18c Молитослов Prayer Book Old Church Slavonic Slav Православие Illustrated

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18c Молитослов Prayer Book Old Church Slavonic Slav Православие Illustrated:
$350.00

Молитослов

(Prayer book) - In Old Church Slavonic language

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Late 18th or early 19th century Orthodox Prayer Book. Due to lack of title page, we cannot be sure where the book was printed. Nevertheless, it’s obvious that this book represents typical example of orthodox Prayer Book. Besides prayers for morning and evenings („jutrenja“ and „vechernji“), book contains other church hymn genres, such as sticheron.

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Pp.: 256 leaves with 14 engravings and numerous illustrations (Cyrillic numeration)

Size: 16 x 9 cm.

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Binding: Renewed leather binding. Signs of wear on the panels.

Condition: Missing title page. Signs of paper renewing on first few leaves, stains due to aging and usage, dog ears on some leaves, leaves 100, 101, 260, 261 and 262 along with the plate torn, text affected by damage. Inscription by previous owner on the endpaper dated 1845.

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For condition and details see the scans.

For any additional questions feel free to contact us, we are eager to respond to all of your questions!

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From Wikipedia, the free encyclopedia:

Prayer book

A prayer book in the Orthodox Church is a book of prayers, usually designed for private devotional use by laity. Before the advent of printing, prayer books were written by hand and were often richly decorated with initials and miniature illustrations telling stories in the lives of Christ or the saints, or stories from the Bible. Because of the cost involved, such prayer books were usually only used by clergy, monastics, or the wealthy.

With the advent of printing, prayer books became accessible to the average laymen and have been an important aspect of Orthodox piety ever since.

A sticheron (Greek: στιχηρόν \"set in verses\"; plural: stichera; Greek: στιχηρά) is a particular hymn genre, which has to be sung during the morning (Orthros) and evening service (Hesperinos) of the Orthodox Church and those Eastern Catholic Churches which follow the Byzantine Rite.

Stichera are usually sung in alternation with or immediately after psalm or other scriptural verses. These verses are known as stichoi (sing: stichos), but sticheraric poetry usually follows the hexameter and is collected in an own book called sticherarion (Greek: στιχηράριον). A sticherarion is a book containing the stichera for the morning and evening services throughout the year, but chant compositions in the sticheraric melos can also found in other liturgical books like the Octoechos or the Anastasimatarion, or in the Anthology for the Divine Liturgy.

Christian Troelsgård described the sticheron quite similar to the troparion and regarded the sticheron as a subcategory, only that a sticheron as an intercalation of psalmody, has been longer as a poem than a troparion, thus it had been chanted without repetitions of its text, but in sections. There had been a lot of stichera, but the book sticherarion was a rather dislocated collection of stichera from different local traditions and their singer-poets. It was obviously not used on a pulpit during celebrations, but rather an exercise book with various examples which could be studied for own compositions with similar accentuation patterns.

Concerning this paradigmatic use of notation the musical setting of a sticheron, the sticherarion had been mainly a collection of idiomela which had to be understood as individual compositions for a certain sticheron poem, although the melodic patterns could be rather classified according to one of the eight or ten liturgical modes (echos or glas).[The reference to the Hagiopolitan Octoechos is given by the modal signatures, especially the medial signatures written within notation, so the book sticherarion constituted the synthetic role of its notation (Byzantine round notation), which integrated signs taken from different chant books during the 13th century.

But there was as well the practice of using certain stichera as models (avtomela) to compose other poems (prosomoia), similar to the heirmos. This classification became even more complex by the translation of the hymn books into Slavonic, which forced the kanonarches, responsible for the preparation of the services, to adapt the music of a certain avtomelon to the translated prosomoia and the prosody of the Slavonic language, in certain cases the adaptation needed a musical recomposition of the prosomoion. In practice, the avtomela as well as the prosomeia are often omitted in the books of the sticherarion, they rather belonged to an oral tradition, since the avtomela were known by heart. Often the prosomoia had been written apart before the Octoechos part of Sticherarion, which was usually not organised according the eight modes unlike the Great Oktoechos.

Since John Koukouzeles who revised the sticheraria, there was development from the traditional sticheron, sung by a whole congregation or community, to a rather representative and elaborated performance by a soloist. Manuel Chrysaphes regarded John Koukouzeles as the inventor of the \"embellished sticheron\" (sticheron kalophonikon), but he emphasized that he always followed step by step the model, as it has been written down in sticherarion. Especially in the kalophonic genre, a systematic collection of compositions by Constantinopolitan maistores, made after the menaion of sticherarion, could already grow, as one part of the sticherarion kalophonikon, to a volume about 1900 pages, an expansion in chant which could be hardly performed during celebrations of any cathedral of the Empire.

A sticheron that follows the words, \"Glory to the Father, and to the Son, and to the Holy Spirit\" is called a doxastichon.

A sticheron that is dedicated to the Theotokos is called \"sticheron dogmatikon\" or \"theotokion.\"

Theotokia normally follow the last words of the small doxology \"Both now and ever, and unto the ages of ages amen.\"

Those theotokia that come by the end of Κύριε ἐκέκραξα or Господи, воззвахъ к\'тєбѣ (\"Lord, I Have Cried\", Ps 140.1) during Vespers on Saturday night, Friday night and the eves of most Feast Days are called \"dogmatika, because their texts deal with the dogma of the Incarnation.

The aposticha are a type of stichera which differ from the norm with respect, that they precede their stichos (psalm verse) rather than they follow it.

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