic prayers are read and the Gifts become the Body of Christ, they will signify the Resurrection of Christ, Christ will rise in the Holy Gifts. In the Byzantine tradition, the Great Entrance received a different interpretation. It is revealed in the Cherubic Hymn that accompanies the procession. She tells us that the Great Entrance is a meeting of Christ the King, who is accompanied by Angels-Bodyguards. And the Royal Doors can be called so not only because in ancient times the emperor entered through them, but because now Christ enters through them as the King of Glory, who goes to death on the cross for the sins of people out of love for man.

Canon and creativity

The architect Andrei Anisimov tells about the traditions of designing the Royal Doors and the task of the architect: “The Royal Doors are the gates of Paradise, the Kingdom of Heaven. From this we proceed when creating them. The royal gates should be placed strictly in the center, along the axis of the temple (behind them there should be a Throne, further - a mountainous place). The Royal Doors are usually the most decorated part of the iconostasis. Jewelry can be very different: carving, gilding; vines and paradise animals were carved on baroque iconostases. There are Royal Doors, on which all the icons are placed in temple frames, crowned with numerous cupolas, which symbolizes the Heavenly City of Jerusalem.

The royal gates, like a shrine, can pass from one temple to another. “Sometimes you look, and the Royal Doors are not from the general ensemble. Then it turns out that these are the gates of the 16th century, grandmothers hid them in Soviet times before the closure or destruction of the temple, and now these gates are back in their place, and the iconostasis is new,” Andrey Anisimov continues.

As a rule, four evangelists and the Annunciation are depicted on the Royal Doors. But within these themes, variations are possible. “Only the Annunciation can be depicted full-length,” explains the architect. - If the gate is small, instead of the evangelists, their animal symbols can be placed: an eagle (the symbol of the Apostle John the Theologian), a calf (the Apostle Luke), a lion (Apostle Mark), an angel (Apostle Matthew). If in the temple, in addition to the main altar, there are two more chapels, then the Annunciation and the Evangelists can be depicted on the central Royal Doors, and the Annunciation on one gate, and St. John Chrysostom and Basil the Great, the authors of the rites of the Divine Liturgy, on the other.

Most often, an image of the Last Supper is placed above the gates, but there may be Christ Communion of the Apostles (“Eucharist”) or the Trinity. The iconography of the Royal Doors (Annunciation and Evangelists) shows us the path by which one can enter the Heavenly Gates - the path of salvation, which opens with the Good News of the birth of the Savior and is revealed in the Gospel.

When designing the Royal Doors, the architect has a field for creativity. Royal doors, like iconostases, can be made of wood, stone, marble, porcelain, or iron. “For the industrialist Demidov, iron was the cheapest material - he made iron iconostases. In Gzhel - porcelain iconostases. In Greece, where there is a lot of stone, the altar barrier is made of stone. In the Greek iconostasis, the Royal Doors are low, up to the chest, the opening between the gates and the arch is large. With the Royal Doors closed, but with the veil drawn back, you can see the Throne, the high place, what is happening in the altar, you can hear everything well.

Why are the Royal Doors not always open?

According to the charter, on Easter days - Bright Week - the Royal Doors are constantly open. This is a symbol of the fact that Christ, having suffered death on the Cross, opened the entrance to Paradise for us. The altar symbolizes Paradise, while the rest of the temple symbolizes the earth.

Now you can hear calls: let's serve, as in the ancient Church, with the Royal Doors open, what should we hide from the faithful? “This call has nothing to do with the scientific study of ancient worship,” Alexander Tkachenko comments. - In ancient times, at the door to the main part of the temple, there were special ministers called ostiarii (door-keepers). They made sure that only those who would take communion were at the liturgy, the rest (the catechumens and the penitents, those who did not have the right to take communion) were removed from the temple at the exclamation of the deacon “the catechumens, come out” (those who are catechumens, go out from the temple). And that is why in ancient times the problem of closing the Royal Doors and the altar did not exist. Subsequently, when the rank of the catechumens disappeared, and there were fewer communicants, the altar began to be closed from those who were in the temple, in order to avoid profaning the Sacrament.

The opening or closing of the Royal Doors shows the most important moments of worship. The words of the prayer that the priest says before entering through the Royal Doors into the altar at the end of the third antiphon also speak of reverence. It contains the words: "Blessed is the entrance of Thy saints." According to one interpretation, the words of this prayer mean the entrance to the Holy of Holies, since the altar of the Christian temple symbolically corresponds to the Holy of Holies of the Jerusalem temple, where no one except the high priest had the right to enter. Therefore, when the priest says: “Blessed is the entrance of Thy saints” - this means “blessed is the entrance into the Holy of Holies”, that is, the path to heaven, opened to us, according to the words of the Apostle Paul, by the Lord Jesus Christ (see: Heb. 9, 7- 28). But can we say that we are always ready for the journey to heaven? And if we answer honestly, it will turn out that the open altar and Paschal joy are beyond our strength all the time.

Irina REDKO

Comprises vestibule, middle part and altar.

vestibule This is the western part of the temple. To enter it, one must climb the steps to an elevated platform - porch. In ancient times, catechumens stood in the narthex (as those who are preparing to be baptized) were called. In later times, the vestibule became a place where, according to the charter, the following are performed: betrothal, litia during the all-night vigil, the rite of the announcement, the prayer of puerperas is read on the fortieth day. The vestibule is also called the refectory, since in ancient times love suppers were held in this part, and later meals after the liturgy.

From the porch, a passage leads to middle part where worshipers are located during worship.

The altar is usually separated from the middle part of the temple iconostasis. The iconostasis consists of many icons. To the right of the royal doors is an icon Savior, on the left - Mother of God. To the right of the image of the Savior is usually temple icon, that is, an icon of a holiday or a saint to whom the temple is dedicated. On the side doors of the iconostasis are depicted the Archangels, or the first deacons Stephen and Philip, or the high priest Aaron and Moses. An icon is placed above the royal doors Last Supper. The complete iconostasis has five rows. The first is called local: in addition to the icons of the Savior and the Mother of God, it usually contains a temple icon and locally venerated icons. Above local located festive a row of icons: icons of the main church holidays are placed here. The next row is called deisis, which means "prayer." In the center of it is the icon of the Almighty Savior, to the right of it is the image of the Virgin, to the left is the Prophet, Forerunner and Baptist John. They are depicted facing the Savior, coming to Him with a prayer (hence the name of the row). The images of the Mother of God and the Forerunner are followed by icons of the holy apostles (therefore, another name for this row is apostolic). In the deisis, saints and archangels are sometimes depicted. In the fourth row - icons of saints prophets, in the fifth - saints forefathers, that is, the ancestors of the Savior according to the flesh. The iconostasis is crowned with a cross.

The iconostasis is an image of the fullness of the Kingdom of Heaven, the Mother of God, the Heavenly Forces and all the saints are standing at the Throne of God.

Altar- a special, holy, important place. The altar is the holy of holies of an Orthodox church. There is a throne on which the Sacrament of Holy Communion is performed.

Altar- this is an image of the Kingdom of Heaven, a place above, exalted. Three doors usually lead to the altar. Central are called royal doors. They are opened in special, most important and solemn places of service: for example, when a priest takes out a chalice with the Holy Gifts through the Royal Doors, in which the Lord, the King of Glory Himself, is present. Left and right side doors are located in the altar barrier. They are called deaconial, since the clergy most often pass through them during the service, called deacons.

The altar is translated as elevated altar. Indeed, the altar is located higher than the middle part of the temple. The main part of the altar is where the Bloodless Sacrifice is performed during the Divine Liturgy. This sacred action is also called the Eucharist, or the Sacrament of Communion. We will talk about it later.

Inside the throne are the relics of the saints, for in ancient times, in the first centuries, Christians celebrated the Eucharist on the tombs of the holy martyrs. On the throne is antimension- a silk scarf, which depicts the position of the Savior in the tomb. Antimins in Greek means instead of the throne, since it also contains a piece of holy relics and the Eucharist is celebrated on it. On the antimension, in some exceptional cases (for example, on a military campaign), it is possible to perform the Sacrament of Communion when there is no throne. Standing on the throne tabernacle, usually made in the form of a temple. It contains spare Holy Gifts for communion of the sick at home and in the hospital. Also on the throne monstrance, in which priests carry the Holy Gifts when they go to give communion to the sick. On the throne is Gospel(it is read during worship) and cross. Right behind the throne menorah- a large candlestick with seven lamps. The menorah was still in the Old Testament temple.

Behind the throne on the east side is mountainous place, which symbolically marks the heavenly throne or pulpit of the eternal High Priest - Jesus Christ. Therefore, the icon of the Savior is placed on the wall above the mountainous place. On a mountainous place they usually stand altarpiece of the Virgin and big cross. They are used to wear during religious processions.

In those churches where the bishop serves, behind the throne on stands are dikyrium and trikirium- candlesticks with two and three candles, with which the bishop blesses the people.

In the northern part of the altar (if you look directly at the iconostasis), to the left of the throne, - altar. It resembles a throne, but smaller. On the altar they prepare the Gifts - bread and wine for the celebration of the Divine Liturgy. On it are sacred vessels and objects: Bowl(or chalice), paten(a round metal dish on a stand), asterisk(two metal arcs connected to each other crosswise), copy(knife in the form of a spear), liar(communion spoon) patrons to cover the Holy Gifts (there are three of them; one of them, large and having a rectangular shape, is called air). Also on the altar there is a ladle for pouring wine and warm water (heat) into the bowl and metal plates for particles taken out of the prosphora.

The purpose of the sacred vessels will be discussed in detail later.

Another altar piece censer. This is a metal cup on chains with a lid topped with a cross. Coal is placed in the censer and incense or incense(aromatic resin). The censer is used to burn incense during the service. The fragrant smoke symbolizes the grace of the Holy Spirit. Also, the incense smoke rising upwards reminds us that our prayers should ascend upwards, to God, like the smoke of a censer.

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To the right of the Royal Doors is the icon of the Savior, where He is depicted with a Book and a blessing gesture. On the left is an icon of the Mother of God (as a rule, with the Infant Jesus in her arms). Christ and the Mother of God meet us at the gates of the Kingdom of Heaven and lead us to salvation throughout our lives. The Lord said of Himself: “I am the way, the truth, and the life; no one comes to the Father except through Me" (); “I am the door to the sheep” (). The Mother of God is called Hodegetria, which means "guide" (usually an iconographic version of the Mother of God Hodegetria is placed here).

The icon next to the image of the Savior (to the right in relation to the upcoming ones) depicts a saint or a holiday, after which this temple is named. If you entered an unfamiliar temple, just look at the second icon to the right of the Royal Doors to determine which temple you are in - in the Nikolsky Church there will be an image of St. Nicholas of Myra, in Trinity - the icon of the Holy Trinity, in the Assumption - the Assumption of the Blessed Virgin Mary, in the church of Cosmas and Damian - the image of Sts. unmercenaries, etc.

In addition to the Royal Doors, in the bottom row there are also southern and northern doors (also called diaconal, because it is the deacon who in the process of worship uses them more often than others). As a rule, they are much smaller and lead to the side parts of the altar - the altar, where the Proskomidia is performed, and the deacon or sacristy, where the priest dresses before the liturgy and where the vestments and utensils are stored. Deacon doors are usually depicted either as archangels, symbolizing the angelic ministry of the clergy, or as the first martyrs, Archdeacons Stephen and Lawrence, who set a true example of serving the Lord.

From the inside of the Royal Doors is hung (Greek καταπέτασμα - catapetasma), which is opened or closed at certain moments of worship.

The royal doors open only during the service and only at certain moments of it. During the Bright (Easter) week, they do not close for a whole week as a sign that Jesus Christ opened the gates of the Kingdom of Heaven for us.

The Royal Doors are opened during the Liturgy:

- for the Small Entrance with the Gospel, which marks the appearance of the Lord to preach the Gospel, and after reading the Gospel they close;

- for the Great Entrance, at which the Holy Gifts are transferred from the altar to the throne, then they are closed, which means the descent of the Savior into hell;

- at the presentation of the Holy Gifts for the communion of the people, which depicts the appearance of the Lord to His disciples after the resurrection, the ascension to heaven and the opening of the kingdom of heaven.

Only clergy are allowed to pass through the royal gates.

Royal doors - when did they appear and what do they mean? In the center of the local - the lowest - row of the iconostasis are the Royal Doors. Symbolically, they are the gates of Paradise, opening the way to the Kingdom of Heaven for a person. In Byzantium, the central doors of the temple were called the Royal Doors. After the liturgical exclamation of the priest “Doors! Doors! the ministers closed the entrance to the temple and only the “faithful,” that is, the baptized, were present at the Eucharistic canon. The later meaning and name of the Royal Doors was transferred to the central doors of the altar, located directly opposite the Throne. Only clergymen can enter the altar through them and only during worship. The Royal Doors open at strictly defined moments of worship. And during the Bright (Easter) week, the Royal Doors do not close for a whole week. Traditionally, the figures of the Archangel Gabriel and the Virgin Mary are placed on the two wings of the Royal Doors, forming together the scene of the Annunciation, as a symbol of the fact that through the Incarnation, the doors of Paradise, locked after the fall of man, have again become open to everyone. Also, the images of the four evangelists are placed on the Royal Doors, as a sign that with the Joyful News of the Incarnation of Christ and through communion with the Gospel sermon, the doors of salvation open to man. In Byzantium, and later in Ancient Rus', there was a practice to place on the Royal Doors full-length images of the Old Testament prophet Moses, who arranged the Tabernacle for the sacrifice, and the first priest of the Jerusalem temple, Aaron, in liturgical robes, as well as the figures of St. John Chrysostom and Basil the Great - the authors of the Divine Liturgy. A vivid image of the Heavenly City of Jerusalem was the Russian Royal Doors of the second half of the 16th-17th centuries. The brilliance of gilding, multi-colored enamels, mica plates and precious stones reminded us of the beauty of the Divine City, described by the Apostle John the Theologian in the book of Revelation (Apocalypse). Dmitry Trofimov The Royal Gates are the gates located in the middle of the iconostasis and leading to the throne. They are called so because through them the Holy Gifts are brought to the liturgy - the Lord himself comes out to the believers - the King of Glory (Ps. 23:7,10) In the service, the opening of the Royal Doors symbolizes the opening of the Kingdom of Heaven. Only priests are allowed to pass through them. The iconostasis has three gates. The central, largest, are called Royal Doors. They are called Royal Doors because they symbolize the entrance to the Kingdom of God. The Kingdom of God is revealed to us through the Good News, so the Annunciation theme is depicted on the Royal Doors twice: the scene of the Annunciation with the Virgin Mary and the Archangel Gabriel, as well as the four evangelists preaching the gospel to the world. Once upon a time, to the liturgical exclamation “Doors, doors!” the ministers closed the outer doors of the temple, and they were called Royal, for all believers are the royal priesthood, but now the doors of the altar are closed. The Royal Doors are also closed during the Eucharistic Prayer, so that those who thank the Lord for His atoning sacrifice are, as it were, on opposite sides of the altar barrier. But in order to connect those who stand outside the altar and what is happening in the altar, the icon of the Last Supper (or the Communion of the Apostles) is placed over the place where the Royal Doors are located. Sometimes on the wings of the Royal Doors are placed images of the creators of the liturgy of Sts. Basil the Great and John Chrysostom. To the right of the Royal Doors is the icon of the Savior, where He is depicted with a Book and a blessing gesture. On the left is an icon of the Mother of God (as a rule, with the Infant Jesus in her arms). Christ and the Mother of God meet us at the gates of the Kingdom of Heaven and lead us to salvation throughout our lives. The Lord said of Himself: “I am the way, the truth, and the life; no one comes to the Father except through Me” (John 14.6); “I am the door to the sheep” (John 10.7). The Mother of God is called Hodegetria, which means "guide" (usually an iconographic version of the Mother of God Hodegetria is placed here). The icon next to the image of the Savior (to the right in relation to the upcoming ones) depicts a saint or a holiday, after which this temple is named. If you entered an unfamiliar temple, just look at the second icon to the right of the Royal Doors to determine which temple you are in - in the Nikolsky Church there will be an image of St. Nicholas of Myra, in Trinity - the icon of the Holy Trinity, in the Assumption - the Assumption of the Blessed Virgin Mary, in the church of Cosmas and Damian - the image of Sts. unmercenaries, etc. In addition to the center of the iconostasis where the Royal Doors are located, the southern and northern doors are also located in the bottom row (also called deacon doors, because it is the deacon who uses them more often than others in the process of worship). As a rule, they are much smaller and lead to the side parts of the altar - the altar, where the Proskomidia is performed, and the deacon or sacristy, where the priest dresses before the liturgy and where the vestments and utensils are stored. Deacon doors are usually depicted either as archangels, symbolizing the angelic ministry of the clergy, or as the first martyrs, Archdeacons Stephen and Lawrence, who set a true example of serving the Lord. From the inside, the Royal Doors are hung with a veil (Greek, katapetasma), which is opened or closed at certain moments of worship. The royal doors open only during the service and only at certain moments of it. During the Bright (Easter) week, they do not close for a whole week as a sign that Jesus Christ opened the gates of the Kingdom of Heaven for us. The Royal Doors are opened during the Liturgy: For the Small Entrance with the Gospel, which marks the appearance of the Lord for the preaching of the Gospel, and after reading the Gospel they are closed; For the Great Entrance, at which the Holy Gifts are transferred from the altar to the throne, then they are closed, which means the descent of the Savior into hell; During the presentation of the Holy Gifts for the communion of the people, which depicts the appearance of the Lord to His disciples after the resurrection, the ascension to heaven and the opening of the Kingdom of Heaven. azbuka ru Gates for the king “The first Christians gathered for prayer in private homes, and in the 4th century, when Christianity became the state religion, the emperors gave Christians basilicas, the largest buildings in Roman cities used for court hearings and trade. In these buildings, the main gates were called royal, through which the emperor or bishop entered the temple, - Alexander Tkachenko explains. “The people entered the temple through the doors located along the perimeter of the basilica.” In the ancient Church, the chief celebrant and also the head of the community was the bishop. Without a bishop, the service would not begin - everyone was waiting for him in front of the church. The entry into the temple of the bishop and the emperor, and after them of the whole people, was the most solemn moment at the beginning of the Liturgy. The altar part of the temple did not take shape immediately. At first, it was separated from the main part by low partitions, then curtains appeared in some churches (katapetasma from the Greek katapštasma), which were closed at certain moments of the liturgy, primarily during the consecration of the Gifts. “In the first millennium, there is very little evidence of these veils,” says Alexander Tkachenko. - In the life of St. Basil the Great, it is told that the saint introduced the use of veils covering the Altar for reasons that were not theological at all: the deacon who served with him often looked back at the women standing in the church. In the second millennium, the use of veils becomes widespread. Often they were decorated with embroidery, images of saints, the Mother of God. The name "Royal Doors" was transferred from the main entrance to the temple to the gates of the iconostasis also in the second millennium. “For the first time, the gates leading to the altar were given an independent meaning only in the 11th century,” says Alexander Tkachenko, “when one of the interpretations of the liturgy says that with the words “Doors! Doors!” it is not the gates of the temple that are closed, but the doors leading to the altar. The iconostasis, as we know it - with the Royal Doors, rows of icons - was fully formed only by the 16th - 15th centuries. Historical and symbolic When large church communities broke up into many parishes, the custom of waiting for the bishop disappeared. Priests began to serve in parish churches, who could be in the altar from the beginning of the service. “Therefore, gradually (after the 8th - 9th centuries) the entrance to the bishop into the temple, and then to the altar, received a new meaning: additional chants and prayers appeared that accompany this entrance (today it is called the Small or the entrance with the Gospel). In ancient times the gospel was kept in a guarded and secret place. This was connected with persecution, with the danger of losing the Gospel Code. Bringing the gospel to read was a solemn moment. Now the Gospel is always kept on the Throne, and the Small Entrance connects both actions: the entry of the bishop (priest) into the temple and the bringing of the Gospel, which is taken from the Throne, is taken out through the deacon's gate and carried back through the Royal. The meaning of the Small Entrance is interpreted in different ways: according to the interpretations of some holy fathers, the Small Entrance symbolizes the Incarnation and the coming of the Savior into the world, according to others, the beginning of His public ministry and going out to preach. Once again, during the liturgy, the procession of clergy passes through the Royal Doors, when the Cherubic Hymn is sung and the Chalice with wine, which will become the Blood of Christ, and the diskos with the Lamb, which will become the Body of Christ, are taken out. This procession was called the Great Entrance. “The very first explanation of the Great Entrance dates back to the turn of the 4th-5th centuries,” Alexander Tkachenko explains. - The authors of this time say that the procession denotes the carrying of the dead Body of Christ taken from the Cross and His position in the tomb. After the Eucharistic prayers are read and the Gifts become the Body of Christ, they will signify the Resurrection of Christ, Christ will rise in the Holy Gifts. In the Byzantine tradition, the Great Entrance received a different interpretation. It is revealed in the Cherubic Hymn that accompanies the procession. She tells us that the Great Entrance is a meeting of Christ the King, who is accompanied by Angels-Bodyguards. And the Royal Doors can be called so not only because in ancient times the emperor entered through them, but because now Christ enters through them as the King of Glory, who goes to death on the cross for the sins of people out of love for man. Canon and creativity The architect Andrey Anisimov tells about the traditions of designing the Royal Doors and the task of the architect: “The Royal Doors are the gates of Paradise, the Kingdom of Heaven. From this we proceed when creating them. The royal gates should be placed strictly in the center, along the axis of the temple (behind them there should be a Throne, further - a mountainous place). The Royal Doors are usually the most decorated part of the iconostasis. Jewelry can be very different: carving, gilding; vines and paradise animals were carved on baroque iconostases. There are Royal Doors, on which all the icons are placed in temple frames, crowned with numerous cupolas, which symbolizes the Heavenly City of Jerusalem. The royal gates, like a shrine, can pass from one temple to another. “Sometimes you look, and the Royal Doors are not from the general ensemble. Then it turns out that these are the gates of the 16th century, grandmothers hid them in Soviet times before the closure or destruction of the temple, and now these gates are back in their place, and the iconostasis is new,” Andrey Anisimov continues. As a rule, four evangelists and the Annunciation are depicted on the Royal Doors. But within these themes, variations are possible. “Only the Annunciation can be depicted full-length,” explains the architect. - If the gate is small, instead of the evangelists, their animal symbols can be placed: an eagle (the symbol of the Apostle John the Theologian), a calf (the Apostle Luke), a lion (Apostle Mark), an angel (Apostle Matthew). If in the temple, in addition to the main altar, there are two more chapels, then the Annunciation and the Evangelists can be depicted on the central Royal Doors, and the Annunciation on one gate, and St. John Chrysostom and Basil the Great, the authors of the rites of the Divine Liturgy, on the other. Most often, an image of the Last Supper is placed above the gates, but there may be Christ Communion of the Apostles (“Eucharist”) or the Trinity. The iconography of the Royal Doors (Annunciation and Evangelists) shows us the path by which one can enter the Heavenly Gates - the path of salvation, which opens with the Good News of the birth of the Savior and is revealed in the Gospel. When designing the Royal Doors, the architect has a field for creativity. Royal doors, like iconostases, can be made of wood, stone, marble, porcelain, or iron. “For the industrialist Demidov, iron was the cheapest material - he made iron iconostases. In Gzhel - porcelain iconostases. In Greece, where there is a lot of stone, the altar barrier is made of stone. In the Greek iconostasis, the Royal Doors are low, up to the chest, the opening between the gates and the arch is large. With the Royal Doors closed, but with the veil drawn back, you can see the Throne, the high place, what is happening in the altar, you can hear everything well. Why are the Royal Doors not always open? According to the charter, on Easter days - Bright Week - the Royal Doors are constantly open. This is a symbol of the fact that Christ, having suffered death on the Cross, opened the entrance to Paradise for us. The altar symbolizes Paradise, while the rest of the temple symbolizes the earth. Now you can hear calls: let's serve, as in the ancient Church, with the Royal Doors open, what should we hide from the faithful? “This call has nothing to do with the scientific study of ancient worship,” Alexander Tkachenko comments. - In ancient times, at the door to the main part of the temple, there were special ministers called ostiarii (door-keepers). They made sure that only those who would take communion were at the liturgy, the rest (the catechumens and the penitents, those who did not have the right to take communion) were removed from the temple at the exclamation of the deacon “the catechumens, come out” (those who are catechumens, go out from the temple). And that is why in ancient times the problem of closing the Royal Doors and the altar did not exist. Subsequently, when the rank of the catechumens disappeared, and there were fewer communicants, the altar began to be closed from those who were in the temple, in order to avoid profaning the Sacrament. The opening or closing of the Royal Doors shows the most important moments of worship. The words of the prayer that the priest says before entering through the Royal Doors into the altar at the end of the third antiphon also speak of reverence. It contains the words: "Blessed is the entrance of Thy saints." According to one interpretation, the words of this prayer mean the entrance to the Holy of Holies, since the altar of the Christian temple symbolically corresponds to the Holy of Holies of the Jerusalem temple, where no one except the high priest had the right to enter. Therefore, when the priest says: “Blessed is the entrance of Thy saints” - this means “blessed is the entrance into the Holy of Holies”, that is, the path to heaven, opened to us, according to the words of the Apostle Paul, by the Lord Jesus Christ (see: Heb. 9, 7- 28). But can we say that we are always ready for the journey to heaven? And if we answer honestly, it will turn out that the open altar and Paschal joy are beyond our strength all the time. Irina Redko Royal Doors Hegumen Theognost (Pushkov) Foreword Orthodox liturgy, being in its essence and name a common deed and common service, has been developed over the centuries and supplemented by various rites and outward attributes. At the present stage, it is difficult to talk about the Orthodox liturgy outside the architectural space of the temple. And modern liturgical theology must have the courage to evaluate the existing order of celebrating divine services in our country. Often we simply post factum try to justify the order that has arisen, without thinking about its theological value. A modern temple of the Orthodox Church is inconceivable without an altar barrier with its gates (lateral and central, "Royal"). But the altar barrier and its gates can function differently during worship. They can unite the people with the priesthood, or they can separate. The liturgical life of the Church is an icon of her spiritual and moral state. Worship and prayer, like a supersensitive photographic film, captures in itself all the features, both positive and negative, of the spiritual image of a parish, a community, even entire dioceses and Local Churches. The Eucharist is the sacrament of all sacraments, but the sacrament requires a living attitude, not a formal and technical one. And when interest in the meaning and essence of the liturgy cools, random elements fall into its rites that do not reflect its meaning, but only close it from full perception by the people. The liturgy itself ceases to be the living heart of the life of believers. That is, in a mysterious sense, she remains such a heart, but this is not felt and is not realized by that mass of clergy and people who only “come” to the liturgy and “defend” it. The “royal doors” of the altar have become a “stumbling block” for many, especially the fact that only in the Russian Church their opening for the entire liturgy is the “highest church award”. The author of these lines suggests looking at the liturgy through the prism of patristic theology and trying to comprehend the role of the altar barrier and its gates in it, as well as their use in other Orthodox Local Churches. Historical background Since the time of the apostles and during the long three centuries of persecution, the Ancient Church celebrated the Eucharist not in specially built churches, but in the homes of believers, or even simply in the catacombs (in Rome these were underground cemeteries and communications). Nevertheless, archaeological research has shown that even there, in rather poor conditions, there was a special allocation of the "altar", that is, the place of spiritual sacrifice. As a rule, it was a table standing on a small elevation (hence the Latin name altare - "elevation"). In buildings with an apse (conch), as a rule, this elevation was located in the apse, which was hung with a curtain during non-liturgical hours. This was especially characteristic of catacomb temples, and later - stone temples of apse architecture. That is, the sanctuary stood out and emphasized by all possible means. But at the same time, during the meeting of the community for joint worship, the sanctuary was opened before the gaze of all those praying, who gathered around the Eucharistic altar meal like a family around the festive table. When the Church emerged from the catacombs and the Christian religion was legalized in the Empire, large temples began to appear, and the type of “temple architecture” gradually formed. But before the appearance of the iconostasis with gates (central and side) it was still far away. In the first centuries of “free existence”, two types of temple architecture were outlined: apse (elevation in a niche at the end of the temple) and basilica (an oblong rectangular room, a spacious hall, at the end of which there was a throne). Saint Epiphanius of Cyprus (4th century) mentions a curtain that hid the apse of the temple with the throne located there during non-liturgical hours. But it was problematic to hang an altar in churches of the basilic type (the width of the altar there corresponded to the width of the temple). Therefore, Chrysostom ("Conversations on the Epistle to the Ephesians") mentions the "barrier", which, according to him, before the start of the service is not opened, but "removed". Apparently, initially it was something like a "portable picket fence", a "movable lattice", which was removed for the duration of the service and exhibited only outside the service. However, the influx of the masses of the people set before the clergy a new, purely practical (not at all theological) task: how to protect the altar from the random onslaught of a crowded mass of parishioners? This is especially true on big holidays. This is how the first version of the “solid” (not portable) barrier of the altar arises. It will not take long to look for samples of such an obstacle. It is enough to study the architecture of ancient temples located in large pilgrimage centers. Such centers, of course, are Bethlehem and Jerusalem. According to Tarkhanova's studies1 on the architecture of the ancient Bethlehem Basilica and the ancient Church of the Resurrection of Christ, the barrier consisted of pillars placed around the altar (the so-called "stasis"2 resting against the ceiling, which means "pillars" in translation), between which there were large "spans". In the central "span" was the entrance to the altar, and between the other pillars there were bronze lattices (or plates), less than one and a half meters high from the ground. Such barriers successfully coped with the task set. Over time, there were attempts to draw a symbolic parallel between the temple and Moses' "tabernacle of the Covenant." It is important to bear in mind that all these parallels always arose post factum after the introduction to the use of one or another detail of the temple decor and never arose per factum, as some kind of speculative principle that temple builders should be guided by. First, for practical reasons, a form of interior decoration convenient for the temple appears, and then (and even then not immediately) “symbolic explanations” of this form appear. The architecture of the "Byzantine" temple goes back to the architecture of the Old Testament temple in Jerusalem, as well as to the prototype of the latter - the "tabernacle of the Testament." In this matter, Tarkhanova's study of the Old Testament prototypes of our iconostasis is truly invaluable for the Russian-speaking reader. Both late Byzantine exegetes-liturgists and modern scholars speak of this Old Testament root. However, Tarkhanova, having delved into the features of the prototype itself, comes to the conclusion: “The architecture of the (altar. - Ig. F.) barrier of the early Christian time is the opposite of the Old Testament, borrowing from the biblical descriptions only the factual and symbolic basis: instead of hiding the Holy of Holies of the temple , the barrier of the first temples, on the contrary, opens the altar and the liturgy taking place in it for all believers. This is how the iconostasis is born. A great connoisseur of the Byzantine tradition, Father Robert Taft (like Tarkhanova) says the following about Byzantine altars: “The altar barrier was made open: everything that happened inside was visible. Therefore ... the altar (i.e. the throne) stood in front of the apse, and not in the apse itself. In the apse itself there was a throne (of a bishop) and a co-throne (of presbyters)"5. And this situation existed for quite a long time. In the 8th century St. Herman of Constantinople compiled his explanation of the Divine Liturgy, as well as the structure of the temple. Firstly, he only mentions the existence of a pillar barrier and “a cosmite adorned with a Cross” in his time. “Cosmit” is a beam-beam above the pillars of the “iconostasis” (the “stasis” themselves, apparently, in this case did not rest against the ceiling, representing a kind of antique portico). Secondly, having described the sacred rites of the Divine Anaphora, he addresses the readers with the words: “Having thus become eyewitnesses of the Divine Mysteries, ... let us glorify ... the Sacrament of the Dispensation of our Salvation”7. That is, the saint explained the meaning of what the readers of his interpretation saw at each liturgy. But they could not see all this if there was a deaf iconostasis and the closed Royal Doors. He goes on to explain why the priest bows in prayer. This is also an interpretation of that action, which for the contemporaries of the saint was visible, but incomprehensible, and therefore needed interpretation. “At least until the 11th century in Constantinople, the altar was not hidden from human eyes, and the throne was not hidden behind a curtain, which is shown by frescoes and miniatures of that time. The first mention of the closing of the gates of the altar barrier after the Great Entrance and the pulling of the veil is contained in the commentary on the liturgy of the middle of the 11th century by Nicholas of Andides Proteorius. The author calls this custom monastic”8. A similar interpretation is given by the 12th-century author Theodore, Bishop of Andides: “The closing of the doors and the lowering of their (επάνω τούτων) veils from above, as is usually done in monasteries, as well as the covering of the Divine Gifts with the so-called air, marks, I think, that night, in which the betrayal of the disciple took place, leading (Jesus) to Caiaphas, presenting Him to Anna and pronouncing perjury, then - reproaches, beatings and everything that happened then. It can be seen from the quotation that the drawing of the veil and the closing of the gates is a private monastic custom, and not a statutory provision. Moreover, this text itself is a quotation from an earlier creation - a commentary on the liturgy of St. Herman of Constantinople, and expresses only the private opinion (as indicated by the word "I think") of the author From the quotation itself it is not clear where the gates and curtain were located: whether on the way from the porch to the temple, or on the way from the temple to the altar. And only Theodore of Andides himself adds: “For at the time when the gates are closed, and the veil is lowered, the subdeacons, according to the decree of the divine fathers, who tried to remove temptations and restrain those who, to the detriment of the weak, impiously and impiously walk there and here, like servants, they stand outside, in the space of the divine temple, as if in the courtyard of the altar. Below we will touch on this text again when we analyze the theological side of the issue. But the iconostasis itself with two side and central Royal Doors already existed in the church of Sophia of Constantinople, only now it was not at the entrance to the altar, but at the entrance to the temple from the vestibule (narthex). Here, for example, is how Archbishop Simeon of Thessaloniki describes the entry of a priest into the temple at the beginning of Matins (after singing the Midnight Office, which, according to the Book of Hours, should still be performed in the vestibule): “Midnight singing is over. The doors of the temple open (!), like heaven, and we enter it... the abbot will pass through the Royal Doors, and the others - on either side of him... The priest at the throne utters an exclamation"12. We see that, firstly, we are talking about entering the temple from the vestibule, and secondly, upon entering the temple, the priest suddenly finds himself at the throne, but it is not said that he passes through some other gates. Consequently, blessed Simeon did not know about any gates separating the temple from the altar13. At least he does not say that in order to get into the altar, one must also open some gate or enter some door. Similarly, in chapter 200, the same author, in the same book of conversations about the sacraments of the church, explaining the rite of the appointment of a patriarch, says that the bishops enter the altar "from the side, and not from the middle." And in the book “On the Temple”, the same blessed Simeon of Thessalonica mentions only a curtain around the throne and some “barriers” that separated the altar from the temple14. In the same place, in the “Book of the Temple”, Simeon writes that after the placing of the Gifts on the throne at the liturgy, “the Royal Doors are closed, for not everyone should be able to see the Sacraments performed in the altar”15. At first it may seem that Simeon contradicts himself. But things are different. The royal doors were between the temple and the porch (narthex). In the narthex there were catechumens (who did not enter the temple together with the faithful). And since the altar did not have blind gates, everything that was happening in the altar could be seen from the naretx. And saying that “the Sacraments should not be visible to everyone,” he means those standing in the nartext (i.e. catechumens, as well as excommunicated, penitent and possessed by unclean spirits). The closing of the Royal Doors of the temple made it impossible for those standing in the nartext to see what was happening in the altar. But this did not in the least prevent those standing in the temple from contemplating the service at the altar. But even if we agree that there are contradictions in the works of Simeon of Thessalonica, it is important to consider that Simeon himself was strongly influenced by the pseudo-Areopagite corpus with its Monophysite opposition of the people and the priesthood. On the other hand, apparently, this pseudo-Areopagite theory has not yet been universally assimilated by Orthodox churches, and therefore Simeon could speak more theoretically. Ivan Dmitrievsky cites the words of another contemporary scholar who visited the Orthodox shrines of the East: “Vasily Grigoryevich Barsky, in his journey to the holy places, testifies that he saw in Jerusalem, in Gethsemane, at the tomb of the Most Holy Theotokos, in Sinai - at the very place of the appearance of the Burning Bush , such temples in which there are neither royal, nor northern, nor southern doors. And in Jerusalem, the Altar is not separated from the temple by any barrier. For the priesthood there is only the throne. For details on this, see Barsky's Journey on pages 107 and 270"16. It is important to take into account that, according to Kondakov, it was “in the holy places of Jerusalem, the Mount of Olives, Bethlehem… that the original forms of the altar, its barrier, and the altar were formed”17. The influence of the architecture of the Church of the Holy Sepulcher and the ancient temple of Bethlehem on the design of the altars of Byzantine churches is also noted by Tarkhanova18. Therefore, the testimonies of people who visited ancient temples in the past centuries, until they were touched by the hand of "restorers"19, are especially significant for us. The question arises: how did Russian Christians deserve such a punishment - excommunication from contemplation of the sacrament of the altar? And if Jerusalem and the Holy Sepulcher are the “Mother of the Churches,” as we sing at the Sunday service,20 then it should be a guide for all of us. Otherwise, by making an attempt to be holier than the Temple of Jerusalem itself, we may turn out to be boring Pharisees, and by no means bearers of holiness. The Theology of the Liturgical Space When we speak of the liturgical space, the theology of this space cannot be "autonomous" from the theology of the Eucharistic liturgy itself. What actually takes place at the Eucharist? The most basic is touching the Eternity of God. According to the wise expression of Archpriest A. Schmemann, the boundaries of time and space are overcome, and we enter into God's eternity. During the service of the liturgy, in addition to the consecration of the Gifts, there is also a spiritual movement forward, towards eternity, of the people participating in the sacred service. We can outline three main aspects of the liturgical action that directly relate to our topic: entry into glory, contemplation of glory, and the unity of the space of the temple and the altar. Entry into Glory In the Divine Liturgy of the Orthodox Church, the idea is often emphasized that this very service became possible only due to the fact that the Divine and the human in Christ were united, heaven and earth were united, and the “median barrier” was destroyed. Being present at the liturgy, standing before the Face of God, we are present in heaven, before God, in His Mysterious and Glorious Kingdom. According to St. Maximus the Confessor, eternal realities, "future" blessings, "primordial sacraments" are communicated in the Church by the faithful "through sensual symbols." And everything in worship has its own meaning - symbolic in the highest sense of the word (ie organic, not allegorical symbolism)21. To understand the meaning of "entrance into the temple" as a sacrament, it is necessary to refer to the "little entrance" of the liturgy22. In ancient Byzantine and Roman practice, the people gathered and waited for the priest in the temple, and when the priest entered the temple, the people greeted the incoming priest by singing psalms, or, more precisely, verses from psalms, called "introit verses" (Latin introit, Greek είσοδικόν) . That is why the prayer with which the divine service began was called the “prayer of the assembly of the people” or “the prayer of the entry of the people into the temple.” This prayer now stands at the beginning of the divine service in the order of the Liturgy of the Apostle James, Bishop of Jerusalem23. The same prayer stood at the beginning of the liturgy of John Chrysostom in the first of the Greek codes that have come down to us, i.e. in the Barberini code (VIII century). This prayer was recited in the middle of the temple24. This prayer, in its meaning, refers specifically to the “gathering of the faithful at the liturgy.” It is noteworthy that in the Barberini code there is, firstly, that “small entrance” prayer, which is known from our current liturgical books, and secondly, there is no mention at all that after the priest entered the temple there was another entrance to the altar as a special procession. One has to agree with Golubtsov’s opinion that in the ancient Byzantine rites, the entire first part of the service before the catechumens left was in the church, and there was already an entrance to the altar along with the “brought” gifts for the Eucharist25. Sophia of Constantinople, built by Emperor Justinian the Great, had a charter that was completely different from all of the above. The difference between the actual Byzantine rite of Hagia Sophia (and, perhaps, almost the only temple) was that in Rome (and elsewhere) the people gathered in the temple before the arrival of the priesthood, and waited for the priests in the temple. In the "Great Church" (Hagia Sophia) of Constantinople, everything was different. The people gathered at the entrance to the temple in a special atrium (covered western gallery), which was specially attached to the

Conclusion The Church is a living organism, not a soulless building. Any living organism is subject to suffering, metamorphoses. And the task of any living organism is to defeat diseases, “shake off the dust” and develop further. I would like to hope that the research carried out by the theological school will not “fall into a folder”, will not be covered with “secular dust”, but will become an incentive for real activity to transform our liturgical life. Now this topic is especially relevant, because without a full-fledged introduction of a believer into Orthodox worship, we risk losing this believer, if not for the Church as a whole, then for worship. Our people use all kinds of liturgical surrogates, apocryphal prayers due to the inaccessibility of worship for them. And one catechesis is not enough here. Coming to the temple, a person (if he wants to become a member of the community, and not just come in to “light a candle”) looks for his place in worship. But it turns out to be closed to him. At the end, the author offers readers a list of literature used by him in the preparation of this article and at the same time recommended to those who wish to more thoroughly study the issues raised in this brief study. Notes 1 See Tarkhanova S. Old Testament prototypes of the altar barrier of Byzantine churches // Alpha and Omega, no. 2 (52); 3 (53), 2008. 2 Later, these pillars began to be decorated on top with icons and carved ornaments. Hence the name: "Iconostasis". 3 In our churches, this is also relevant: if barriers are not put up in cathedrals, then, for example, on Easter, the people can simply “sweep away” the priesthood along with the throne. 4 Tarkhanova S. Old Testament prototypes… // Alpha and Omega, No. 2 (52), 2008. P. 306. 5 Taft R. Byzantine Church Rite. SPb., 2000. S. 79. 6 German of Constantinople, set. The Tale of the Church and the Consideration of the Sacraments. M., 1995. Ch. 8. S. 47. 7 Ibid. Ch. 41. S. 81. 8 Nikolai Kim, priest. Note No. 8 to the Letters of St. Nikita Stifata // Rev. Nikita Stefat. About Ray. SPb., 2005. 9 Theodore, Bishop of Andides. A brief discourse on the mysteries and images of the Divine Liturgy, compiled at the request of the God-loving Basil, Bishop of Phytia. Pech. by ed.: KrasnoseltsevN. F. Explanation of the liturgy compiled by Fedor, Bishop of Andides // Orthodox interlocutor. Kazan, 1884. Book. I. Ch. 21. 10 See: PG 98: 425-428. 11 Theodore, Bishop of Andides. Brief discussion… Chap. 21. 12 Simeon of Thessalonica, blzh. Talk about the holy rites and the sacraments of the church. Ch. 274. 13 Although in the 147th chapter of this work certain special “gates of the altar” are mentioned, but here openings in stasis with a small “gate” can be called gates, as can now be found in Greek types of iconostasis. 14 Simeon of Thessalonica, blzh. Book about the Temple II Dmitrievsky 77. Historical, dogmatic and mysterious interpretation of the Divine Liturgy. M., 1884. S. 385. But the “sacred doors of the altar” are also mentioned there (Simeon of Thessalonica, blzh: The Book of the Temple ... S. 402), which were opened at the small entrance during the bishop's service. However, we could assume - because. there is no description of the iconostasis from the time of Simeon of Thessalonica, which means all the same partitions knee-deep to a man of average height. 15 Simeon of Thessalonica, blzh:. The book about the Temple… S. 410. 16 Ibid. P. 130. 17 Kondakov 77. 77. Archaeological journey through Syria and Palestine. SPb., 1904. P. 31. 18 Tarkhanova S. Old Testament prototypes... // Alpha and Omega, No. 2 (52), 2008. P. 306. 19 Many churches in the Holy Land had an architecture consistent with Barsky's description. However, as soon as "zealots of piety" from the countries of the former USSR appeared in Palestine and Israel, who undertook to "bring the temples into the right form" with their own money, the temple interior changed. In temples that had never seen iconostases over the centuries of their existence, “deaf” “Russian” iconostases appeared with icons of dubious value (picturesque “pictures” of the Russian Baroque era). The author of these lines considers such “help” to be criminal when the beauty of the ancient diversity of temple architecture is destroyed. 20 See: Octoechos. Tone 8. Saturday. Great Vespers, stichera on "Lord, I have called." 21 Articles on the Orthodox theology of the symbol: Schmemann A., prot. Sacrament and symbol // Orthodox community, No. 32. P. 39-52; Losev A. Dialectics of myth (corresponding section on the symbol). M., 2002; Averintsev S. S. Symbol (encyclopedic article) // Bulletin of the VSU, 1998. Pilipenko E. Patristic theology of the symbol // Alpha and Omega, No. 27. P. 328-349, No. 28. P. 310-333. 22 It is the small entrance that marks the beginning of the entrance of the Eucharistic. Divine services began at the small entrance both in the East and in the West. In the “classic” version of the modern liturgy of the “Byzantine rite”, only the “entrance with the Gospel” remained, which consists in taking the Gospel out the side (northern) door of the altar and then bringing it through the Royal Doors into the altar. This is a relic form of what was performed according to the ancient Rule of worship in Hagia Sophia of Constantinople. Actually, a lot of studies and articles have already been written about the fact that the small entrance was the beginning of the Eucharistic service (See Taft R. Byzantine church ... P. 34; . “The service of God begins with a small entrance, that is, the entry of a bishop or presbyter into the sanctuary. Liturgy begins at the small entrance in the Apostolic Decrees, in the Pilgrimage of Sylvia Eteria, and in those descriptions of the service that St. John Chrysostom... The clergyman entered the temple, and at this time the choir sang the "entrance" hymn. After that, the priest gave "peace" to the people and entered the high seat for the holy meal. After that, the reading of the Holy Scriptures and the sermon began, the prayer for the catechumens and their removal from the temple ”(Solovsh Meletsh, priest Divine Shturpya, p. 240). 23 To be more precise, the first prayer refers to the priest himself and is read on the threshold of the temple (in a whisper, without the participation of the people). The second prayer is an extended initial exclamation "Glory to the Father and the Son and the Holy Spirit - the Trinity and the Single Light ...", and it is immediately followed by the prayer of the entrance of the people into the temple. 24 Here is its text: “Benefactor and Creator of all things, accept Thy converging Church, make up for every deficiency, lead everyone to perfection and make us worthy of Thy Kingdom by the grace and love of mankind of Thy Only Begotten Son, with whom You are blessed together with the Most Holy Spirit, now and in every time and forever and ever." This prayer is present at the beginning of the text of the liturgy of John Chrysostom in the Slavic missal of Anthony the Roman (according to modern scientific dating of the text, the document belongs to the beginning of the 14th century). See: Missal of Anthony the Roman. pp. 15, 30 (State Historical Museum, Sin. 605/342. Preparation of the text and commentary by Y. Ruban); goar. Eujcolovgion. P. 83; Swainson. The Greek Liturgies. P. 88; OrlovM. 77., prot. Liturgy of Saint Basil the Great. SPb., 1909. S. 384. It is also present in the ancient Slavic rite of the liturgy of the Apostle Peter (a translation of the Latin Mass, which was strongly influenced by the Byzantine rite). For this text, see: Sirku P. On the history of book publishing in Bulgaria in the 14th century. SPb., 1890. T. I. (Issue II). pp. 221-222. In this rite, the first prayer refers to the entrance of the clergy into the temple, the second to the offering, and the third to the entry of the people into the temple (which, by the way, corresponds to the arrangement of the prayers in the Liturgy of the Apostle James). This prayer is present (with minor discrepancies) in all ancient Eucharistic codes. 25 See: Golubtsov A. 77. From readings ... S. 91, 153-155. Which, by the way, explains why in the modern rite of the Liturgy of the Apostle James (published by Metropolitan Dionysius of Zakynthos), the prayer of “entering the veil” is immediately after the offering of the Gifts to the altar. Apparently, at this time the priest with gifts entered the altar. And if this is so, then it means that the existing rite of the Liturgy of the Apostle James is greatly “supplemented”, including the prayer of entering the altar before the “trisagion”. Moreover, the “prayer of the veil” and the “prayer of the small entrance” of the clergy to the altar actually duplicate each other, repeating one another almost word for word. 26 This is, in fact, purely biblical terminology. The Apostle Paul in his epistles very often calls believers "saints" - Rom. 1:7; 15:24,26,31; 16:2, 15. 1 Cor. 1:2. 2 Cor. 1:1, 9:1. Eph. 1:1, 15; 5:3. Phil. 1:1. Qty. 1:2. 1 Thess. 5:27. Heb. 13:24. Acts. 9:32. 27 Simeon of Thessalonica, blzh. Conversation about the holy rites and sacraments of the Church. Ch. 123. S. 204-205. 28 Maximus the Confessor, Rev. Creations. V. 2 vols. T. 1. M., 1993. S. 179. 29 Surprisingly, lately much has been said about the importance of "Palamist" theology for the correct setting of the spiritual life not only of monks, but also of the laity involved in life in God, who is life in the glory of Christ, the contemplation of this glory. But at the same time, the liturgical, Eucharistic aspect of this contemplation is completely ignored, to which we will try to pay at least a minimum of attention. 30 Liturgy of the Apostle James. 173. 31 In this regard, the modern “adapted” rite of the Liturgy of the Apostle James, published by the Lesna Monastery, is a vivid example of liturgical illiteracy. On the one hand - ancient prayers, on the other - the modern position of the ritual. But prayers reveal the content of the ritual. We emphasize that the prayers of the Liturgy of James reveal a completely different content of the ritual. 32 Maximus the Confessor, St. Mystagogue, XIII, cf. from XV // Creations. T. 1. S. 171, 172. 33 Ibid., VII. P. 167 34 Ibid., P. S. 159. 35 Sidorov A. Commentary No. 20 to the "Mystagogy" by prep. M. Confessor//Creations. T. 1. S. 302. 36 Dionysius the Areopagite (Pseudo). About the Church Hierarchy. Ch. 3. 37 Nicholas Cabasilas. Explanation of the Divine Liturgy. Ch. 36 38 Dmitrievsky I. Historical, dogmatic… S. 130. 39 Ibid. S. 79. 40 Theodore, Bishop of Andides. Brief discourse on mysteries... Ch. 21. 41 This is also not quite appropriate, because divides the single meal of Christ into parts, while at the Feast there is always only one table, one meal, one Cup of the Eucharist; those seated observe subordination, but this is precisely one meal in the true sense of the word, and not "two tables" - one sitting for the priesthood, and the other for the rest. This contradicts the very understanding of the Last Supper, at which, according to the liturgical texts of the Great Four, the Lord makes us His "companions." A companion is one who sits at the same table with you, and not one for whom you set a separate table at home. Therefore, it is necessary to read one common prayer for communion (by the way, the Missal prescribes to read this prayer once - before the priest communion in the altar, apparently assuming that it will be read aloud) and "from the One Bread and Chalice" to commune everyone, but sequentially, with respect for subordination. Subordination is the arrangement of persons at the same table, recognizing the seniority of each other. For example, the youngest member of the family can sit at the very extreme corner of the table, but still there is one table, one meal, common prayer and common eating. 42 Veniamin (Fedchenkov), Archbishop Heaven on earth. M., 2003. S. 172. 43 In this case, we must admit that St. John of Kronstadt could also be wrong, and a careful consideration of his position on this issue does not find its justification - neither theological nor patristic. Speaking of fidelity to the saints, we must follow their path, but not repeat their mistakes. Great merit. John of Kronstadt in that he “moved from its place” the Eucharistic problem in Russia, drew attention to it and became a preacher of the parishioners as often as possible at every liturgy at which God deigned a Christian to be. 44 For example, as in the Cathedral of the Alexander Nevsky Lavra in St. Petersburg. 45 The word "headings" comes from lat. ruber (red). These are statutory "commentaries", usually written in red text on the margins of ancient liturgical codices. 46 And how is it that our "zealots" do not pay attention to the widespread "violation" of this principle, when the gates to the litany of the catechumens are closed? The "great omission" of their "piety"? 47 Sof. bibl. No. 567, l. 20 vol.; at Odintsov p. 211. 48 Orlov Μ. I., prot. Liturgy of Saint Basil the Great. S. 37, 39.41. 49 Schmemann A., prot. On the question of liturgical practice (letter to my bishop), VI. 50 The author of these lines is sure that the first violation is much more criminal. Unfortunately, few people think of celebrating the Liturgy of the Presanctified Gifts at the right time - in the evening, in the afternoon, and, accordingly, Matins - in the morning (i.e., returning to the studio practice described in our own Typicon in Chapter 7 as an alternative to the Vespers vigils where there is no real opportunity to serve the whole night). But the "practice of the majority" consists in serving the "All-Night Vigil", which we "manage" in 3-4 hours. But those who decide to return to the statutory practice in this matter will immediately be called "modernists." We “swallow” a camel, but we carefully strain out not even a mosquito, but a mosquito larva. 51 Skaballanovich M. Explanatory Typicon in 3 parts. Part I. Kyiv, 1910 (reprint. M. 1995). S. 490.