Part IV

The course of lectures on liturgics here put forward was compiled by Archimandrite Averky over the time when he taught this subject in Holy Trinity Seminary, during the academic years of 1951/52 and 1952/53.

The Most Reverend Archbishop AVERKY (in the world Alexander Pavlovich Taushev) was born October 19/November 1, 1906, in the city of Kazan. His parents were Pavel Sergeivich and Maria Vladimirovna Taushev. His father completed his course of study in the Military-Juridical Academy and worked in the military-judicial department until the Revolution. Due to the nature of Pavel Sergeivich’s occupation, the family was obliged to travel constantly to various places in Russia. It was especially difficult during the First World War and the Revolution. At last, after enduring numerous ordeals for Russia, the Taushev family left Russia in the beginning of 1920. Alexander and his parents traveled by steamer to the city of Varna in Bulgaria. Here before long a Russian high school was opened, into which 250 students, including Alexander Taushev, were enrolled. Alexander learned exceptionally well, and in 1926 finished high school "with the gold medal."

Prior to this, the student Alexander had made the acquaintance of Archbishop Theofan (Bistrov) of Poltava and Pereaslavl, and under his influence had become more inclined to the spiritual, monastic life. Upon finishing high school Alexander, having received the blessing of his spiritual father, Archbishop Theofan, entered the theological department of the Derzhava University in Sophia, which he finished in 1930.

Following this, Alexander learned from the magazine "Orthodox Carpatho-Russia" that in Carpatho-Russia there was an opportunity to labor in the field of missionary work. Thus, with the blessing of Archbishop Theofan, he went to Czechoslovakia in Carpatho-Russia, where he was given employment in the diocesan administration of the Mukachev-Prjashev diocese. On May 4/17 he was tonsured a monk at St. Nicholas monastery, near the village of Iza in the region of Khustsk. He was given the name Averky in honor of the Holy Equal-to-the-Apostles Averky of Ierapolsk. On the very next day Father Averky was ordained to the rank of hierodeacon. On March 25/April 7 he was ordained to the rank of the priesthood by the Most Reverend Damascene, bishop of Mukachev and Prjashev. Father Hieromonk Averky then passed the time of his pastoral service in St. Nicholas monastery as the assistant of Father Archimandrite Matthew, after which he soon became the rector of a parish in Uzhgorod. In 1937 on the feast of Pascha he was elevated to the rank of abbot. In December of 1938, Abbot Averky was appointed rector of a parish in Mukachev and administrator of a part of the Mukachev-Prjashev diocese in the territory of the kingdom of Hungary.

Later on Father Abbot Averky was forced to abandon Carpatho-Russia after its occupation by the Magyars, and in 1940 he arrived in Belgrade. Here he was received by Metropolitan Anastasy and appointed to serve at the Russian church of the Holy Trinity. During the Second World War he was first in Belgrade, then in Vienna and other places in Germany, where he endured all the horrors of war. One consolation for Father Averky was the fact that throughout these years he was near the Wonderworking Kursk Root Icon of the Mother of God, served molebens before Her and performed services for those who came to pray to Her. In Munich, on October 1, 1944, Father Averky was elevated to the rank of archimandrite.

Archimandrite Averky came to Holy Trinity Monastery from Munich, Germany, at the invitation of Archbishop Vitaly (Maximenko), in the beginning of 1951. Immediately following his arrival he was appointed to be an instructor in Holy Trinity Seminary, where he taught the following subjects: New Testament, liturgics, and homiletics. Inasmuch as there were no particular study aids for these subjects, he prepared his lectures and typed them on a typewriter, then copied them with a duplicating machine. The students then received the printed lectures. In this way study aids originated for the Holy Scriptures of the New Testament, liturgics, and homiletics, all compiled by Archimandrite Averky.

At the recommendation of Archbishop Vitaly, on February 17, 1952, Archimandrite Averky was appointed by the Hierarchal Synod of the Russian Orthodox Church Abroad to the post of rector of Holy Trinity Seminary. Within a little over a year he was consecrated bishop of Syracuse and Holy Trinity.

Inasmuch as Bishop Averky was a member of the brotherhood of Holy Trinity Monastery, he participated fully in the life of the monastery. Besides this he took an active part in the publishing work of the brotherhood of the print shop of Venerable Job of Pochaev, wrote articles for "Orthodox Russia" and other publications of the monastery, and participated in the missionary work of the monastery. Being the vicar of the Eastern American diocese, he likewise took part in the life of the diocese. Besides this, Vladika Averky was the spiritual instructor of the St. Vladimir youth. Because of this he often gave lectures in various parishes which had St. Vladimir youth groups.

Thus, being burdened with all of these obediences, Archbishop Averky took upon himself the teaching of the New Testament in the seminary: the Four Gospels in the fourth year and the Apostle in the fifth, four hours a week for each year, plus two hours of homiletics. In the course of the week Vladika Averky had a total of 10 hours of classes. He transferred liturgics to Hieromonk Laurus, who began teaching church ustav in seminary in 1954, and liturgics in 1956.

The lectures on the New Testament, compiled on the duplicating machine, Vladika Averky gradually corrected and prepared. Starting in 1955 they were set in linotype and typographically produced as an appendix to the Holy Trinity calendar under the title, "Handbook for the study of the Holy Scriptures of the New Testament, Part I." The Four Gospels were printed in appendixes for the years 1955 and 1956. Part II, the Apostle, was printed in appendixes for the years 1957, 1958, and 1959. Both parts were likewise published as separate books. The handbook for homiletics was printed as a separate book in 1961.

However, the lectures on liturgics, compiled by Archimandrite Averky and printed in the academic year of 1951/52 on a duplicating machine in limited quantities, were not produced typographically. In the seminary we made use of that synopsis, but when copies ran out we began to use other textbooks for our purposes. Now it has become possible to produce this course typographically.

The course of liturgics which we now offer to the reader has been significantly reworked, particularly the first part (the preliminary remarks). Many additions and several changes have likewise been made in the course itself.

We hope, above all, that the publication of this liturgics textbook will be a useful aid for students of the seminary, and likewise for all who study or are interested in our divine services. These lectures present a systematic presentation of material on the subject of liturgics, in which a short historical description of the origins of worship is given, the symbolic meaning of several aspects of the services is discussed, and other necessary explanations and instructions involving the order of the divine services are likewise given. In addition to this, owing to its typographic publication, this academic textbook will now be available to a wider range of readers and lovers of ecclesiastical-liturgical literature.

+ Archbishop Laurus

Holy Trinity Monastery

Afterfeast of Pentecost

Commemoration of Holy Equal-to-

the-Apostles Emperor Constantine

and Empress Elena

May 21/June 3, 1999

Introduction.

The subject of liturgics is the history of Orthodox Christian worship. Orthodox worship is the entirety of the prayers, hymns, and sacred rites which are performed in the Church of God on earth by hierarchical persons, as lawful representatives of Christ (see the epistle to the Hebrews).

Worship is performed for the faithful, and in unity with them, according to an established order. Through worship the faithful are called upon to express their feelings of faith in God, as well as hope and love for Him; they enter into mystical communion with Him; and they receive the power of grace for the living of a Christian life, which leads to salvation.

Worship has great significance for man. It is the expression of the prayer life of the Church of Christ. The Orthodox divine services of ancient Byzantium astounded our forefathers by their majestic beauty, and led them to Christ, to the Orthodox faith.

One may show one’s faith by starting with fervent and comely prayer. But the modern western man, who knows neither God nor religion, in particular those in our homeland who have been corrupted by the propaganda of godlessness — if they were to hear the words of one preaching on faith, on God, on prayer, or on worship, they would be unable to immediately change their position and reach out towards faith in God, accepting all that should be said to them. Prejudice remains in them, and they waver. However, it often happens that such people, upon seeing the earnest performance of the divine services, devout prayer, and the beauty of the Orthodox rite, are penetrated by the sublime majesty of the worship of the Church, and their hearts are touched by "the word of God." As it happened before, so it happens now. An indifferent, possibly even unbelieving person stops by or enters a church by chance, or goes in out of curiousity, and in the surrounding temple atmosphere of peace and faith, fervent reading and singing, such people are caught up by the sincere prayer of the faithful and, unexpectedly for themselves, they become participants in the common prayer and begin to feel a thirst for faith in God: they apprehend the instruction of the one preaching, and often join themselves to the Holy Church.

According to the words of the Holy Apostle Paul, Christians must do everything "decently and in order" (I Cor. 14:40). The decent order of the Orthodox divine services was developed over centuries. Their authors are the Holy Apostles and the Holy Fathers and hymnographers of the Church. The rite of worship was formed by ascetics and heroes of the spirit, in deserts and in monasteries.

Therefore the wealth of prayers, ideas, images, and thoughts which has accumulated over the ages, which is kept and preserved in thick church books and leather bindings, must resound in the souls of contemporary believers through fervent worship. And whoever loves the prayers of the Church, once he has understood their contents, will love also their harmonious order.

We shall remember that the most important element in the divine services is the living, personal participation of both those who come to pray and of those who perform the divine services — those who serve, the readers, and the chanters. Only that which is felt and experienced by the performers of the divine services themselves will reach the hearts of those who pray.

Part One

I. Understanding the Science known as

“Liturgics”

Preliminary remarks.

"Liturgics" is the name given to the theological science which concerns itself with the teachings on Christian worship. Of these, the Divine Liturgy occupies the place of primary importance. The word "liturgics," a derivative of the word "liturgy," comes from the Greek words "leitos," which means public, social, "common," and "ergon" — "work." Thus, for the ancient Hellenes the word leitourgia meant "common work," a common service performed for the people or with the participation of the people. This term is made use of in both the Old and the New Testament, though not in the same sense. In the Old Testament the word "liturgy" signified common service in the tabernacle, in honor of God and for the benefit of the people (see II Chron. 35:3). In the New Testament this term is applied to the service of Zacharius in the temple of Jerusalem (Lk. 1:23); further, to the service in the Tabernacle in which the vessels have been sprinkled with the blood of Christ (see the epistle to the Hebrews); and to the service of Christ the Savior, Who performs the priestly rite by means of His every service to His neighbor (I Cor. 9:1, Heb. 12:24). The word "liturgy" is applied especially clearly to the Eucharist by Clement of Rome (second century) in his first epistle to the Corinthians, in which the service of apostles, bishops, and presbyters is described by the term prosferin ta dora = leitourgein (to perform the offering and the liturgy). From this, the term came to define our Eucharistic divine service — the Divine Liturgy. The name indicates the "common" character of Christian worship, as a "common work" in which all must participate. In a broader sense, the word "leitorgia" describes any service established by the Holy Church to the glory of the Trihypostatic God.

Thus, liturgics is the science of Christian worship as a whole. The term "liturgical" indicates that something is concerned with the divine services in general — not simply with the Divine Liturgy alone.

And so, "liturgics," as Archimandrite Gabriel explains, "considers the Christian religion particularly with regard to how it should outwardly manifest itself, correctly and based on lawful foundations, in a community of many people who are united together into one grace-filled kingdom of Christ, or the Church of the Living God (II Cor. 6:16). The Church, or the community of believers in Jesus Christ, in maintaining the Christian faith, must first discover in itself the inner spirit of that faith, and, second, must exhort and nourish the pious souls of the faithful. To this end it has the religious ceremonies and sacred rites… Thus, liturgics must concern itself with the examination of how the religion of Christians is to be expressed in the sacred rites and ceremonies of the Church, as of the community of believers.

"But we know that so-named Christian churches differ in accordance with their differing confessions of faith. Thus, liturgics must be and is the science of the worship of the Orthodox Church. Consequently, when speaking of the divine services, we speak exclusively of the divine services of the Orthodox Church. The latter designation will prove fitting for our science only when that science examines (studies) and explains the order of the divine services of the Orthodox Church, when it presents a definite conceptualization of every sacred thing and every sacred rite that is a part of the structure of the divine services and, in a similar way, of each rank of service, simultaneously indicating where possible the times at which they should be performed, the reason or holy design with which they were included in the cycle of the divine services, their inner worth, and their spiritual-mystical significance." (Handbook of Liturgics [Руководство по Литургике], Archm. Gabriel, Tver, 1886, p. 3-4)

The science of liturgics may be approached in various ways. Inasmuch as this science covers a variety of fields in the everyday life of the Church and in her divine services, it is divided into several sections. In textbooks and manuals on liturgics one many observe 1) a historical-archaeological approach, 2) a ritualistic or orderly approach, and 3) a theological approach.

1. The historical-archaeological method in the study of liturgics concerns itself with the firmly established forms and structure of the divine services, which liturgics are obliged to explain. The historical approach attempts to indicate from where a given form has its beginnings, how it transformed, and when it was ultimately established. By using the historical-archaeological method it becomes easier for us to understand the inner meaning of the liturgical form, which is confirmed by the authority of antiquity. Furthermore, this approach elucidates the gradual development and transformation of the liturgical orders and hymns, the church implements, vesture, various styles of temple construction, iconography, and so forth.

In some textbooks on liturgics we encounter the view that the ceremonies of the church are the equivalent of dogmas, since this or that form of divine service or this or that ceremony entered into general use as the result of a conciliar decree. However, we must bear in mind that church ceremonies generally were formed throughout history, and they are subject to the laws of historical development. The inner life of the Holy Church would give rise to a certain custom or ceremony, which eventually would receive the recognition of the Church.

As an example, let us take the explanation of the "small entrance" at the liturgy, as we now interpret it. The small entrance represents our Lord Jesus Christ going out to preach, while the candlestick symbolizes St. John the Baptist. In actual fact the ceremony appeared first, and then its explanation. How did the small entrance come to be? The small entrance is a historical phenomenon, and arose in answer to the needs of Church life at the time. In ancient times during the small entrance the sacred vessels were transferred from the diakonika, the room where the vessels were kept, to the Church, for from this moment began the most important part of the liturgy. Over time this practice of necessity became a ceremony, and later received a symbolic meaning.

2. The second approach, the orderly or ritualistic approach, has as its purpose the study of our Orthodox worship exclusively within the context of contemporary church service order, or the Typicon, with the application of those rules and rites which we use and by which we are guided for the majestic, orderly, prayerful performance of the services. The approach is often limited to this; however, it is essential when possible to likewise give attention here to the history of the development of the Ustav itself, the Typicon; how it gradually gained form, was enriched and, finally, how it was defined and established in its current form.

3. The Theological approach to the study of liturgics is not only an examination of liturgics as a subject historical or archaeological in origin and content, nor yet as simply a code of rules regulating the performance of the divine services according to the direction of the Typicon. Rather, it assimilates the teaching concerning our divine services and treats it as a theological discipline. Why exactly must we regard liturgics in this way? Because liturgical texts, in particular the three-canticled canons, vividly and graphically proclaim to us the great truth of the Trinity in Unity, the Triune Divine Essence; while the Theotokia, foremost of which are the Dogmatica, tell us of the great mystery of the incarnation of the Son of God from the Unwedded and Most Pure Virgin Mary. These tell us also of the dogma, confessed by the Church, of the ever-virginity of the Most Holy Theotokos; and many other theological truths are likewise contained in them.

It should be noted that liturgical texts contain within themselves a wealth of theological thought, especially with regard to dogmatics and moral theology, on the foundation of which material it would be possible to compile an entire discipline which might be titled "liturgical theology." Unfortunately, liturgical material has been studied and developed but little in this area. There are, however, several works on the subject; for instance, Readings on Liturgical Theology by Bishop Benjamin (Milov), Brussels, 1977; In the World of Prayer by Protopresbyter Michael Pomazansky, Jordanville, N.Y., 1957; and others.

The Subject and Objective of Liturgics.

The objective of liturgics is the scientific explanation of the external forms of worship which have been established in Christianity. These liturgical forms may be examined 1) from a dogmatic, symbolic, moralistic viewpoint, 2) from a practical point of view — how a given form of service applies to life —, and 3) from a historical point of view.

In western Christianity, in Roman Catholic liturgics, the accepted approach to the study of the services is the practical. This is explained by the character of Catholicism as a "form of religion." A thorough representation of worship and its history has not, until fairly recently, been given by Catholic liturgicists. To be sure, some scholars at the beginning of this century began to systematize liturgical material on the basis of historical fact. However, the Catholic church has now started down a path of reforms, following the Second Vatican Council and beginning in the 1960’s. Hence, their services have been reformed, and new practices introduced. The alter has been transferred to the center of the temple, the worshippers sit surrounding it, and the clergy stand or sit with their backs to the alter, facing the people. For such worship not only organs are used, but the use of guitars and other instruments is also permitted; vocal performances likewise occur. In this manner Roman Catholicism went the way of Protestantism. Roman Catholics can now alter the divine services at any time depending on the circumstances. We know of meetings the Roman Pope has had with various heterodox representatives, and of his participation in prayer even with non-Christians — pagans, Jews, and Muslims, for example.

The theoretical approach is more widely accepted in Protestant liturgics. Protestantism appropriated the right to create various systems of worship, which are allegedly in agreement with the establishments of Christ and His Apostles; but they reject holy tradition and discard its forms, considering them dead weight. Consequently their services consist of assemblies, the reading of Holy Scripture, sermonizing, and the singing of cantatas, or spiritual poetry. In recent times, inasmuch as Protestantism is inclined towards unification with various denominations, their services have acquired a character of ecumenical prayer, in which not only Christian but also non-Christian faiths participate. The so-called "ecumenical meetings" organized by the "World Council of Churches" lead to the organization of ecumenical prayer meetings, in which unfortunately currently take part not only Protestants, sectarians, and members of all kinds of non-Christian religions, but also several Orthodox participants in these meetings.

The main objective of Orthodox liturgics lies in the expounding of the worship of the Orthodox Church, that is, the expounding of the structure and content of every kind of service. As Archimandrite Gabriel correctly noted, "In the explanation of the divine services there must be clearly indicated the idea that visible actions, things connected with the order of the performance of a certain sacrament, are but symbols, or tools, and the conductors of the invisible grace of the Holy Spirit into our souls. If liturgics are to explain the structure and content of the different forms of prayer, and of the various hours of public services, they must show that all of these church services, in spite of their adaptation to the various necessities and circumstances of the earthly life of a Christian, have one principle meaning, one essential purpose: to remove us as often as possible from earthly vanities and calm our mind and heart in God; as often as possible to tear our spirits away from all that is earthly and to strive towards that which is lofty and Divine." (See Handbook of Liturgics, Archim. Gabriel, p. 14, Tver, 1886.)

Through the Orthodox divine services, as Archim. Gabriel goes on to show, we are lifted up to living communion with God, and this in its turn is the preparation of the faithful for eternal communion with Him in the eternal life of the age to come, for the blessedness for which man is destined. Thus, in liturgics it is essential to approach the explanation of the church services from various angles: contemplative, prototypical, spiritual and mystical, i.e., in the sensual to perceive the pretersensual, "to ascend from the material to the contemplation of the spiritual; to see in the mysteries of the earthly Church the elements of the heavenly mysteries; in the prayerful service to our Lord — the prototype of our eternal service in heaven; in the standing before the alter — the beginnings of the glorious standing before the Lord in the life of the age to come; and in the hymnody of those born of earth — the likeness of the ceaseless hymnody of the hosts on high" (Archim. Gabriel, p. 15, Tver, 1886).

Additionally, liturgics must present an interpretation of the services from a dogmatic, moralistic, and historical viewpoint, for without such an approach to the study and exposition of the divine services much of their contents seem to us unclear, unintelligible, and unauthoritative.

Liturgics, in explaining the ceremonies of the Orthodox Church, are obliged to indicate the origins of these liturgical rites. For the Orthodox person it is important to know the origins of all the church rites, who composed them, in what form they were performed in the ancient Church, and how they came to us. If there were changes in these rites, of what sort were they, and why? For by knowing the history of the gradual development and refinement of the church services it will be easier for us to interpret and expound them to those who do not know them but are interested in the subject. At present even among the Orthodox, but especially among the heterodox, a hostile attitude towards our Orthodox divine services may be noted; sectarians often subject our rites to attacks, saying that our services are not currently being performed as they were in the ancient Church. They point to an alleged introduction in the Byzantine period of many superfluous, pompous rituals; this they say with particular reference to the costly beautification of the church implements, vestments, and various ceremonies. Therefore, in order to enlighten those astray and to preserve our Orthodox children from such temptations, liturgics must show that all the rites have their origins in their essential parts in the very depths of ancient Christian times. They have remained the same as they were in the ancient Church.

But inasmuch as the Church lives a life of grace, so her services were in some ways supplemented and developed. New services were compiled for newly glorified saints, new rites and prayers appeared in answer to various needs, and so forth. The construction of the temple was also improved; on the outside churches were made more majestic, while on the inside they were beautified with iconography and casings with images of the saints and particularly venerated or renowned icons. In their turn, zealous Christians made offerings to their temples and adorned them with precious icons, church implements, and vestments. These adornments were not an end in themselves; rather, the most important element was the desire that the performance of the divine services, and especially of the Divine Liturgy, take place in a fitting setting, one suited to the sanctity of these services. Thus, for the temple, for the services, for offerings to God, earnest Christians strove to offer what was best, most valued, and most beautiful.

Therefore, it is essential for every Orthodox Christian to know at least in brief the history and origins of the divine services, so that by participating in the common services they might clearly comprehend their mystical significance. For without this one cannot know how or for what purpose they are performed, nor will one remember their meaning.

But it is even more necessary for pastors of the Church to study liturgics, and especially for those who are preparing to become pastors. For pastors must not only themselves perform the church services with complete understanding and reverence, but must at the same time teach their flock; they must be able to explain everything, to show those who are interested where a more detailed explanation of everything may be found, and so on.

Liturgics as a theological, not to mention practical, science are closely linked to all the other related theological sciences. Thus, they are linked with dogmatic theology, from which they draw their substance. Like dogmatics, liturgics expounds on how, in the divine services, in the mysteries and ceremonies, dogmatic truths are graphically revealed; or, regarding forms of expression of veneration for God, liturgics indicates ways of pleasing God by prayer, fasting, and by other means. They likewise show how it is vital to take abstract moralistic rules and apply them to life, linking itself thereby to moral theology. Liturgics provides homiletics with material for church sermons. Liturgics are forever linked with Church history, for they turn to it when explaining the divine services. Therefore, one may clearly see that between the divine services, with which liturgics is occupied, and the other elements of spiritual-religious, Christian life, that is to say, between faith, with which dogmatics are occupied, and Christian activity, with which moral theology concerns itself with, there is a close association.

Our Orthodox services are the expression of our religious experiences, our spiritual feelings, our faith in the Triune God, and our devotion to God. Such a perception, such a purposefulness is called in liturgics ‘latreutical,’ from the Greek word latreuein, or service, worship of the Trihypostatic God.

In addition to this, in the divine services one may note the sacramental purpose, seeing as they join us to the redeeming labor of our Savior, and are the channel of grace into the world and to individual believers.

Further, the services have a didactic, i.e. instructive, character. Our cycle of services contains a great wealth of hymnography, which is interwoven with readings from the Holy Scriptures of the Old and New Testaments and with lessons from patristic writings, ascetic anthologies and the lives of the saints, from which a great spiritual wealth of knowledge may be drawn. Thus, the divine services are a source of knowledge of God, and enable one to likewise deepen one’s knowledge of theology. In this instance liturgics are completely interrelated with patristics. Patristics concern themselves with the study of the development of Christian theological thought by various religious writers and teachers of the Church at different times, and should not be separated from liturgical theology. The revealing of the contents of patristic works enriches our theological awareness, and provides us with material for the system and history of Orthodox theology.

In particular, much may be obtained from the hymns of the Ochtoechos, from its stichira and dogmatica which are sung on "Both now" and "Lord, I have Cried," in which are expounded thoughts on the incarnation of the Son of God, on the redemption of man, on the ever-virginity of the Most Holy Theotokos, and more. The ascending antiphons of the resurrectional services likewise give us valuable material for learning about the Holy Spirit. In the Lenten Triodion we find material that expounds to us the origin of sin in man, the struggle against it, fasting, and prayer. The Pentecostarian recounts the Resurrection of Christ, while other liturgical books likewise contain a wealth of theological material.

The authors of liturgical hymns are spiritual teachers and inspired poets who expound their teachings on various dogmatic issues in a way similar to that in which theological writers of the Church expound their teachings in theological tracts.

Archimandrite Kyprian (Kern) states, "that worship in the widest sense of the word, that is, hymns, readings from Scripture and edifying patristic books, the inexhaustible wealth of our iconography and of the symbolic actions in the mysteries, at the daily services, and at divine services in general, as well as the common folk wisdom in customs connected with individual feasts and sacred rites — all of this is the source of our theological edification and knowledge of God." (Liturgics [Литургика], p. 5, Paris, 1964.)

Division of the Science of Liturgics.

Liturgics are usually classified as either general or particular.

General liturgics consider the institution or establishment of the divine services as a whole, give an account of their theoretic foundation, recount the history of their origin and development, discuss the components of the services — the sacraments, prayers, hymns, readings from Holy Scripture, lessons, the various symbolic rites and the actions that accompany them —, talk about those who perform the services — the clergy and those who serve in the church —, the times and places at which the services are performed, the church architecture, the construction of the temple, the sacred imagery and raiment, and the liturgical vessels and books.

Particular liturgics attend to the study of individual liturgical rites — daily, festal, and Lenten; the sacraments, the blessing of water, the consecration of temples, the burial of the reposed and their commemoration.

Liturgics in general and Orthodox liturgics in particular are a science that is predominantly archaeological, which is why before, in ecclesiastical institutions of higher education, they were often combined, as they still occasionally are, with the rostrum of ecclesiastical archaeology.

As a science, liturgics, especially particular liturgics, have been developed but little, due in part to the lack of ancient testimony concerning individual liturgical rites, and partly because the subject of liturgics for a long time was considered merely practical in application.

The principle source on the foundation of which one may show that our Orthodox worship has its beginning and origin from our Lord Jesus Christ is the Holy Scripture of the New Testament. By His coming to earth Our Lord Jesus Christ brought the Old Testament to an end. However, not all of the particulars were abolished by Him and His disciples; worship in the Old Testament temple in particular continued to be performed, and the first Christians, who were of the Jews, continued to go to the temple and pray to God at the appointed hours. However, gradually Christians began to gather together for prayer and especially for the performance of what were already the divine services of the New Testament. Thus, in the Holy Gospel we have the command of the Lord, which he gave at the Mystical Supper, to perform the Eucharist in remembrance of Him. Likewise in the Gospel we have the command concerning baptism. In the Acts of the Apostles it is related that the Apostles Peter and John were sent to Samaria, and through the laying on of their hands the Samarians received the Holy Spirit: this was the sacrament of chrysmation. The sacrament of the consecration of oil was likewise established by the Apostles (see the epistle of Ap. James).

Thus we see from the Holy Scriptures and Holy Tradition that the origins of the principle elements in our divine services have their source in our Lord Jesus Christ and His disciples.

True, references to them are very brief, but these may be supplemented by the other surviving monuments that comprise Holy Tradition. Among these are the rules of the Holy Apostles, the decrees of the Ecumenical and local counsels, and the canonical epistles of the Holy Fathers.

Primary Sources of Liturgics.

The interpretive primary sources of Orthodox liturgics are the following patristic works:

1. Catechetical and Sacramental Homilies, by St. Cyril of Jerusalem (+ 386). St. Cyril explains the sacred rites and the symbolism of the mysteries of baptism, unction, and the Eucharist.

2. On the Church Hierarchy. This composition, attributed to St. Dionysius the Areopagite, was written in the beginning of the fifth century. Among other things it discusses the liturgy, several sacraments, and the monastic tonsure.

3. On the Sacraments, by St. Ambrose of Mediolan (+ 397). The hierarch Ambrose has a rather important significance in the history of the divine services of the Holy Church, especially in the west.

4. On the Tradition of the Divine Liturgy, by St. Proclus, patriarch of Constantinople (+ 447).

5. Mystogogia (On the Sacraments), by St. Maximus the Confessor (+ 662). The latter explains the symbolism of the temple and the liturgy; his commentary is the first specifically Byzantine commentary. In his explanations he often cites from the treatise On the Church Hierarchy, attributed to St. Dionysius the Areopogite.

6. On the Divine Sacred Rites, by St. Sophronius, patriarch of Jerusalem (+ 644). This hierarch presents a detailed explanation of all that is performed in the divine services. Additionally, he is one of the first hymnographers whose three-canticled canons were included in the composition of the Lenten Triodion, as well as the Festal Menaion.

7. Reflections on Ecclesiastical Matters, by St. Herman, patriarch of Constantinople (+ 740).

8. Commentary on the Divine Liturgy, by Nicholas Kavasila, archbishop of Thessalonica (+ 1371).

9. On the Temple of God and the Divine Liturgy and On the Sacred Ceremonies, by Symeon, archbishop of Thessalonica (+ 1429).

It should be noted that the aforementioned works bear witness to the fact that, throughout its history, the services of the Orthodox Church have had their own rich literary tradition. Besides the monuments of interpretation and explanation of the services here mentioned, there also exist other collections and treatises on the liturgical ceremonies. There likewise exists a considerable quantity of information in foreign languages which deal with western, Catholic worship, which we will not deal with here.

Russian Research of Liturgics.

The development of liturgics in Russian theological schools began comparatively late. In Russia the science was at first considered a pastoral matter, and attention was therefore mainly focused on the ritual ustav aspects of the services. On this subject not a few works were written in Russia in the XVIII and XIX centuries. Inasmuch as liturgics have an archaeological side (which concerns the temple, the icons, etc.), in spiritual institutions of higher education in Russia liturgics was often combined with the field of ecclesiastical archaeology.

In Russia the best systems of investigation of liturgics that we have are the following:

1. New Tablet, by Archbishop Benjamin (1870).

2. A Historical, Dogmatic, and Mystical Explanation of the Divine Liturgy, by Ivan Dimitriev (1897).

3. Commentary on the Liturgy and On the Lessons, by Bishop Vissarion of Kostroma.

4. Handbook of Liturgics, or the study of Orthodox worship, by Archimandrite Gabriel. Tver, 1886.

For ecclesiastical seminaries we had the textbooks of the following authors on liturgics: Alhimovich (1891), Smolodovich (1869), and the most widely distributed of late, Peter Lebedev (1893).

There exists a series of monographs: Divine Services in Apostolic Times and Divine Services from the Time of the Apostles to the IV Century, by F. Smirnov; The Order of Common and Particular Services in Old Russia up to the XVI Century, by N. Odintsov; and The Divine Services of the Russian Church for the First Five Centuries and Divine Services in the Russian Church in the XV Century, by A. Dimitriev.

The principle reformer of liturgics and founder of the same as a science was the doctor of Church history and professor of the Moscow Ecclesiastical Academy Ivan Danilovich Mansvetov, who died in 1885. He explained and argued for the necessity of the application of the historical method.

Of other liturgicists who left a wealth of material in the sphere of extensive research of liturgics, the following are the most notable: N. F. Krasnoseltsev, A. A. Dimitrievsky, A. P. Golubtsov, Prof. Lisitsin, Protopriest Kekelidze, Prof. Karabinov, and one who has of late done especially much, the professor of the Kiev Eccl. Acaedemy M. N. Skaballanovich. The Russian school of liturgics is indebted to the latter for such works as "The Annotated Typicon," in three editions, and "Feasts." The first of these works is the history of our Typicon, in which he gives a detailed analysis and explanation of each service regarding both its origin and its gradual historical development. In addition he gives a complete critical-historical interpretation of the entire contents of the Typicon. Especially valuable is his "Feasts," of which a total of six installments were published, each feast in a separate installment. The scheme of these essays is as follows: first, the biblical fact lying at the foundation of the given feast, geographic and archaeological detail, and the theological significance of events. Then patristic works devoted to the feast are introduced and the gradual historical development of the feast is shown. Then follows the whole of the liturgical material in Slavonic, as well as a translation of it into Russian with appropriate notes and explanations. Skaballanovich even compares Orthodox services with the services of other confessions, describing the manner in which the latter celebrate the same feasts. Unfortunately, due to the war of 1914 and the catastrophe that followed in Russia — the Revolution —, his brilliant work was never completed, and only six installments were published. These installments were republished by our own Holy Trinity Monastery, and were printed as appendixes to the Holy Trinity calendar from 1976 to 1982.

II. On Worship

Owing to the close link between the spirit and the body, man is unable to keep from outwardly expressing the movements of his spirit. Just as the body acts upon the soul, relating certain impressions to it through the organs of the external senses, in precisely the same way the spirit causes certain movements in the body. Like all his other thoughts, feelings, and experiences, the religious feelings of a man cannot remain without outward revelation. The whole of all the external forms and actions which express the inner religious disposition of the soul comprise what is known as divine service, or worship. Divine service, or worship, in one form or another, is therefore an inescapable attribute of every religion: in it the latter manifests and expresses itself, just as the soul reveals its life through the body. Thus, worship is the external expression of religious faith through prayers, sacrifices and rituals.

The Origins of Worship.

Worship as an external expression of internal inclination of man towards God has its origin from the time when man first learned of God. He learned of God when, after the creation of man, God appeared to him in paradise and gave him the first commandments not to eat of the tree of the knowledge of good and evil (Gen. 2:17) and to keep the Sabbath (Gen. 2:3), and blessed his marital union (Gen. 1:28).

The primitive worship of the first people in paradise consisted, not of any defined church ceremonies, as in contemporary times, but of the free pouring forth by the former of reverent feelings before God as their Creator and Provider. In addition to this, the commands concerning the seventh day and abstinence from the forbidden tree had already laid the foundation for defined liturgical establishments. In these lie the beginnings of our feasts and fasts. In God’s blessing of the marital union of Adam and Eve we cannot but see the establishment of the sacrament of marriage.

After the fall into sin of the first people and their expulsion from paradise, primitive worship found its further development in the establishment of the ritual offering of sacrifice. These sacrifices were of two kinds: those that were performed on all solemn and joyous occasions as an expression of thankfulness to God for the benefits received from Him, and those performed when it became necessary to petition God for aid or to pray for forgiveness for sins committed.

Sacrifices were intended as a continual reminder to men of their guilt before God, the original sin overshadowing them, and the fact that God could hear and accept their prayer only in the name of that sacrifice which should subsequently be offered for the redemption of their sins by the Seed of the woman promised by God in paradise — that is, He who was to come into the world and carry out the redemption of mankind, the Savior of the world, Christ, the Messiah. In this way for the chosen people worship had a propitiatory quality, not in and of itself, but because it was a prefiguration of the great sacrifice which should one day be offered by the God-man, our Lord Jesus Christ, who was crucified on the cross for the sins of the whole world. In the time of the patriarchs, from Adam to Moses, worship was performed among the families of these patriarchs by their heads, the patriarchs themselves, at times and places decreed by them. From the time of Moses, when the chosen people of God, the Old Testament Israel who preserved the true faith in the One God, increased in number, worship began to be performed on behalf of the whole nation by individuals especially appointed for this, who were known as high priests, priests, and Levites, as it is recounted in the book of Exodus and, later, in the book of Leviticus. The order of the Old Testament worship of the people of God was specified with all its details in the ritual law given through Moses. By the command of God Himself, the prophet Moses established for the performance of worship a place (the tabernacle of the covenant), times (feasts and fasts), sacred personages, and the very forms thereof. During the reign of King Solomon, in place of the portable tabernacle-temple, the beautiful, majestic, permanent Old Testament temple was built in Jerusalem, which in the Old Testament was the only place where worship of the True God was performed.

The worship of the Old Testament, which was defined by the law, before the coming of the Savior was divided into two forms: worship in the temple, and worship in the synagogue. The first took place in the temple. It consisted of the reading of the Ten Commandments and several other selected places from the Holy Scriptures of the Old Testament, the offering of sacrifices and, finally, the singing of hymns. However, besides the temple, from the time of Ezra synagogues began to be built, the need for which was felt especially by the Jews who were deprived of participation in temple worship, yet did not wish to remain without communal religious edification. In the synagogues the Jews gathered on Saturdays for prayer, singing, and the reading of Holy Scripture, as well as for the translation and explanation of the services for those born in captivity, who did not know well the holy language.

With the coming into the world of the Messiah, Christ the Savior, who offered Himself in sacrifice for the sins of the whole world, the ritual Old Testament worship lost all significance, and was replaced by that of the New Testament, at the foundation of which lies the supreme Mystery of the Body and Blood of Christ, established at the Mystical Supper by the Lord Jesus Christ Himself, which bears the name of the Holy Eucharist, or the Sacrament of Thanksgiving ("Eucaristia" in Greek meaning "thanksgiving"). This is the Bloodless Sacrifice, which replaced the sanguinary Old Testament sacrifices of calves and lambs that had but prefigured the One Great Sacrifice of the Lamb of God, who took upon Himself the sins of the world. The Lord Jesus Christ Himself commanded His followers to perform the sacraments prescribed by Him (Lk. 22:19; Matt. 28:19), to pray both privately and communally (Matt. 6:5-13; Matt. 18:19-20), and to preach throughout all the world His Divine Evangelical teaching (Matt. 28:19-20; Mk. 16:15).

From this performance of sacraments and prayers and the preaching of the Gospel, New Testament worship was compiled. Its structure and character were still more fully defined by the Holy Apostles. As it is seen from the book of the Acts of the Apostles, in their time specific places were already appearing for the gatherings of the faithful for prayer, which in Greek were called "ekklhsia," or "churches," because the members of the Church gathered in them. Thus the Church, the assembly of the faithful who are united in the one organism of the Body of Christ, gave its name to the place where these assemblies took place. Just as in the Old Testament, beginning from the time of Moses, worship was performed by specific individuals appointed for this — the high priests, priests, and Levites —, so also in the New Testament divine service came to be performed by clergy especially appointed through the laying on of the hands of the Apostles: bishops, presbyters, and deacons. In the book of Acts and the apostolic epistles we find clear indications that all of these three basic levels of priesthood in the New Testament Church have their origins from the Holy Apostles themselves.

After the Holy Apostles the divine services continued to develop, with additions of newer and newer prayers and sacred hymns, deeply edifying in their content. The final establishment of a specific order and uniformity in Christian worship was achieved by the successors of the Apostles, according to the commandment given them: "Let all things be done decently and in order" (I Cor. 14:40).

Thus, in contemporary times, the worship of the Orthodox Church is comprised of those prayers and sacred rites by which Orthodox Christians express to God their feelings of faith, hope and love, and by means of which they enter into mystical communion with Him and receive from Him powers of grace for a holy and God-pleasing life, worthy of a true Christian.

The Development of Orthodox Worship.

The New Testament Christian religion, in accordance with its close historical connection to that of the Old Testament, retained several forms and much of the content of Old Testament worship. The Old Testament temple in Jerusalem, which Christ the Savior Himself and the Holy Apostles attended on all the major feasts of the Old Testament, was at first a holy place for Christians as well. The sacred books of the Old Testament were accepted into the structure of common Christian worship, and the first sacred hymns of the Christian Church were those same psalms which were so widely used in Old Testament worship. Despite the purely Christian hymnography which was growing ever stronger, these psalms retained their significance in Christian worship in the times that followed and even unto the present day. The hours for prayer and the feast days of the Old Testament likewise remained sacred for Christians in the New Testament. However, all that Christians accepted from the Old Testament Church was given a new meaning and a particular significance that were in keeping with the spirit of the new, Christian teaching, yet in complete accordance with the words of Christ the Savior, that He came, "not to destroy the law, but to fulfill it," i.e., to "fill it up," to fill everything with a new, deeper and more exalted understanding (Matt. 5:17-19). At the same time that they were attending the temple in Jerusalem, already the Apostles themselves, and with them the first Christians, were beginning to gather separately in homes for the "breaking of bread," i.e., for what was already purely Christian worship, the center of which was the Eucharist. Comparatively early on, however, historical circumstances forced the first Christians completely and in all ways to separate themselves from the Old Testament temple and the synagogues. In A.D. 70 the temple was destroyed by the Romans, after which the worship of the Old Testament with its sacrificial offerings ceased entirely. The synagogues, however, which for the Jews were places not of worship, in the strictest sense of the word (worship could take place in only one place — the temple in Jerusalem), but merely places of assembly for prayer and instruction, soon became hostile towards Christians to such a degree that even those Christians who were of the Jews ceased to visit them. The reason for this is clear: Christianity as a new religion, perfect, purely spiritual, and also universal in terms of time and nationality, was naturally obliged to develop new forms of worship in keeping with its spirit: it could not be limited to the sacred books and psalms of the Old Testament alone.

"The basis and foundation for common Christian worship," as Archimandrite Gabriel shows clearly and in detail, "was laid by Jesus Christ Himself partly by His example, partly in His commandments. In performing His Divine service on earth He builds the New Testament Church (Matt. 16:18-19; 18:17-20; 28:20), and selects for her the Apostles and, through them, successors to their service — pastors and teachers (Jn. 15:16; 20:21; Eph. 4:11-14; I Cor. 4:1). In teaching the faithful to worship God in spirit and in truth, He accordingly sets Himself above all else as an example of the worship being established. He promises to be with the faithful where "two ore three are gathered together in His name" (Matt. 18:20), and "to be with them alway, even unto the end of the world" (Matt. 28:20). He Himself prayed, at times throughout the night (Lk. 6:12; Matt. 14:23), praying with visible outward signs, such as lifting up His eyes to heaven (Jn. 17:1), kneeling (Lk. 22:41-45), and bowing His head (Matt. 26:39). He also arouses others to prayer, showing it to be a grace-filled medium (Matt. 21:22; Lk. 22:40; Jn. 14:13; 15:7), divides it into common (Matt. 18:19-20) and domestic prayer (Matt. 6:6), teaches His disciples prayer itself (Matt. 6:9-10), and forewarns His followers against abuses in prayer and honoring God (Jn. 4:23-24; II Cor. 3:17; Matt. 4:10). Further, He proclaimed His new teaching of the Gospel by the living word and through preaching, commanded His disciples to preach the same "to all nations" (Matt. 28:19; Mk. 16:15), gave them His blessing (Lk. 24:51; Mk. 8:7), laid His hands on them (Matt. 19:13-15), and, finally, upheld the sanctity and dignity of the house of God (Matt. 21:13; Mk. 11:15). In order to impart divine grace to those that believe in Him He established the sacraments, commanding that those who enter into His Church be baptized (Matt. 28:19); in the name of the power given unto them He entrusts them with the power to bind and to loose the sins of men (Jn. 20:22-23); of the sacraments He especially commands that the sacrament of the Eucharist be performed in remembrance of Him, as an image of the sacrifice on the Cross at Golgotha (Lk. 22:19). The Apostles, having learned the New Testament service from their Divine Teacher, in spite of their primary work of proclaiming the word of God (I Cor. 1:27) specified rather clearly and in detail the rite of external worship. Thus, we find mention of several aspects of external worship in their writings (I Cor. 11:23; 14:40), but the greater part of it remained in the practice of the Church. The successors of the Apostles, the pastors and teachers of the Church, preserved the apostolic decrees concerning worship; and, in the time of peace which followed the terrible persecutions, on the foundation of these decrees defined in writing, down to the smallest details, the whole of the permanent, unchanging rite of worship, which the Church has preserved even until now" (Handbook of Liturgics, Archim. Gabriel, pp. 41-42, Tver, 1886).

In accordance with the decree of the apostolic council in Jerusalem (Acts, chapter 15), the ritual law of Moses has been repealed in the New Testament. Sacrifices of blood can no longer be made, since the Great Sacrifice has already been offered for the expiation of the sins of the whole world. There is no longer a tribe of Levi for the priesthood, because in the New Testament all men, having been redeemed by the Blood of Christ, have become equal with one another: the priesthood is equally accessible to all. Neither is there any longer a single chosen people of God, for all nations are equally called to the Kingdom of the Messiah, revealed through the sufferings of Christ. The place for service to God is no longer in Jerusalem alone, but everywhere. The time for service to God is always, and ceases not. At the center of Christian worship stands Christ the Redeemer, and His whole earthly life, which is unto the salvation of mankind. Therefore, all that has been adopted from Old Testament worship is suffused with a new spirit — a spirit purely Christian. Such are all the prayers, hymns, readings and rituals of Christian worship. Their primary purpose is salvation in Christ. Therefore, the central point of Christian worship became the Eucharist — a sacrifice of praise and thanksgiving for the Sacrifice of Christ on the Cross.

Too little information has been preserved on precisely how Christian worship took place in the first three centuries, in the epoch of savage persecution by the pagans. Permanent temples were impossible. For the performance of the divine services Christians assembled in private homes and in sepulchral caves under the ground — the catacombs. We know that the first Christians performed vigils of prayer in the catacombs throughout the night — from evening until morning —, especially on the eves of Sundays and great feasts, and likewise on days of commemoration of the martyrs who had suffered for Christ; these in fact usually took place on the graves of the martyrs, and finished with the Eucharist. Already in this ancient period there existed definite liturgical rites. Eusebius and Jeronimus give accounts of the Justinian book "Psalter"-"Chanter," which contained church hymns. Hippolitus, bishop of Ostee, who reposed around 250, left behind a book in which he expounds on apostolic tradition concerning the rites of ordination of a reader, subdeacon, deacon, presbyter, and bishop, and also concerning prayers, or short liturgical rites, and the commemoration of the departed. Regarding prayers he states that these should take place in the morning, at the third, sixth, and ninth hours, in the evening, and at cock-crow; if there can be no assembly, let each sing, read, and pray in his own home. This naturally suggests the existence of corresponding liturgical books.

Church Hymnographers.

The shining golden age of Christian worship began in the IV century, following the end of the persecutions. Here there appear a whole series of remarkable church hymnographers, compilers of profound, heartfelt prayers and entire liturgical rites, which have now taken on a strictly defined form and content which is uniform for all places.

Of these personages who have enriched and beautified our divine services, it is essential that we mention the following church hymnographers:

1. St. Basil the Great (+ 379) and St. John Chrysostom (+ 407) in the East, and St. Ambrose of Milan (339 — 397) in the West. Each of these compiled for his Churh a rite of Divine Liturgy. St. Basil the Great additionally defined and supplemented with prayers, which he himself composed, the daily services and the Vespers of Pentecost, and St. John Chrysostom introduced the Litia into the All-night Vigil. St. Ambrose introduced antiphonal singing in the West, modeling on the way it was employed in the East.

2. St. Gregory the Theologian (+ 391) wrote much against the Arians, and left not only epistles but discourses as well. In particular he composed many poetic works. In his poems there are many expressions which later, in one way or another, were used by church hymnographers. Ven. John of Damascus in particular used many of the former’s words in his own Paschal canon and stichera.

3. Venerable Ephraim the Syrian (323 — 378) labored in Syria, in the province of Edessa. Quite a number hymns are ascribed to him — hymns for the feast of the Nativity of Christ, in honor of the Most Holy Theotokos, in honor of the Church of Christ, and for other occasions. These hymns are still sung by the Syrians.

4. St. Cyril of Alexandria (+ 444). Some ascribe to him the authorship of the hymn "O Theotokos and Virgin, Rejoice!" He also compiled and introduced the rite of the Royal Hours of Great Friday.

5. The Emperor Justinian (527 — 565) is, according to holy tradition, the author of the hymn "O Only-begotten Son and Word of God," which is sung at the Divine Liturgy.

6. St. Anatolius, patriarch of Constantinople (+ 458), compiled the resurrectional stichera. Note: several scholars believe that these stichera, marked as being "of Anatolius," are not his at all, but are rather "eastern," since they were accepted into the eastern typica. At the time of Pat. Anatolius, they state, this type of hymnography did not yet exist (Liturgics, Archim. Kyprian, p. 72).

7. Ven. Roman the Melodist (end of the V century), some believe, compiled more than 1000 kontakia and ikosi. In the profundity and sublimity of his language he surpasses all of the Greek poets. Byzantine church poetry found perfection in him. His kontakia for the feasts and the saints gave ground before new hymns, the canons, which gradually replaced the kontakia of Ven. Roman.

8. Ven. Savva the Sanctified (532), the founder of the glorious Palestinian Lavra, compiled the first liturgical Ustav (the Typicon), which is known by the title of "Jerusalem" and has been widely distributed in the East.

9. Patriarch Sergius of Constantinople, to whom is ascribed the compilation, around 626, of the akathist to the Mother of God. However, some dispute his authorship, but this, apparently, as notes Archim. Kyprian (Kern), stems in this case more from a reluctance to accept as the author of so Orthodox a composition such a patriarch, one who compromised himself by defending the monothelite heresy, than from any more serious scientifically critical basis (p. 76). Others believe the author of the akathist to be the deacon George Pisida, who was a contemporary of Pat. Sergius and noted for his poetic gifts.

10. St. Sophronius, patriarch of Jerusalem (+ 638), composed a significant part of the Triodion and the rite of the Royal Hours of the Nativity of Christ, conclusively formulated the rite of the Great Blessing of Water which is performed on the eve of Theophany, and, as a result of the introduction of a multitude of hymns into the services, revised and reedited the rule of St. Savva the Sanctified.

11. St. Andrew, archbishop of Crete (+ 713), compiled the Great Canon of repentance which is sung and read on the first and fifth weeks of Great Lent. He likewise wrote many other canons, three-canticled canons, and other hymns. He originally came from the monastery of Ven. Savva the Sanctified.

12. Ven. John of Damascus (675 — 749-50) was a very prolific and renowned hymnographer. He compiled the canons of Pascha, the Nativity, and many others; the hymns of the Ochtoechos, funereal hymns, morning antiphons, and the Calendar; and revised and reedited the rule of St. Sophronius.

13. St. Cosmas, bishop of Maiuma (700 — 760), a friend of Ven. John of Damascus and his adopted brother and schoolfellow. They labored in the monastery of Ven. Savva. St. Cosmas composed many canons for feast days, the three-canticled canons for four of the days of Passion Week, and the hymn "More Honorable than the Cherubim," and took part with the Damascene in the compilation of the hymns of the Ochtoechos. He likewise composed canons for the Dormition of the Most Holy Theotokos, the Nativity of Christ, Theophany, the Meeting of our Lord, Pentecost, Transfiguration, the Exaltation of the Cross, and the Entry of the Lord into Jerusalem.

14. Venerable Theodore (759 — 826) and his brother Joseph (+ 825-30), archbishop of Thessalonica, the Studites; both confessors for the sake of the Holy Icons. They gathered all the hymns of Great Lent at that time in existence and, adding three- and four-canticled canons, stichera and troparia which they had composed, thus compiled an entire book, which was given the name of The Lenten Triodion. Besides this, Ven. Theodore wrote a particular liturgical Rule for his monastery, which was passed on to the Russian churches and monasteries, attaining renown and usage just as widespread as had the Jerusalem Rule of Ven. Savva the Sanctified.

15. Ven. Theophan the Inscribed (+ 843), a confessor, metropolitan of Nicea. He was called "the Inscribed" because the iconoclasts branded sacrilegious words on his face for his steadfastness in defending the veneration of icons. He is the author of over 100 canons, of which the best known are the canons for the funeral, for the Midfeast of Pentecost, for the second day of Pentecost in honor of the Holy Spirit, and for the Sunday of Orthodoxy, part of the canon for Lazarus Saturday, and many other canons and stichera in honor of various saints.

16. Ven. Joseph the Hymnographer (810 — 886) may be considered one of the most prolific of all hymnographers. He compiled canons for the weekdays in the Ochtoechos and for other days of commemoration of the saints. Altogether are attributed to him 175 canons, 30 three-canticled canons, and 6 four-canticled canons — 211 church hymns in all. Through the labors of the Venerable Joseph and Theophan the Inscribed a multitude of canons were compiled, which supplemented the Ochtoechos of the Damascene, bringing it to its current status.

17. St. John, bishop of Eukhaitia (+ 1100), composed many canons, including the famous canons to the Sweetest Jesus and to the Guardian Angel, and supplemented the Menaion.

All of these church hymns and prayers were originally written in Greek, which at the time was in universal and common usage in the Christian East of the Byzantine Empire.

The foundation for the translation of all of these hymns and prayers from Greek into Slavonic, which translation has been in use even until now in our Russian Churches, was laid by the enlighteners of the Slavs, the brothers Saints Cyril and Methodius, Equals-of-the-Apostles. After Russia’s acceptance of Christianity in 988, and the appearance in Russia of her own God-pleasing saints, the latter began to compose in Church Slavonic their own prayers and hymns of praise, which still more greatly enriched the divine services which we received from the Greeks. In Russia entire liturgical rituals were likewise composed, in memory of exclusively Russian national feasts, wonderworking icons that appeared at different times in the Russian land, and so forth.

The Significance of Orthodox Worship.

This significance is extraordinarily great. Our Orthodox services teach, exhort, and spiritually educate the faithful, providing them with rich spiritual food for both mind and heart. The yearly cycle of our services presents to us in vivid images and lessons nearly the whole of biblical history, both of the Old Testament and especially of the New; it likewise presents the history of the Church, both universal and, in particular, Russian. Here the dogmatic teachings of the Church are revealed, which overwhelm the soul with awe before the greatness of the Creator; and moral lessons in authentically Christian life, which cleanse and uplift the heart, are given in the living images and examples of the God-pleasing saints, the memory of whom is glorified by the Holy Church nearly every day. Like the purely external appearance and construction of our Orthodox temples, so also the services performed in them vividly remind those praying of that "higher world" for which all Christians are destined. Our worship presents itself as an authentic "SCHOOL OF GODLINESS," which completely removes the soul from this sinful world and transports it to the kingdom of the Spirit. "Truly, the temple is an earthly heaven," says the great pastor of our times, St. John of Kronstadt, "for where the throne of God is, where the terrible sacraments are performed, where angels serve with men, where there is unceasing doxology of the Almighty, there truly is heaven and the heaven of heavens." Whosoever listens attentively to the service, whosoever consciously participates in it with his mind and heart, such a one cannot help but feel the full strength of the powerful call of the Church to sanctity, which is, according to the words of the Lord Himself, the ideal of Christian life. Through her services the Holy Church endeavors to tear each of us from all earthly attachments and passions, and to make of us those "earthly angels" and "heavenly men" of whom she sings the praises in her troparia, kontakia, stichera and canons.

Worship has great powers of regeneration, and in this lies its wholly irreplaceable significance. Some forms of worship, called "sacraments," also have an particular, specific meaning for the man who receives them, for they bestow on him special powers of grace.

III. The Origin of

the Christian Temples

The liturgical rule of today prescribes for services to be performed for the most part in the temple. Concerning the very name temple, templum, naoς, it came into use around the IV century. Before, the name was applied by the pagans to the places where they assembled for prayer. Among us, the Christians, the name temple refers to a building specially consecrated to God, in which the faithful gather for the receiving of the grace of God through the sacrament of Communion and other sacraments, and for the lifting up of prayers of a communal nature to God. Since the faithful, who themselves comprise the Church of Christ, gather in the temple, the temple is likewise called a "church," a word which came from the Greek kuriakon, which means "house of the Lord," domus Dei. This title was adopted from the Holy Scriptures of the Old Testament (Gen. 28:17, 19, 22). From the Greek word kuriakon, by changing the letters k and u to the Russian letters ц and е, the Russian word церковь was formed, which also means a house or temple of the Lord. (So maintains Archb. Benjamin, compiler of the New Tablet; see p. 10).

Christian temples as specifically houses of worship only began to appear among Christians in significant numbers after the end of the persecutions by the pagans, i.e., in the IV century. However, temples were already being built before this since at least the III century. Christians of the first community in Jerusalem still attended the Old Testament temple, but for the performance of the Eucharist they were already gathering apart from the Jews, "from house to house" (Acts 2:46). In the epoch of the persecutions of Christianity by the pagans the principle places for assemblies of worship for the Christians were the catacombs. These were special underground vaults, excavated for the burial of the dead. The custom of burying the dead in catacombs was rather widespread in pre-Christian antiquity, both in the East and the West. Places of burial, in accordance with the Roman laws, were recognized as inviolable. Roman legislation likewise permitted the free existence of sepulchral communities, regardless of what creed they professed; these enjoyed the right to assemble in the burial places of their fellow members, and were even allowed to have their own altars there for the practicing of their worship. Hence, it is clear that the first Christians made wide use of these rights, the result of which was that the main places for their assemblies of worship, or the first ancient temples, were the catacombs. These catacombs have been preserved even until the present time in various places. Of the greatest interest to us are the exceptionally well-preserved catacombs on the outskirts of Rome, the so-called "catacombs of Kallistus." These are an entire web of underground corridors interwoven among themselves, with more or less spacious room-like apartments, called cubicles, scattered here and there throughout. In this labyrinth without the help of an experienced guide it is easy to become confused, the more so because these corridors are sometimes situated on several levels; from one level it is possible to pass unconsciously to another. Along the corridors recesses are gouged, in which the dead were immured. The cubicles constituted family vaults, while still larger apartments, the "crypts," were precisely those temples in which Christians performed their worship in times of persecution. In these the tomb of a martyr was usually erected: this served as the altar on which the Eucharist was performed. It is from this that the custom originates of putting holy relics into a newly consecrated temple, within the altar and the antimins, without which the Divine Liturgy cannot be performed. Along the sides of the altar or tomb, places were set up for the bishop and the presbyters. The biggest apartments in the catacombs were generally called "capellas" or "churches." In them one may already easily discern many of the structural parts of our contemporary temple.

The catacombs were adorned with fresco paintings. These frescoes were of a mostly symbolic character, such as, for instance, the "Anchor," the symbol of Christian hope; the "Dove," the symbol of the Holy Spirit; the "Phoenix," the symbol of the Resurrection; the "Peacock," the symbol of immortality; the "Rooster," the symbol of spiritual wakefulness and a reminder of the denial of Peter; the "Lamb," the symbol of the Lord Jesus Christ Himself; and the "Cross," in the form of various kinds of monograms. The cross was, in the eyes of the pagans, an instrument of shameful punishment, and for this reason the Christians, so as to escape the mockery of the pagans, concealed this symbol of Christianity, combining the image of the Cross with the initials of the name of Christ. Other frescoes were allegorical in nature, symbolically depicting the parables of Christ the Savior. A third category comprises depictions of biblical events, such as, for example, Noah in the ark; Jonah and the whale which swallowed him; Daniel in the lions’ den; Moses by the burning bush, and drawing forth water from the rock; the adoration of the Magi; the Annunciation; the resurrection of Lazarus. The fourth category of fresco comprises images of a liturgical nature. The chief of these is the fish, which represents the Lord Jesus Christ Himself. The Apostles were fishermen, and we find the symbol of the fish often in the Gospel. Moreover, the Greek word for fish, icquV, contains the initial letters of the Greek phrase, "IhsouV CristoV Qeou UioV Swthr," which means "Jesus Christ, Son of God, Savior."

Already in the I-II centuries we find in the catacombs iconographic representations of Christ the Savior and the Mother of God, albeit few in number. Symbolic images were preferred, due to the threat of mockery and desecration by the pagans.

Even before Christianity obtained its status as the predominant religion in the reign of Emperor Constantine, Christians had begun to build unconcealed above-ground temples. These were often destroyed, but in the intervals of peace between persecutions the Christians built them anew.

The most ancient type of Christian temple is the basilica. In its layout the Christian basilica consists of an elongated tetragon, the length of which is equal to twice its breadth. Its interior is divided, by rows of pillars running along its length, into three or five "naves," or longitudinal areas. Corresponding to the number of naves, on the east side several "asps," or semicircular altars, were set. Smaller churches were not divided into naves, and only one semicircular altar was built. Temples were built with the altar facing east, while on the west side "narthexes," or "vestibules," were built, and, still before these, the "portico," or porch. The central nave was usually made higher and wider than those along the sides. In the walls between the columns of the central nave, above the roofing of the lateral naves, windows were set, which illuminated the whole inside of the basilica.

What are the origins of the Christian basilica?

The name itself indicates that it is a "royal building," as it comes from the Greek word "basileuV," which means "king," or "judge." In those times the basilica was considered the most perfect form of architectural art; all government buildings, as well as the homes of the wealthy, were built in the form of basilicas. It was natural for Christianity to choose for their temples that architectural style which was in those times considered to be the most beautiful, the most perfect. Furthermore, it is known that the first Christians, who as yet had no temples, gathered for their Eucharistic assemblies in the homes of wealthy people who had turned to Christ, who reserved for these assemblies the best rooms, called oikoV, or "ikosi." These rooms happened to have the shape of an elongated tetragon, with columns that divided the apartment along its length into three sections. In their form basilicas resembled a ship. This conveyed to the faithful the edifying thought that the Church is a ship on which one may safely sail across the sea of life and reach safe harbor.

From the time of the transfer of the capital of the Roman Empire from Rome to Constantinople, and the cessation of the persecution of Christians, a new architectural style arose in Christian temple construction — the Byzantine style. Temples of this type were constructed in the form of a cross (staurweidh), or in the form of a rectangle, close to a square. Typical features of the Byzantine style are the vault and the dome. In the beginning of the IV century the dome was still low, and covered the whole top of the building, being mounted directly on the walls; but later it rose higher and was set upon special pillars, and windows were set in the dome. The entire dome was intended to remind one of the broad vault of heaven, as a place of the invisible sojourn of the Lord.

The forming of the temple in the shape of a circle, which is likewise characteristic of the Byzantine style, probably originated from the "baptisteries," or baptismal temples — temples specially designated for baptism, in the center of which, in the style of the Roman public baths, round basins for water were set. Another opinion holds that round temples came from the Greek monuments, or rotundas, which were built above the burial places of particularly revered and distinguished government and social figures.

The cruciform temple was intended to call to mind the fact that at the foundation of the Church lies the Cross of Christ. The round form indicates the eternalness of the Church, for the circle has neither beginning nor end.

During the time of persecution of Christians under Decius, in Rome alone around 40 basilical temples were destroyed. A typical basilica temple is the temple of Sts. Peter and Paul in Rome, which was built anew in the style of the Renaissance. In Rome were also built two other notable basilicas — the church of Mary the Great in the V century, and the basilica of St. Paul, destroyed by fire in 1823 and rebuilt in what was an already distorted form. Many basilicas were built in the IV and V centuries outside the precincts of Rome, particularly in Bethlehem above the cave of the Nativity of Christ, in Jerusalem over the tomb of the Lord, in Thessalonica, Syria, and our own Chersonese.

We see the most brilliant period of the Byzantine style in the temple of Hagia Sophia in Constantinople. Many temples of this style exist on Athos, in Athens, Thessalonica, Armenia, Serbia, and even in the West, especially in Rowena and Venice.

In the West, however, a specifically Roman style appeared. A temple built in the Roman style consisted of a wide, elongated nave, set between two lateral naves that were half its own length and width. From the eastern, frontal side, to these was joined a transverse nave, called a "transept," which gave the whole building the form of a cross, though not an equilateral cross as in the Byzantine style. Peculiar to the Roman style were that 1) the floor was set higher in the asps and transepts than in the central part of the temple, and that 2) the columns of various parts of the temple began to be united together into a semicircular vault and to be adorned at their upper and lower extremities with carved, molded, and superimposed images and figures. The Roman style was widespread in the West from the X to XIII centuries, when it was replaced by the Gothic style.

The Gothic style, also known as the "lancet style," is similar in plan to the Roman, and is distinguished by sharp, pyramidal extremities that stretched up towards the sky: sharp-pointedness is visible in its every aspect. This style is characterized by an abundance of high, closely set windows covered with pictures.

From the XV century still another style began to spread in the West — that of the Renaissance. This style shows the influence of ancient pagan architecture. Western temples began to resemble in style the pagan temples of antiquity. From the Roman style, this style retained the transept; from the Byzantine — the vaults and dome-shaped arches. Characteristic features of the Renaissance style were ancient Greek columns inside and out, ornamental decorations in the forms of leaves, flowers, figures, people, and animals (in contrast to the Byzantine patterns, adopted from the sphere of Christianity), and sculptural representations of the saints.

Old Russian temples were built in the Byzantine style. Such are — in Kiev — the Church of the Tithe, the Wisdom Cathedral, the Kiev Caves Lavra, the Monastery of St. Michael; in Pskov — the Cathedral of the Holy Trinity; in Vladimir — the Cathedral of the Dormition; in Rostov — the Church of the Dormition; and others. But the Russian temples differed in many ways from those of the Byzantines. For instance, due to the absence of marble and stone, there were no columns. Stone temples were very few in number. In the construction of wooden churches, of which there was an especially large number in the north, due to the abundance of wood materials, Russian craftsmen displayed much of their own taste and independence. A characteristic peculiarity, which distinguishes Russian domes from the domes of the Greeks, is that above the dome, below the cross, a special cupola resembling an onion was placed. The first form that was purely Russian in style is called the "marquee" or column style. This has the appearance of several separate churches, united into one, each of which appeared to be a pillar, or marquee, crowned by a dome and a cupola. Aside from the large quantity of onion-shaped cupolas, the marquee style is characterized by a variety of colors and diversity in paints. Examples of such temples are the Church of the Village of Clerks and the Church of St. Basil the Blessed in Moscow. Besides the marquee style there existed still other forms of the Russian national style: 1) a cube raised in height, due to which upper and lower churches often resulted; 2) the two-part form — a tetragon below with an octagon above; and 3) a form created by the layering of several square frameworks, each of which was superincumbent to the one below it. During the reign of Emperor Nicholas I the architect T. Tono developed a universal style for the construction of military churches, which came to be known as the "Tonovski style." One example of the latter is the Church of the Annunciation in the Mounted Guards Square in Petersburg.

Of the Western European styles, in Russia the Renaissance style alone saw some application. Features of this style are found in the two principle cathedrals in Petersburg — the Kazan and Isaacian cathedrals.

All the edifices of the temple usually culminated in a dome, which was intended to remind the faithful of heaven, to which all their thoughts and desires should be directed. Above the dome were placed "cupolas," or "crowns." One cupola symbolizes the Head of the Church, the Lord Jesus Christ; three cupolas remind us of the three Hypostasis of the Most Holy Trinity; five — the Lord Jesus Christ and the four Evangelists; seven — the Seven Ecumenical Counsels, the seven sacraments, and the seven gifts of the Holy Spirit; nine — the nine ranks of angels; thirteen — the Lord Jesus Christ and the twelve Apostles. Each dome is crowned by a cross, the victorious sign of the Church.

The Inner Layout and Arrangement of the Temple.

The inner layout of temples has been defined from extreme antiquity by the purposes of Christian worship and a symbolic view of their meaning. Like every worthwhile building, the Christian temple had to fulfill those purposes for which it was intended. It had to contain, firstly, a space suitable for the clergy who performed the services; secondly, an area where the faithful were to stand in prayer, and, thirdly, a special place for the catechumens — i.e., those not yet baptized, who were preparing to receive baptism — and the penitents. Accordingly, as in the Old Testament temple there were three sections — the Holy of Holies, the sanctuary, and the court —, so also the Christian temple has from the earliest times been divided into three parts: the altar, the central part of the temple — essentially, the church —, and the vestibule.

The Altar.

The most important part of the Christian temple is the altar. The name ‘altar’ comes from the Latin alta ara — the high altar. According to the customs of the ancient Church, the altar was always placed in the semicircle on the east side of the temple. Christians ascribed a great symbolic meaning to the east. In the east paradise had been; in the east our salvation was accomplished. In the east rises the material sun, giving life to all living things on the earth — so also in the east arose the Sun of Righteousness, giving eternal life to mankind. The east has always been recognized as a symbol of good, in opposition to the west, which was considered a symbol of evil, the realm of impure spirits. The Lord Jesus Christ Himself is personified by the image of the east — "Orient is his name" (Zach. 6:12; Ps. 67:34); "the Dayspring from on high" (Lk. 1:78) —, while the Holy Prophet Malachi calls Him "the Sun of righteousness" (Mal. 4:2). This is why, in their prayers, Christians have always faced and still face towards the east (see canon 90 of St. Basil the Great). The Roman Catholic and Protestant practice of making the altar to face the west was established no earlier than the XIII century. The word ‘altar’ (in Greek, bhma - "vima" — or itration - "itration") signifies an elevated place; in addition, it represents the earthly paradise where our first parents lived, those places where the Lord journeyed in preaching, and Mount Sinai, where the Lord established the Sacrament of Communion. The altar is a place for the clergy alone who, like the bodiless powers of heavens, serve before the altar of the King of Glory. The laity is forbidden to enter the altar (canon 69 of the VI Ecumenical Counsel; canon 44 of the Counsel of Laodicea); entrance into the altar is permitted only to the lower clergymen who assist in the performance of the services. Members of the female sex are not permitted to enter the altar for any reason. Only in women’s monasteries may a tonsured nun be permitted to enter the altar for its upkeep and to assist the clergy. The altar, as is indicated by its very name (which comes from the Latin words alta ara, meaning "high altar"), is raised higher than the other parts of the temple by a step, or two, or sometimes more. In this way it is made more visible to those who are praying, and visibly merits its symbolic meaning of a "higher world." Anyone who enters the altar must make three full prostrations on weekdays and feasts of the Theotokos, or three bows from the waste on Sundays and feasts of the Lord.

The principle fixture of the altar is the holy table; in Greek, the trapeza, as it is sometimes also called in Church Slavonic in our liturgical books. In the first centuries of Christianity, in the underground churches of the catacombs, the grave of a martyr served as the holy table, as it by necessity had an elongated tetragonal form and was joined to the altar wall. In ancient above-ground churches holy tables began to be built in a nearly square form, on one or four supports. These were made of wood, in the shape of an ordinary table; but later they began to be made of precious metals, and were sometimes built of stone, and even marble. The holy table represents the heavenly throne of God, on which the Almighty Lord Himself is mystically present. It is likewise called the "table of oblation," (in Greek, the qusiasthrion - "thesiastirion") since on it the Bloodless Sacrifice is offered for the world. The holy table likewise represents the tomb of Christ, for on it is laid the Body of Christ. The four-sided shape of the holy table symbolically expresses that sacrifice is offered on it for all four corners of the earth, and that all the ends of the earth are called to the partaking of the Body and Blood of Christ.

In accordance with the dual significance of the holy table, it is vested in two coverings: an inner, white vestment, called the "sryachitsa" (in Greek, katasarkion, "katasarkion," meaning "close fit"), which represents the shroud in which the Body of the Savior was wrapped, and an outer vestment, the "inditia" (from the Greek endiw ("endio"), meaning "I clothe"), made of brilliant, precious material, which represents the glory of the throne of the Lord. During the consecration of the temple the inner vestment, the katasarkion, is wound about with the rope, which symbolizes the bonds of the Lord with which He was bound when He was led for judgment to the high priests Annas and Caiaphas (Jn. 18:24). The rope is tied around the table in such a way that on each of the four side of the latter a cross is formed, symbolizing that cross by which the malice of the Jews brought the Lord down into the tomb, and which served for the victory over sin and Hades.

The most important article on the altar table is the antimins (from the Greek "anti" — "in place of" — and the Latin "mensa" — "table, altar"), or "antialtar." Today the antimins consists of a silken cloth, on which is portrayed the laying of the Lord Jesus Christ into the tomb, the four Evangelists, and the instruments of the sufferings of Christ the Savior. Inside the antimins, in a special pouch on the reverse side, pieces of holy relics are placed. The history of the antimins goes back to the earliest days of Christianity. The first Christians had a custom of performing the Eucharist on the graves of martyrs. When in the IV century Christians were allowed to freely build churches above ground, they began, on account of this custom that had already taken root, to transfer the relics of martyrs from various places into the temples. However, as the number of temples continued to increase, it became difficult to obtain whole relics for each temple. Then they began to place beneath the altar table at least a particle of holy relics. From this the antimins has its origins. It is, in essence, a portable altar. Heralds departing for distant lands to preach the Gospel, and Emperors setting off on campaigns with clergy and mobile churches, had to bring with them mobile altars, which were the antimins. A series of sources of information regarding the antimins, by precisely that name, we have already from the VIII century, while actual antimins, which have descended to us in the form of material memorials, date from the XII century. The Old Russian antimins, which have been preserved until now, were made of linen, had an inscription, and bore an image of the Cross. The inscriptions indicate that the antimins takes the place of a consecrated altar table; here indicated are the name of the bishop who consecrated "this altar," the place of its allocation (for which church), and a caption concerning the relics ("here are the relics of…"). From the XVII century, more complex images appear on the antimins, such as the laying of the Savior into the tomb, and the linen is replaced by silk. Originally relics were placed in every altar table consecrated by a bishop (in a small metal shrine under the altar or in a hollow in the upper boards of the altar table). Such altar tables required no antimins. The temples which were not sanctified by bishops, however, were sanctified through antimins with holy relics, sent by the bishop. As a result of this, some temples had altars with holy relics, but did not have antimins; others had altars without holy relics, but had antimins. So it was also in the Russian Church in the early times following the acceptance of Christianity. But with the passage of time, first in the Greek, then in the Russian Church, antimins began to be placed even on those altars which had been sanctified by a bishop, but were as yet without holy relics. In the Russian Church from 1675 it became the custom to place antimins with holy relics in all churches, even in those consecrated by bishops. The antimins, given to the priest by the bishop, became as it were a visible sign of the authority of the priest to perform the Divine Liturgy, being subordinate to the bishop who had issued the antimins.

The antimins lies on the altar table, folded four times. Inside it are laid the "sponge" or, in Greek, musa (spoggoV); the "mesa." This represents that sponge which, filled with gall and vinegar, was raised to the lips of the Lord hanging on the Cross, and is used for wiping away the particles of the Body of Christ and the particles removed in honor of the saints, the living, and the departed, during their immersion into the holy chalice at the end of the liturgy.

The antimins, folded four times, is also wrapped in a special silken cloth, which is slightly larger than itself in size, and is called the eileton - "eileton" — from the Greek eilew ("eileo"), meaning "I wrap up." The eileton represents the swaddling clothes with which our Lord was wrapped upon His birth and, simultaneously, the shroud in which His Body was wrapped at His Burial in the tomb.

In present times, on top of the antimins on the altar the Gospel is laid. It is usually decorated, and lavishly bound, with images on its front cover — the Resurrection of Christ in the center, with the four Evangelists at the corners. In ancient times the Gospel was kept, not on the altar table, but in a special partition near the altar — the vessel repository — and was solemnly carried into the altar before it was to be read (the "Small Entrance").

Beside the Gospel on the altar table the cross is laid (in Greek, stauroV - "stavros"), for on the altar table the Bloodless Sacrifice is offered in memory of the sacrifice which the Lord offered on the cross. This cross, like the Gospel, is entitled "altar." Occasionally a cross is also placed behind the altar table.

Above the altar table in ancient temples was placed what is called the ciborium by latin writers, the kuborion (kivorion) in Greek, or the sjen’ in Slavonic: a kind of canopy, supported by four columns. The canopy also appears in old Russian churches. It symbolizes heaven, spread out above the earth on which sacrifice is offered for the sins of the world. In addition to this, the canopy signifies the "immaterial tabernacle of God," that is, the glory of God and the grace with which He Himself is covered, Who clothes Himself in light as with a garment, and sits on the exalted throne of His glory.

Beneath the canopy, above the center of the altar table, there hung the peristerion (peristerion) — a vessel in the form of a dove, in which were preserved the reserved Holy Gifts for the communing of the sick and for the Presanctified Liturgy. In present times this image of a dove is preserved in places, but has lost its original practical significance: the dove now serves not as a vessel in which the Holy Mysteries are kept, but only as a symbol of the Holy Spirit.

For the keeping of the Holy Myteries, on the very altar table there is now placed an ark, also known as the tabernacle. This is made in the likeness of the tomb of the Lord, or in the form of a church. Here also the holy myrrh is usually kept.

On the altar table candle stands are also set, for the representation of the Light of Christ enlightening the world. The newly ordained priest is thus instructed: "On the holy table lay nothing aside from the Gospel and the Mysteries and other holy things."

Behind the altar table a seven-branched candle stand is sometimes set, recalling the Old Testament candle stand in the sanctuary.

Behind the altar table, by the very wall in the conch of the altar, the high place is set, which represents the seat of the bishop; on each side of it there are places for the presbyters. It is placed at an elevation, for which reason it is also called the high throne. Here, at the time of the reading of the epistle, the serving bishop ascends, who himself represents the Lord of glory. On each side of him sit the presbyters, representing the Apostles. Their places are called, in Greek, sunqronoV - the "cothrones."

In the northern part of the altar — though in ancient times it was in a special section just adjoining the altar — the table of oblation (in Greek, proqesiV - prothesis) is set. This is a table covered, like the altar table, with costly coverings, on which the Holy Gifts are prepared at the beginning of the liturgy. It is called the table of oblation because in ancient times it was to this table that the faithful brought or "offered" bread, wine, and all that was necessary for the performance of the Divine liturgy. From what was brought the priest selected the very best for the performance of the Mystery, and the rest was used at what were known as the agaph - "agapes" — or "suppers of love," which in days of old were combined with the performance of the Eucharist. The table of oblation was also called the "table of sacrifice," since on it the bread and the wine were prepared for the performance of the Bloodless Sacrifice. During the preparation of the Holy Gifts both the birth and the suffering of the Savior are recalled. Thus, the table of sacrifice symbolizes Bethlehem or, more particularly, the manger in which the Lord was laid upon His birth, and Golgotha, on which He partook of the cup of suffering.

On the table of sacrifice are kept the vessels necessary for the performance of the Eucharist, and the rest of the essential sacred items. Such are the diskos, potir (or chalice), star, spear, spoon, sponge, the coverings, two small dishes, and the cup.

The diskos (in Greek, diskoV, "deep plate") is a round metal dish, usually gold or silver, on a stand in the form of a stem, upon which is set the "Lamb," — that is, that section of prosphora which at the liturgy is transformed into the Body of Christ — as well as the other particles which have been removed from the prosphora at the beginning of the liturgy. The diskos symbolizes the manger in which the newly-born God-child was laid and, at the same time, the tomb of Christ.

The potir or chalice (from the Greek pothrion - "potirion," a vessel for drink) is the vessel from which the faithful are communed with the Body and Blood of Christ, and which recalls the cup from which the Lord communed His disciples for the first time at the Mystical Supper. At the beginning of the liturgy, into this cup is poured wine with the addition of a small quantity of water (in such a way that the wine does not lose its own flavor), which is transformed at the liturgy into the true Blood of Christ. This cup likewise recalls the "cup of suffering" of the Savior.

The star (in Greek, asthr, asteriskoV - "astir, asteriscos") consists of two arches joined together cruciformly. Recalling the star that led the magi to Bethlehem, the star is placed on the diskos so that the coverings should not touch or disarrange the particles arranged on the diskos.

The spear (in Greek, logch - "lonhi") is a knife, having the form of a spear, which serves for the removal of the Lamb and the rest of the particles from the prosphora. It recalls the spear which pierced the most pure ribs of the Savior on the cross (Jn. 19:34).

The spoon or, in Greek, the labhda ("lavida") from the time of St. John Chrysostom has been used for the communing of the laity with the Body and Blood of Christ. It represents the tongs with which the Seraphim took the coal from the heavenly altar, touched it to the lips of Isaiah the prophet, and purified them.

In precisely the same way the coal of the Body and Blood of Christ purifies the bodies and souls of the faithful.

The sponge or, in Greek, musa ("mesa"), not the one which is placed inside the antimins, is used for the wiping off of the holy chalice after the consumption of the Holy Gifts by the priest. It is thus entitled "for cleansing," and is always left inside the holy chalice.

The coverings are used for the covering of the Holy Gifts. There are three of them: one covers the diskos, the second, the chalice, and the third, which bears the name of the "air" (in Greek, ahr - "air"), covers the diskos and the chalice together. With the air, the largest of them in size, the priest fans above the Holy Gifts during the singing of the Symbol of Faith: in making the air to shake and to tremble, the priest depicts the earthquake which occurred at the Resurrection of Christ. At the beginning of the liturgy the coverings symbolize the infant swaddling clothes of the Lord Jesus, while at the Great Entrance, which signifies the procession of the Lord to Golgotha, and at the placing of the Holy Gifts on the altar table, which indicates the taking down of the Lord from the cross and His burial, the covering above the diskos symbolizes the napkin which covered the head of the Savior in the tomb; the covering above the chalice — the shroud, or winding sheet, with which the Body of the Lord was wrapped, and the air — the stone, rolled to the door of the tomb.

Besides the diskos, at the performance of the proskomidia two dishes and a cup are used. On one of these dishes a cross is inscribed; this one is used at the removal of the Lamb from the first prosphora. On the second dish, which has an image of the Mother of God, the particle taken from the second prosphora in honor of the Mother of God is placed. By means of the cup, wine mixed with water is poured into the holy chalice, and before the communion of the clergy in the altar the hot water is poured into the holy chalice from this same cup.

Like the "table of oblation" on the north, or left, side of the altar, in ancient times a special section was set at the south, or right, side of the altar. In this section were kept the vessels, various church implements, books, and vestments. This section was looked after by the deacon, for which reason it was called the "diakonik" or, in Greek, sometimes also the skeuofhlakion ("skevophelakion").

Other than clergy, no one has the right to touch the sacred vessels we have listed above, with the exception of the cup. In addition to these vessels, the following church vessels are also used during worship:

The censer — a vessel consisting of two semicircular cups, one covering the other, on three small chains, used for the censing of incense, or frankincense (a kind of sweet-scented resin), at specific moments of the services.

The krapilo (or aspergillum) — prepared of thin branches from the plant called "hyssop," and used for the sprinkling of holy water.

The font — a large vessel, usually having the form of a chalice and used for the immersion of infants at their reception of the sacrament of holy baptism. In ancient times, when the baptism of adults occurred quite often, a special basin with steps was built in the vestibule for the their immersion; it was cruciate in form, and was called the "baptistery."

The myrrh box (or myrnitsa) — a small, four-cornered box in which are kept a phial of holy myrrh and everything necessary for the mystery of baptism: a phial of sanctified oil, a sponge for the cleansing of the anointed parts of the body, and scissors for the tonsuring of the hair.

The ripidi (from the Greek ripidion, from ripiV idoV - "ripis idos" — "large fan"), which were used in ancient times for the driving away of insects from the Holy Gifts, and at first were made from thin skins or from peacock feathers and linen. Today the ripida is a metal circle with the image of a six-winged seraphim, fixed to a long shaft. Sometimes, incidentally, they had the form of a square or star. In present times they have a purely symbolic meaning: the ripidi represent the penetration of the heavenly hosts into the mystery of the salvation of men, accomplished by the Lord and Redeemer. They are usually carried above the Holy Gifts and above the Gospel at hierarchical services; likewise, above the cross at its carrying out at the all-night vigil for the Exaltation, for the Sunday of the Cross, and on August 1, and above the Holy Shroud. In some monasteries it is permitted to use them also when archimandrite is serving, while in the East they are used even at the usual serving of a priest, at the Small and Great Entrances. At the ordination of a deacon, in accordance with the ancient practice, the ripidi is given into his hands to fan insects away from the Holy Gifts, which was part of the sphere of his duties at the performance of the Divine liturgy.

The dikiri and trikiri are two- and three-branched candleholders, which are used for the blessing of the worshippers by the bishop at the Divine Liturgy and at several other services. The dikiri represents the two natures of the Lord Jesus Christ — Divine and human — while the trikiri represents the three Hypostasis of the Most Holy Trinity. The right to bless with the dikiri and trikiri is likewise given to some archimandrites.

The crowns are laid on the groom and the bride at the performance of the sacrament of matrimony. These are made in the likeness of crowns, from metal, with small crosses on the top, with the image of the Savior on one and of the Mother of God on the other. In ancient times, and in some places even now, these are prepared from live plants and flowers.

There are many kinds of lamps: candlesticks for one candle, which stand on the floor (called "moveable lamps"), or for many candles, which stand before icons, holy relics, and other sacred objects; lampadas; chandeliers, called panikadilas; torches, used for processions — all of these are numbered among the church implements essential for the consecration of a temple, and have not only a purely practical significance, but also a symbolic one: they symbolize the spiritual light which drives away spiritual darkness, the light of Christ, illuminating all. A particularly large quantity of lamps are appointed by ustav to be lit at certain especially festive moments of the services, as a sign of spiritual joy and exultation. Electricity, which has now appeared in churches, being a dead, lifeless light, cannot and may not entirely replace the light of these "living" lamps under any circumstances. Our candles were to be always made of pure wax, while for illumination with lampadas olive oil, which is widespread in the East, was used.

The "kanun," or pannykhida table, is used for the serving of prayers for the departed, or pannykhidas, before itself. On it a "Golgotha" is usually formed with an image of the Crucifixion, and the Mother of God and St. John the Theologian standing by. Before them are set places for candles, usually forty, indicating the forty-day remembrance of the departed.

The service for the blessing of the loaves, wheat, wine, and oil at the all-night vigil is set on a special table.

Iconostasis.

The altar, as in the ancient Christian temples, so also in those of today, has always been divided from the rest of the temple by a special barrier. In ancient times this was but a railing or colonnade with a cornice and a single row of icons above itself. From this originally low barrier there gradually developed a high wall, covered entirely by several levels of icons, which received the name iconostasis. St. Symeon of Thessalonica, who in the XIV century wrote a special composition on the temple, as of yet mentions nothing concerning the contemporary high iconostasis. From this it has been concluded that the current high iconostasis appeared no earlier than the XV — XVI centuries. There is, however, a tradition that rather high iconostasi were already introduced by St. Basil the Great, so that the prayerful attention of the clergy might not be distracted. In the iconostasis, as in the ancient altar barrier, three doors are set: the wider middle doors, which are called "holy" or "royal" (for through them, in the Holy Gifts, enters Christ, the King of Glory), and the more narrow north and south doors, which are called diaconal, since through them during the divine services the deacons continually come in and go out. Through the royal doors, or "gates," only solemn exits take place. The iconostasis itself today consists of five tiers.

In the first, lower row, to the right of the royal doors, the icon of Christ the Savior is set, and to the left, that of the Mother of God. At the right of the icon of the Savior the icon of the feast or saint to whom the temple is consecrated — the temple icon — is set. These are called the "local icons." On the two panels of the royal doors are set images of the Annunciation of the Most Holy Theotokos, and of the four Evangelists, Matthew, Mark, Luke, and John — two on each panel. On the north and south doors are set images of the Archangels Michael and Gabriel, or of the Archdeacons Stephan and Phillip. The upper part of the iconostasis is called the "tableau."

In the second tier, immediately above the royal doors, an icon of the Mystical Supper is placed, as though teaching that those who desire to enter the Kingdom of Heaven, which is symbolized by the altar, must be made worthy to eat at the table of the Lord, which is prepared further inside the altar on the holy table and is offered to the faithful from within the royal doors. On either side of the Mystical Supper, along both sides of the second tier, icons are placed of all of the twelve feasts of the Lord and of the Theotokos.

In the third tier, above the Mystical Supper, an icon called the "Deisis," which means "prayer" (or "Deisus," as the name has been corrupted in colloquial speech) is placed. The "Deisis" depicts the Lord Jesus Christ and, at His sides, the Mother of God and St. John the Forerunner, turning to Him with prayerful attitude of body. On each side of the "deisis" are placed the icons of the twelve Apostles.

In the fourth tier the Mother of God is depicted at the center with the Pre-eternal Infant, while along the sides are the Old Testament Prophets who foretold the incarnation of the Son of God. They are depicted with the same signs by which they prototypically portrayed the mystery of the incarnation: Aaron with the rod that blossomed, David with the golden ark, Ezekiel with the sealed doors, and so on.

And, finally, in the very highest fifth tier, the God of Sabbath is depicted with His Divine Son in His bosom at the center and the Old Testament Forefathers along either side. The apex of the iconostasis is crowned with the Holy Cross — the image of the sign by which eternal salvation was given to men and the gates of the Kingdom of Heaven were opened.

On the inside of the altar, before the royal doors, a curtain is hung — in Greek, the katapetasma - which, in liturgical books, in relation to the royal, as it were, outer doors, are sometimes called the "inner curtain," "high doors," "inner door," or, sometimes, the "zaponi" (curtains). The opening of the curtain signifies the revealing of the mystery of salvation to the world, just as the opening of the royal doors themselves symbolizes the opening to the world of the entrance to the Kingdom of Heaven.

The iconostasis, which separates the altar from the central part of the temple, is set at the same elevation as the altar. This elevation does not end with the iconostasis, but extends forward into the central part of the temple, and is called the "soleass" (in Greek, the swlea - "soleas" — "elevation). In this way the soleas is as it were a continuation of the altar outside. The area of the soleas that lies opposite the royal doors is usually made in the form of a semicircular ledge, and is called the ambwn — the "ambon" —, which in Greek means "ascent." On the ambon the Gospel is read, the deacons’ prayers, or litanies, are pronounced, and sermons are read. Therefore the ambon symbolizes the mount, the ship, and in general all those elevated places to which the Lord ascended to preach, that the people should hear Him the better. The ambon likewise signifies the stone from which the Angel greeted the myrrh-bearers with the glad tidings of the Resurrection of Christ. In ancient times the ambon was set in the center of the temple and was reminiscent of our contemporary lecterns; they were made of stone or metal. At the sides of the soleas places called "clirosi" are set for the readers and singers. Readers and singers, having been chosen in ancient times by lot, comprise the "lot of God" and, being set apart from the rest of the faithful for special service to God, are called "clerics" (from klhroV - "cliros" — "lot"). In liturgical books, the right and left clirosi are also called "choirs," for the singers standing on them represent the choirs of Angels singing praise to God.

Near each of the clirosi there usually stands a gonfalon. This is an icon hanging on a shaft in the form of a military banner. It is, as it were, the banner around which the warriors of Christ rally, waging war with the enemies of our salvation. These are usually carried at the heads of processions during church feasts.

Around the clirosi a railing is usually placed, separating those performing the service from those standing in the temple. Here also the torch is usually placed, which is carried with a lighted candle at the head of processions.

The Central Part of the Temple.

The central part of the temple, usually called the vessel of the church, served as a place for the laity. Here in ancient times specific areas were set aside for men and for women. This separation of the genders had its own historic foundation: in the East, women, as in general public life, so also especially at liturgical gatherings, were separated from men. In the Jewish synagogues women stood above, in the choirs, and men stood below.

This custom carried over into Christianity. Already by the time of St. John Chrysostom, women were separated from men in the basilicas by a special railing. In temples of the Byzantine type, the whole lower level of the temple was reserved for men, while women stood in the choirs or in special high galleries, called "gynekoniti." In Russian churches, men were placed in the south or right half of the temple, and women in the north or left half.

During hierarchical services, at the center of the temple a special elevated place, or ambon, is set for the bishop, which, in contrast to the ambon on the soleas, is called the "hierarchical ambon," or the "place of vesting," or the "robing place," since the bishop is vested here before the performance of the liturgy. Usually it has two steps. For the consecration of a new bishop this ambon is made higher and wider, and is called the "theater." On the hierarchical ambon a seat, called a cathedra, is placed for the bishop. In ancient times it was called a "table" or "throne." At certain points in the service, such as, for instance, the reading of the Hours, the bishop sits upon the cathedra.

The Nave.

On the western side of the temple, doors, or gates, are placed leading into the nave. These gates are called "beautiful" in the Ustav, as they are sometimes decorated with especial grandeur. They serve for majestic exits from the temple and entrances into it, such as, for example, those at the time of processions. These gates are also called the "church" gates, since they lead into the church itself, and the "great church gates," since besides these there were also other gates, the "north" and "south" gates, that led into the church. The Greeks called the gates "royal." The Ustav directs, on the day of Pascha, for the procession to exit the temple through the north doors, then to stop and begin the Paschal Matins before "the great gates of the church."

If in ancient times the separation of women from men was considered essential, so much the more was it important to separate the catechumens and the penitents from the faithful. In actual fact, in accordance with their own moral condition, these people stood in a special, third part of the temple, which received the name narqhx - the "narthex" or, in Russian, the "vestibule" or "pretemple." In ancient times the narthex had several sections: the inner narthex, included in the makeup of the temple building; the outer narthex, consisting of the columns before the entrance into the inner narthex; and a special atrium, or courtyard. Here the catechumens and penitents were positioned by degrees. When this institution of the catechumens and the penitents ceased to exist, the atrium was not destroyed, but rather took on a slightly different appearance and a special purpose. In the inner narthex during the Byzantine period lityas began to be served and the dead were laid out to await burial. With this purpose the narthex came to us in Russia. The inner narthex began to be called the atrium, while the outer narthex was transformed into the vestibule — a large, wide square with steps, by which the church is entered.

According to Ustav, several services are served in the atrium, such as, for instance, the catechesis of those preparing for baptism, the rite of renunciation of errors by those joining themselves to Holy Orthodoxy, the Litya at Great Vespers, the Hours, Small Compline, and the Midnight Office. In the vestibule the Litya and the funeral service are likewise appointed to be served.

On the Church Bells and Tolls.

One important aspect of present day Orthodox temples are the bells, which are placed either in the roof of the temple, in the tower of the cupolas, near the entrance of the church in special belfries, or near the temple in a special building built for them, called a bell tower.

During the period of persecutions ancient Christians gathered for prayer, not as now at the toll of a bell, naturally, but by prior agreement, or through specific notification, which was carried out by special messengers. From the 4^th century, when Christians obtained the right to worship openly, open methods of calling the faithful to prayer likewise began to appear among them. In Egyptian and in several Palestinian monasteries trumpets were used for this; in other Palestinian monasteries — a hammer, which was used to strike the cell door of each monk.

Bells first became widespread in the west. Thus, in the VII — IX centuries they were already widely used in France, Italy, Germany, and Spain. This cannot be said of the east, where we see only isolated instances of the use of bells. Thus, for example, in the treaty of Omar with the patriarch of Jerusalem, Sophronius, following the siege of Jerusalem in 628, it was stipulated that bells not be rung. In the IX century the Venetian duke Ursus Patricius, at the request of the Greek emperor Basil the Macedonian, sent 12 large brass bells for the newly rebuilt church. The Greek writers, in speaking of means of calling the faithful to prayer, indicate only the "bila." There were three types of bilas: the great bila and the small bila, which were made of wood, and the "hagiosidiron" (sidiron) —the iron bila, made with a curved shape, similar to an arch, from a brass or iron bar. Bells probably became widespread in the east only with the arrival of the crusaders, and began to be called campana, since it is thought that they were first made in the VII century in the Italian province of Campania. After the capture of Constantinople by the Turks, who hated the toll of the bell, in the east bells again fell into disuse, but nonetheless became widespread among us in Russia. It may be said that nowhere did the toll of the bell experience such broad development and application to liturgical practice as it did with us in Russia. The Russian people, being by nature exceptionally musical, imparted to the toll of the bell the whole strength of their religious felling and established an extraordinary wealth of various types and shades of bell tolls, which deeply touch the soul, arousing in it various prayerful sensations and feelings.

Today the bells in our Church serve not only to "denote," that is, to announce the service taking place in the temple, but also to express the exultation of the church and to proclaim certain moments in the services to those not present in the temple, in this way arousing those outside the temple to join their prayers with those praying in the temple.

In the Church Ustav and in liturgical books the bells are referred to by the following words and expressions: "bilo," "klepalo," "kampan," "stake," and "chimes." It is not difficult to see that the first of these names come from the time when there were no bells as yet, and the faithful were called to worship with a wooden board or metal plate, which was struck with a mallet or stick. Klepalos could also be of stone. Even after the introduction of bells, the bila and the klepala were preserved in some places, and are used in several instances, especially during the fast and on Holy Week.

In churches there are usually found several bells which vary in size and intensity of sound. In large temples the following bells may be found: the 1) festal, 2) resurrectional, 3) polyeleos, and 4) daily, or weekday bells, and 5) the small bell. Besides these there are several smaller, initiatory bells of various sizes.

The toll of the bell itself occurs differently at different times of the liturgical year. One kind of toll occurs at a festal service, another kind on a weekday, another during Great Lent, another at a service for the departed.

There are two primary tolls: the blagovjest and the proper toll. Blagovjest is a toll at which one bell is struck, or sometimes several bells, not all simultaneously, but each bell in turn. In the latter case the blagovjest is also called the "perezvon" ("chimes") or "perebor" ("running over"). The proper toll is a toll at which two or more bells are struck together. When a toll of several bells occurs in three movements, it is called a "tri-zvon" ("tri-toll") or "trezvon." Before less majestic services only the blagovjest occurs, while at more majestic services the blagovjest is followed by the trezvon. For the expression of the especial celebration of the Church, the trezvon also occurs after the service: so it is on all the days of Pascha and on all Sundays after the Divine Liturgy. The toll also occurs during processions. At festal Matins, at the singing of the polyeleos, the trezvon occurs. During the liturgy a toll of a single bell occurs during the most important part of the liturgy, which is known as the Eucharistic canon; that is, from "It is truly meet and right to worship the Father, and the Son, and the Holy Spirit" until the singing of "It is truly meet," for which reason this toll is usually called the toll for "It is Meet."

The perezvon occurs 1) at the reading of the Paschal Gospel at the liturgy on the first day of Pascha, finishing with the trezvon at the end of the reading; 2) at Matins of the Exaltation, the Sunday of the Cross, and August 1, at the end of the Great Doxology, when the bringing out of the cross takes place; 3) on Great Friday at the bringing out of the Shroud, and on Great Saturday at the carrying of the Shroud around the temple; and 4) at the carrying out, funerals, and burials of the departed.

A somewhat different type of perezvon occurs before the blessing of water on the days of temple feasts, and likewise at the consecration of a bishop.

The toll for various services also differs in tone: at some times it sounds more cheerful, at others, more mournful. The toll during Great Lent is "dull," that is, slow and drawn out. The directly contrasting joyous toll is called in the Ustav the "toll in beauty."

The duration of the toll is defined for the bell ringer in that, according to the direction of the Ustav, he must read to himself either "the Blameless" (the seventeenth kathisma) or the fiftieth psalm. During Great Lent, the bell is appointed to be rung before the Hours: before the Third Hour, three times; before the Sixth, six times; before the Ninth, nine times; and before Compline, twelve times.

Aside from the above-mentioned church functions, we made use of bells to warn of fire, which was called "sounding the tocsin," and during blizzards and snowstorms, to help travelers orientate themselves on the road.

IV. On Those

Who Perform the Divine Services

Orthodox worship is performed by specific persons, appointed to this through lawful ordination by the Lord Himself, who comprise the church hierarchy, or clergy. In the Old Testament, at the command of God, the holy prophet Moses chose and consecrated specific people for the performance of worship: the high priest, the priests, and the Levites. The first high priest was Aaron, the brother of Moses, and the first priests were the sons of Aaron. Those who dared to perform this worship without being lawful appointed were punished (those who rebelled with Korah, Dathan, and Abiron). The high priest and the priests were assisted by the Levites. Thus, the Old Testament hierarchy consisted of three ranks.

In the New Testament the Lord Jesus Christ, having accomplished His Divine service on earth, established the sacraments and taught men to worship God in spirit and in truth, later leaving both the further organization of the Church and the visible performance of worship to His Apostles, giving them the grace-filled strength and power to perform the sacraments, instruct believers in faith and piety, and direct the Church. "As my Father hath sent me, even so send I you. And when he had said this, he breathed on them, and saith unto them, Receive ye the Holy Ghost: Whose soever sins ye remit, they are remitted unto them; and whose soever sins ye retain, they are retained" (Jn. 20:21-23; 17:18; Mt. 16:19; 18:18).

Out of the whole multitude of His disciples and followers the Lord Jesus Christ chose only twelve Apostles, to whom He gave the power to teach, perform worship, and spiritually direct the faithful toward salvation (Mt. 23:19). The power which the Apostles received from the Lord was gradually transferred to their successors through ordination. First of all, as we see from the sixth chapter of the book of Acts, they instituted a lower rank of the church hierarchy to assist them: the diaconate. The service of the first deacons consisted in caring for the poor and helping the Apostles in the performance of the sacraments. When the number of believers began to increase the Apostles chose for themselves new helpers, investing them with the authority to preach, perform worship, and direct the church communities. Those consecrated to this service through prayer and the laying on of hands by the Apostles came to be called "presbyters," or "elders." Finally, as a result of the continual increase of the number of Christians, the Apostles, it being impossible for them to personally appoint deacons and presbyters everywhere, established a new highest rank in the Church — that of the "bishops," to whom they gave the whole of their power — power not only to teach, perform sacraments, and direct, but to themselves consecrate presbyters and deacons and oversee their conduct. The word "bishop" means, in Greek, "guardian," or "observer" (from the verb episkopew - "episkopeo" — "I watch").

From the very beginning both the Holy Apostles and, later, their heirs, the Apostolic Fathers, as Archimandrite Gabriel indicates, "successively transferred their power and authority to other men learned in the Divine Scriptures, and required that the faithful submit to them as to the overseers of their region… St. Ignatius the God-bearer (AD 107), an Apostolic Father, severely reprimanded those who did not obey their bishops, presbyters, and deacons… St. Irineus (AD 202), bishop of Lyons, clearly distinguishes the superiority of the rights of the bishop and the abundance of grace in him, stating that presbyters receive the gift of grace from bishops. He derives the succession of the bishops and their origins directly from the Apostles themselves. According to the words of St. Cyprian of Carthage, the appointment of bishops is founded upon Divine law and is given to us through the Holy Apostles, who first received the episcopacy from our Lord Jesus Christ. The Apostles, appointing bishops that had been tried spiritually, at the same time gave them successors that, when these should repose, other tried men should take this service upon themselves in order that, through such an establishment, succession in the ranks of the Church should be maintained, and Apostolic tradition and the preaching of the truth should be preserved, so that, through successive ordination, all bishops should be made successors of the Apostles." ("Handbook of Liturgics," Archim. Gabriel, p. 259.)

The Clergy.

Thus there appeared in the New Testament Christian Church three levels of priesthood: the highest, the bishop; the middle, the presbyter (from the Greek word presbuthV - "elder," "eldest"); and the lowest, the deacon. All of these persons bear the common title of clergy.

Each of these levels of priesthood likewise has its own variations, depending on the duties of the given clergyman and the official position which he holds. Hence, bishops of more significant regions and cities bear the title of archbishop (from the Greek arcaioV - an elderly, distinguished bishop), while bishops of a metropolia or of capital cities are called metropolitans (from mhthr - "mother" + poliV - "city"), or exarches (exarcw meaning "master"). Bishops of the ancient capitals Rome, Constantinople, Alexandria, Antioch, and Jerusalem, as well as, subsequently, the heads of several local churches, received the title of patriarch (from pathr - "father" + arcw - "I direct, I command"). The assistants to the bishops, who directed highly populated dioceses, bore the title of vicar bishops ("vice" meaning "instead of"), or simply vicars, that is, "deputies." Priests who are the heads of large parish communities and cathedral temples bear the title of "protoierei," or "protopriest" (from the Greek protwV — "first," and iereuV — "priest;" hence, "first priest"), and have precedence over other priests at the divine services. The priests of patriarchal, synodal, and court churches bear the honorary title of "presbyter," the first among them being the "protopresbyter." Monks of priestly rank are called "hieromonks;" those that head monasteries, "abbots," or "igumens" (from hgoumenoV - "commanding"); and those that head larger and most prestigious monasteries, "archimandrites." In present times these titles are given, not only according to the position occupied, but also according to years of service and particular merit, as an award or distinction for zealous clergy. In the same way elder deacons in cathedral temples are called "protodeacons." Monastic deacons are called "hierodeacons," and the eldest of them, "archdeacons."

One must be firmly aware that in terms of grace there is no difference between a patriarch and a metropolitan, exarch, archbishop, or bishop; in their rights of grace they are perfectly equal with one another. The difference between them lies only in a primacy of honor and in administrative authority. Every bishop, regardless of what title he bears, we call "archpriest," "hierarch," "consecrated one," "archpastor," and "master." In the same way all priests, regardless of their honorary title or rank, are perfectly equal with one another in grace. So also it is with deacons. The levels of the priesthood are only three.

The Church Servers.

From the clergy must be distinguished the church servers, who are present at the divine services and assist the bishops, priests, and deacons. These are the subdeacons, readers, also called chanters, and ponomars. The difference between the clergy and the church servers is that the clergy are consecrated, or ordained, by a bishop in the altar at the Divine Liturgy, receiving through this ordination the special grace of the priesthood; while the church servers are appointed to their service, not through consecration — ordination —, but through hirotesia — the laying on of hands by the bishop, which signifies only a simple blessing — outside the altar, in the center of the temple, before the Divine Liturgy, during the reading of the Hours.

The subdeacon is the assistant of the deacon when a bishop is serving. He assists the bishop to vest himself, gives him the washbasin at the washing of the hands, hands him the dikiri and trikiri, and in general serves the bishop at the divine services.

The ponomar — the corrupted form of the title paramoni (paramonh), meaning "sojourner;" that is, a church server assigned to the altar — in ancient times was also called the candle bearer: he gives the censer, lights the lampadas, lights and carries the candles, and rings the bells. In the church Ustav he is likewise called the "paraecclesiarch" and the "kandilo lighter" — one who lights the lampadas.

The reader, or chanter, reads and sings on the cliros. In the rite of the hirotesia of the reader the rank of reader is called the "first level of the priesthood." When many singers sing on the cliros the eldest, who leads them in singing, is called the "golovshcik" (the "head"). In ancient times, when the number of liturgical books was extremely limited due to their being copied by hand, one of the singers would announce the words of the hymn out loud, and the rest of the singers would repeat after him. This was called canonarchizing, and this type of singer or reader was called the "canonarch." In monasteries and in some lay temples canonarchs exist to this day, as this greatly beautifies the services and makes hearing and understanding the text of the hymns easier for those praying.

V. On the Sacred Vestments

The sacred vestments: If for worldly matters, at important, solemn occasions, men dress, not in their usual, everyday clothes, but in other, better ones (Mt. 22:11-12), it is all the more natural that, for the service of the Lord God, the clergy and church servers should robe themselves in special vestments, the purpose of which is to turn their minds and hearts from all things earthly and lift them up unto God. Special liturgical vestments for the clergy were introduced already in the Old Testament. It was strictly forbidden to enter the tabernacle or the temple at Jerusalem to serve without special robes which, after serving, were to be taken off upon leaving the temple, and the usual clothes put on (Ezeik. 44:19). In present times also clergy and church servers, when performing the services of the Church, vest themselves in special sacred vestments which, according to the three levels of the church hierarchy, are divided into diaconal, priestly, and episcopal vestments. Church servers wear some of the diaconal vestments.

According to the teachings of the Church, each higher level of the Church hierarchy has within itself the grace, as well as the rights and privileges, of the lower levels. This idea is visibly expressed by the fact that the sacred robes particular to the lower levels belong also to the higher levels. Therefore, the order of vesting is as follows: first, the robes belonging to the lower rank are put on, then those of the higher. Thus, the bishop vests himself first in the robes of the deacon, then in the robes of the priest, then finally in those belonging to him, as a bishop; the priest likewise vests himself first in the diaconal, then in the priestly robes.

Let us begin an examination of the sacred robes with the robe of the reader, or chanter. This is a short phelonian, which in present times is worn by the reader only at his tonsure. It has the appearance of a priestly phelonian, but differs from it in that it is quite short, so that it barely covers the shoulders. It is put on the neck of the one being tonsured as a sign that he is taking up the yoke of the priesthood and is consecrated to the service of God. The reader now performs his services in another robe, called a "sticharion."

The sticharion is a long, straight robe with wide sleeves. As priests and bishops wear the sticharion beneath other robes their sticharion changes somewhat in form, and is called a "podriznik" ("under-robe"). The sticharion is usually made of white or other bright material, so as to remind the clergyman wearing it of that purity of life which is required of him by his service. The sticharion likewise represents the "garment of salvation and the robe of gladness," that is, a peaceful conscience and the spiritual joy in the Lord which proceeds from it. This is why, when putting on the sticharion at liturgy, the words are read: "My soul shall rejoice in the Lord, for He hath clothed me in the garment of salvation, and with the vesture of gladness hath He covered me; He hath placed a crown upon me as on a bridegroom, and He hath adorned me as a bride with comeliness."

The robes of the subdeacon and the deacon, in addition to those already mentioned, likewise include the orarion, or orar. This is a sort of long, wide band with which the subdeacon girds himself cruciformly, while the deacon for the most part wears it on the left shoulder. The girding about with the orarion serves as a sign that by humility, chastity of his loins, and purity of heart the subdeacon must win the garment of purity. For this reason subdeacons, upon being invested with the orarion, already cannot enter into matrimony (Apostolic Canon XXVI, and Canon VI of the Sixth Ecumenical Counsel).

At the ordination of a subdeacon to the diaconate the orarion is unloosed, and the bishop lays it upon the left shoulder of the newly ordained deacon. Only at the liturgy, following "Our Father," does the deacon likewise gird himself cruciformly with the orarion, thus preparing himself for the communion of the Holy Mysteries of the Body and Blood of the Lord. He usually wears the orarion on the left shoulder and, at the pronunciation of litanies and other diaconal exclamations, raises the end of the orarion, holding it with three fingers of his right hand, indicating the time for this or that sacred rite to the singers and to the priest himself. In ancient times the deacon wiped the lips of the communicants with the orarion. The word "orarion" comes either from the Latin word "oro" — "I ask," or, "I pray" —, or from the Greek word "wra" — "time" —, or from the Latin "os" — "lips." The orarion symbolizes angelic wings, for the service of the deacon symbolizes the service of the angels before the throne of God. Hence, on the orarion are sometimes embroidered the words of the angelic hymn, "Holy, Holy, Holy." At the putting on of the orarion, however, no prayer is read by the deacon.

The cuffs, or "armlets," likewise pertain to the robes of the deacon. These are used in order to draw together the edges of the sleeves of the inner robe, as though to strengthen the hands, making them more capable for sacred service. The cuffs remind the clergyman that he must set his hope, not in his own strength, but in the right hand of God, His might and His help. For this reason at the putting of the cuff onto the right hand the prayer is read: "Thy right hand, O Lord, is glorified in strength; Thy right hand, O Lord, hath shattered enemies, and in the multitude of Thy glory hast thou ground down the adversaries." When putting the cuff on the left hand, the prayer is read: "Thy hands have made me and fashioned me; give me understanding and I will learn Thy commandments." The cuffs recall the bonds with which the most pure hands of the Lord were bound.

The following pertain to the robes of the priest.

The epitrachelion (from epi - "on" - and trachloV - "neck") — the "navinik" — is a vestment which encircles the neck from behind and extends downward across the breast. The epitrachilion is nothing other than the diaconal orarion, encircling the neck so that both ends descend down the front. In ancient times, at the ordination of a deacon to the priesthood, instead of vesting him in the epitrachelion the bishop would simply transfer the back end of the orarion to the right shoulder, so that both ends hung in front. This is evidenced by the very form of the epitrachilion, which is in appearance like an orarion folded in half. The epitrachelion indicates the augmented grace of the priesthood, bestowed upon the priest. When vesting in the epitrachelion the prayer is read: "Blessed is God who poureth out His grace upon His priests, like unto the oil of myrrh upon the head, which runneth down upon the beard, upon the beard of Aaron, which runneth down to the fringe of his raiment" (Ps. 132:2). Without his epitrachelion the priest, like a deacon without his orarion, does not perform a single service; he performs less festive services in the epitrachelion alone.

The zone (or belt) is a type of band with which the priest girds himself above the podriznik and the epitrachelion in order to more conveniently perform the services. The zone recalls the girding of the Lord Jesus Christ before the Mystical Supper, and signifies the might of God which strengthens the priest and the bishop for their high service to God and, simultaneously, their preparedness for this service. When putting on the zone the words are said: "Blessed is God Who girded me with power, and hath made my path blameless, Who maketh my feet like the feet of a hart, and setteth me upon high places."

The nabedrenik and the palitsa are vestments which the priest receives as awards, the nabedrenik being the first priestly award and the palitsa already pertaining to the episcopal vestments, though it is also given to archimandrites and igumens and, as an award, to some protopriests. The nabedrenik is a four-cornered, elongated cloth which is hung at the thigh of the clergyman from two of its corners on a long ribbon, slung over the shoulder. The palitsa is a four-cornered, equilateral cloth, made either in the form of a square or of a diamond, which is hung at the right thigh from one corner. In liturgical books the palitsa is usually called the "epigonation" — epigonation - which literally means "upon the knee." Both the nabedrenik and the palitsa symbolize the sword of the spirit, the spiritual weapon, which is the word of God, with which the pastor is armed against the enemies of the salvation of mankind. The nabedrenik is an award introduced by the Russian Church; in the East only the palitsa is known. When putting on the palitsa the prayer is read: "Gird Thy sword upon Thy thigh, O Mighty One, in Thy comeliness and Thy beauty, and bend Thy bow, and proceed prosperously, and be king, because of truth and meekness and righteousness, and Thy right hand shall guide Thee wondrously, always, now and ever, and unto the ages of ages. Amen" (Ps. 44: 4-5). "Palitsa" is the corrupted form of "politsa," from the word "pola" — a small skirt or tail, part of an article of clothing. The nabedrenik is worn on the right thigh; however, when the palitsa is awarded, the nabedrenik is hung at the left thigh and the palitsa is hung at the right. In present times the palitsa comprises an indispensable part of the vestments, not only of bishops, but also of archimandrites and, sometimes, abbots. It is given to protopriests as a high award.

"Phelonion" is a Cretan word meaning an all-covering robe. It is a long, wide vestment which covers the entire body, has no sleeves, and in which there is an opening made for the head. The phelonion is worn over the other vestments and covers them. Being decorated with many crosses, the phelonion is also called the "polystavrion" (from the Greek poluV — "many" — and stauroV - "cross"), or "cross-covered robe." The ancient type of phelonion, which is preserved to this day in Greece, we altered somewhat: on the front side a section of the material is cut out, which is why it is impossible to fulfill the requirements of the Ustav which state that at certain times the priest must let the phelonion hang down.

Likewise, the priest must hold the holy Gospel not only in his hands, but with the phelonion. The phelonion symbolizes the chlamys in which the Lord was robed by the soldiers who mocked Him, and reminds the priest that in his service he represents the Lord, who offered Himself as a sacrifice for the justification of men, and that he must therefore clothe himself in righteousness in all his deeds and rejoice in the Lord. The words of the psalm which the priest reads when putting on the phelonion likewise speak concerning this: "Thy priests, O Lord, shall be clothed with righteousness, and Thy saints with rejoicing shall rejoice" (Ps. 131:9). The priest vests in the phelonion for the more solemn divine services. Additionally, according to the Ustav, during the services the priest vests and divests several times, which in parish churches is far from being always observed due to various abbreviations that have been introduced into the services. By Ustav the phelonion is worn only at the more solemn moments of the services, such as the small entrance at Vespers, at the polyeleos, at the reading of the Gospel, and at the great doxology. At several services the priest must vest himself, not only in the phelonion, but in full vesture. All of the priests, no matter how many may be serving, will always be in full vesture for the performance of the Divine Liturgy and for the serving of Matins on the day of Holy Pascha. The rector alone vests in full vesture 1) when serving Vespers on the first day of Pascha, 2) at the bringing out of the cross on the day of the Exaltation, the Sunday of the Cross, and on the first of August, 3) on Great Friday at the bringing out of the Shroud and on Great Saturday at the procession with the Shroud, and 4) at the great blessing of water on Theophany.

Bishops, in addition the priestly vestments — the epitrachelion, sticharion (or podriznik), zone, and cuffs — in present times have, in place of the phelonion, the sakkos — a distinctive vestment which is the symbol of hierarchical dignity —, the omophorion, and then the mitre, cross, and nanedrennik, or panagia.

"Sakkos" is a Hebrew word meaning sackcloth, or rags, as a garment of sadness, humility, and repentance (Jerem. 48:37). It is the outer hierarchical vestment, similar in form to the sticharion, but shorter, somewhat wider in size, and adorned with bells. The sakkos has the same significance as the phelonion, for which reason when it is put on the same prayerful words of Psalm 131:9 are read. In ancient times only a few bishops vested in the sakkos, while the others wore phelonions. The bells on the sakkos symbolize the ringing out of the good news of the Word of God, which proceeds from the lips of the bishop.

The omophorion (from wmoV — "shoulder" — and ferw — "I carry") is a vestment that the bishop wears on his shoulders, or frame (in Russian, "rama") — hence its (Slavonic) name, "naramnik." This is a long, wide cloth, reminiscent of the diaconal orarion and the priestly epitrachelion, only wider and longer, which is worn at the top of the sakkos, with one end hanging down in front on the breast and the other behind on the back of the bishop. Without the omophorion the bishop does not perform a single service. The omophorion was originally made of wool and signified the lost sheep, that is, the sinful generation of mankind. The bishop with the omophorion symbolizes the Good Pastor, Christ the Savior, carrying the sheep that was lost on His shoulders. For this reason, when putting on the omophorion, the words are read: "Having taken our nature which had gone astray upon Thy shoulders, O Christ, Thou hast ascended, leading it to the God and Father." Because of this significance of the omophorion, during the serving of the liturgy it is taken off and put on again several times. At the moments when the bishop himself symbolizes Christ, he wears the omophorion; when the Gospel is read, the great entrance takes place, or the transformation of the Holy Gifts is performed, the omophorion is removed from the bishop, for in the Gospel and in the Holy Gifts Christ Himself appears to those praying. Usually, following the first removal of the omophorion from the bishop, another omophorion of a smaller size is put on him, which is accordingly called — in contrast to the first, "great" omophorion — the "small" omophorion. Both ends of the small omophorion hang down in front on the breast of the bishop; in length it is significantly shorter. According to the research of Prof. Dmitrievski it is precisely this small omophorion that should be acknowledged to be the ancient form of the hierarchical omophorion.

"Mitre" comes from the Greek mitrow - "I bind," meaning, specifically, "band," "diadem," or "crown." In liturgical books the mitre is called the "cap" ("shapka"). This is a royal adornment, and is given to the bishop because in his service he represents Christ the King. Additionally, the mitre serves as a sign of hierarchical power. It is meant to remind the bishop himself of the crown of thorns which the soldiers set upon the head of Christ, as well as of the napkin with which the head of the buried Savior was wrapped. When putting it on the words are said: "The Lord hath set upon Thy head a crown of precious stones; thou hast asked life and He shall give thee length of days."

In the Russian Church the mitre is also given to archimandrites and to some protopriests. At certain moments in the divine services the mitre is removed. The bishop removes the mitre during the Great Entrance, before the Symbol of Faith, for the whole time during which the air is waved above the Holy Gifts, from the words "take, eat" up until the transformation of the Holy Gifts, during the communion of the Holy Mysteries, and when he himself reads the Gospel (but not when he is listening to the reading). Archimandrites and protopriests remove the mitre for the whole time during which the Typicon calls for standing with bared heads — that is, at the same times as the bishop —, and also "at the hearing of the Holy Gospel," at the singing of "It is Truly Meet" and "Our Father," and at the appearance of the Holy Gifts at the end of the liturgy.

The cross. At baptism a cross is placed on every Christian, but is worn under the clothing. The bishop, however, wears the cross outside both his clothing and his vestments. The hierarchical cross is usually made of gold and adorned with precious stones. When putting on the cross the words of the Gospel are said: "Then said Jesus unto his disciples, If any man will come after me, let him deny himself, and take up his cross, and follow me."

The same cross is given to archimandrites. It usually has a crown on top and a pendant below. A similar cross, though without the crown and pendent, is given as a very high award to some abbots and protopriests. In the Russian Church there is also a gold cross, without adornments, which has been given from the time of Emperor Paul I to all protopriests and to some priests as an award. In the Russian Church, from the time of Emperor Nicholas II, all newly ordained priests have been given a silver, eight-pointed cross. In the East these crosses are unknown. There is only the cross with adornments, as a distinction for bishops, archimandrites, and some protopriests, who are therefore called "stavrophorni," or "cross-bearing."

The nanedrennik, or Panagia (from pan — "all" — and agia — "holy"), or "All-holy." The panagia is otherwise known as the egkolpion ("encolpion"). This is a small, round icon depicting the Savior or the Mother of God, which is worn on the bosom (in Slavonic, "nedra"), i.e., on the breast, by bishops and by some archimandrites. The panagia was formerly made in the form of a folding shrine, having on one side an icon of the Mother of God and, on the other, one of the Savior or of the Holy Trinity — just as the refectory panagia, otherwise known as the "panagyriom," is arranged, into which a part of the prosphora in honor of the Mother of God is placed, which is itself called the "panagia." In monasteries to this day the rite of the elevation of the panagia is performed in remembrance of the appearance of the Mother of God to the Apostles after Her Assumption into heaven. Sometimes the relics of saints were placed in the panagia. Some bishops, such as patriarchs, and all heads of autocephalous, i.e., independent, churches, wear two panagias. With us, besides the patriarch, the Kievan metropolitans wore two panagias, in commemoration of the fact that they had once headed the Russian Church.

Besides the above-mentioned vestments, during hierarchical services the mantia, staff, and orletsi are also used.

The mantia (manduon - "mandion"), or pallium (an outer garment), is a monastic vestment which covers the entire body except for the head. In its freely billowing out it represents the wingedness of the angels, and is therefore called the angelic vestment. Enveloping the whole body, the mantia symbolizes the all-encompassing might of God, as well as the severity, piety, and humility of the monastic life, and the fact that neither the hands nor the other members of a monk’s body are alive for or capable of worldly, sinful deeds; all are dead. At the performance of the divine services monastics must be in the mantia (The Rudder, section 2, rule 18 of St. Nicephorus). Usually the monastic mantia is black in color and has no ornamentation whatsoever. The hierarchical mantia is peculiar in that it is of a violet hue; on it are sewn what are called tablets, or pomati, and springs; and it is fastened below, in the front, with two buttons. The tablets and lower fasteners also appear on the black mantia of an archimandrite. The tablets are four-cornered cloths, usually of a dark red color (for archimandrites, green as well), which are sewn onto the upper and lower edges of the mantia in pairs. They represent the Old and New Testaments, from which the clergyman must draw his teaching. On the tablets are sometimes sewn crosses or icons, embroidered with gold or other brightly colored threads. Besides the tablets, on the mantia of the bishop there are also springs. These are bands of various colors, white and red for the most part, which are sewn on alongside the mantia, representing the streams of teachings which flow from the lips of the bishop. On the mantia of the bishop there are also bells, as there were on the outer vesture of the Jewish high priest. According to custom, in some local Churches some bishops, such as patriarchs and metropolitans, wear a green or blue mantia. All monastics, including bishops, serve in the mantia at all times when the Ustav does not call for vesting in full vesture.

The crosier, or staff, is a sign of pastoral power over the flock and of fatherly care for them. It is therefore also called the paterhssa ("paterissa"), from pathr ("patir") — "father." The staff is given to the bishop as a sign that he is to shepherd the Church of Christ. In monasteries a staff is likewise given to the archimandrite and to the abbot as a sign of their spiritual power over the cloister of which they have been made the heads. The staff is made with a transverse, somewhat curved crossbar its top. Sometimes the heads of serpents are depicted in place of a crossbar, signifying the wisdom of pastoral power ("Be ye wise as serpents" — Mt. 10:16). The top of the staff is crowned with a cross. On the staff of a bishop, and sometimes of an archimandrite, there hangs at the grip the sulok, a small, gold-embroidered cloth, with which the top of the staff is wrapped for its adornment. The bishop makes entrances and exits with the staff in hand, while at all other times the staff is held by a reader called the "staff bearer," or "crosier carrier." He has not the right, when holding the staff, to lean upon it, but must hold it "slightly raised with both hands." During the small and great entrances at the liturgy the staff is carried at their head. At all other times the reader holds the crosier, usually standing by the icon of the Savior on the soleas.

The orletsi (from the Russian "oryel" — "eagle") are small, round rugs with the image of an eagle flying above a city. One who has been chosen for the episcopate is led up upon an orlets during his consecration, and thereafter has and uses orletsi at every divine service. On the orletsi a city is depicted, as a sign of the episcopacy in the city, as well as an eagle, signifying the purity of right teaching, in imitation of the eagle which is depicted with the Apostle and Evangelist John the Theologian. In order to convey this idea the eagle has a halo, as though revealing the light of theological knowledge and the gift of grace. At every service the orletsi are laid beneath the feet of the bishop, and remind him that he must in all his thoughts and actions be above all that is earthly and strive towards heaven, like the eagle.

The Meaning of the Sacred Vestments;

their Colors and Adornment.

The sacred vestments symbolize, for the most part, the abased condition of Christ the Savior, yet nonetheless the Holy Church adorns them with silver, gold, and precious stones. By this she shows that to her there is nothing more precious or more glorious than the sufferings of the Lord. Likewise the cross, on which the Lord endured the greatest of sufferings and torments, the Holy Church places on all of the church vestments, as a sign of the victory of the Lord over sin, death, and Hades, and by this indicates that she wishes to boast of nothing other than the cross of the Lord Jesus (Gal. 6:14).

Vestments exist in various colors. It has become the custom on feast days to use bright colors, and on days of fasting — dark colors. Today it is customary on Sundays to wear gold vestments; on days of commemoration of the Holy Apostles and the martyrs — red vestments; on feast days in honor of the Most Pure Theotokos — blue vestments; on days when prophets are commemorated — green vestments; and on weekdays during Great Lent and on Holy Week, except for Great Thursday and Great Saturday — black vestments. From Pascha until Pentecost, from the Nativity of Christ until Theophany, and on the Transfiguration of the Lord, white vestments are worn. On Great Saturday, immediately following the reading of the Epistle, during the singing of "Arise, O God," the Ustav dictates that the black vestments be changed for light ones. At the Paschal Matins it is customary for the vestments to be changed at every exit for the censing of the whole temple, thereby symbolizing the especial exultation of the Church. The sacrament of baptism is appointed to be performed in white robes, and the funeral, except for the Pentecostal period, in dark robes.

Just as monastics wear special headdresses, such as the black klobuk, kamilavka, and skufia, priests of the white clergy are given, as a form of distinction or award, the violet skufia, followed by the violet kamilavka. The name "skufia" comes from skufoV ("skifos") — "cup" —, as it resembles a cup in form. "Kamilavka" comes from the name of the material of which it was originally made in the East, which was prepared from the neck hair of the camel (kamhloV, "kamilos" - "camel" — and auchn, "avkhin" — "neck").

VI. Sacred Symbolic Acts

and Rites during the Divine Services

During worship various sorts of sacred acts and rites are employed, which are called symbolic because behind the visible, external manner of their performance a sacred thought lies hidden. Because of their prayerful sanctification by the performance of certain symbolic actions, ordinary corporeal, earthly objects attain a new, special religious value and meaning.

Included in the number of these symbolic actions are 1) the sign of the Cross, 2) bows and prostrations, 3) the blessing, 4) the lighting of candles, 5) censing, and 6) the sprinkling of holy water.

The custom of signing oneself during prayer with the sign of the Cross has its origins from apostolic times. To describe the cross upon themselves Orthodox Christians bring the first three fingers of the right hand together in honor of the Holy, Uniessential and Indivisible Trinity, and bend the other two down to the palm as a sign of the union of two natures in Jesus Christ — the Divine and the human. Thus composed, the fingers are first laid on the forehead as a sign of the sanctification of our mind, then upon the breast, signifying the sanctification of the heart, then on the right shoulder, followed by the left, as a sign of the sanctification of all of our strength and activities. When we combine the sign of the Cross with prayer we thereby entreat God to accept our prayer for the sake of the labors of His Divine Son upon the Cross. The sign of the Cross should be performed properly, unhurriedly, and devoutly.

Bows and Prostrations. Reverences, which we make upon entering the temple of God and during prayer in the same, serve for the expression of our pious feelings towards God — our love, humility before Him, and repentance. The Ustav strictly differentiates between bows and prostrations.

Bows are otherwise known as light bows, or "casts." They are accompanied by the prayer: "O God, cleanse me, a sinner, and have mercy on me." Bows are made when in the Ustav is written simply, "bow." These are made thrice upon entering the temple, at the reading or chanting of the Trisagion, "O come let us worship," and "Alleluia, alleluia, alleluia, glory to Thee, O God," at other times as indicated in the Ustav, and likewise in place of prostrations when prostrations are suspended. The Typicon characterizes bows thus: "A bow is as far as a man can bow while standing upright, not falling to his knees, neither bowing his head down to the earth; this is the manner of the light bow, until he touches the ground with his hand." The prostration, or bow to the earth," is a falling down to the ground with bended knees, with the maker of the prostration touching his forehead to the earth. On Sundays and during the period of Pentecost, according to the rules of the Church (first Ecc. Coun., Can. 20; sixth Ecc. Coun., Can. 90; and Can. 15 of St. Peter of Alexandria), prostrations are completely suspended and replaced by bows, or, as they are also called, "bows from the waist." Kneeling is not an Orthodox custom, having spread among us only recently, being adopted from the west. The bow is an expression of our reverent feelings towards God and of our love for and humility before Him. The prostration is an expression of the deepest feeling of repentance, which is why there are such frequent prostrations during Great Lent, when they are combined with the reading of the prayer of Venerable Ephraim the Syrian, which likewise occurs on some days of other fasts.

The blessing by the serving clergyman is a sign of the giving of the blessing of God to men. It is the blessing of God because 1) during the service the clergyman is an image of the Savior Himself, 2) he signs those praying with the sign of the Cross, which is the instrument of our salvation, and 3) in the very arrangement of the fingers of the hand that blesses, the first letters of the name of the Savior are depicted: IC XC. The the serving clergyman’s blessing of the people has its foundation, primarily, in the right which elders have always had to bless the younger. Thus the Old Testament patriarchs blessed their children, and Melchizedek, a priest of the Most High God, blessed Abraham. Secondarily, in the command of God given to Moses concerning the Old Testament priests, it is stated: "They shall put my name upon the children of Israel, and I will bless them" (Num. 6:27).

The lighting of candles. The use of candles and lamps during worship had a place already in the Old Testament, and appeared in the New Testament from the very beginnings of the Church of Christ. Necessity, which obliged the first Christians to gather for worship in the evening or at night, was the first occasion for the use of lamps. It is doubtless, however, that very early on lamps began to be used, not merely due to necessity, but also for greater solemnity of worship and for their symbolic significance. The canons of the Church call for the use of lamps at the performance of the sacrament of the Eucharist, at baptisms, and at burials, even if these should be performed by daylight. Lamps are used to signify that the Lord, who lives in light unapproachable (Acts 20:7-8), enlightens us with the knowledge of the glory of God in the person of Jesus Christ (II Cor. 4:6). Likewise, the saints who please God are lamps, burning and irradiating, as the Lord said of John the Baptist (Jn. 5:35). The presence of lamps at worship serves also to signify that the hearts of the faithful are aflame with fiery love for God and His saints (1 Thess. 5:19) and, finally, for the depiction of spiritual joy and the exultation of the Church (Is. 60:1).

For lamps, oil and wax should be used, which are offered as an offering to the temple by the faithful. Oil and wax, as being the most pure of materials, when used for burning signify the purity and sincerity of the offering, which is made for the glorification of the Name of God (Apostolic Canon 3). Oil indicates the fervor of men, like the fervor of the wise virgins who took oil with their lamps for the meeting of the bridegroom (Matt. 25:3-4); i.e., it indicates the desire of Christians to please God by their good works. For this, oil from trees is used. Wax, being gathered from fragrant flowers, represents the spiritual fragrance of the offering, the faith and love of those who offer it. Electricity, being a dead fire, should under no circumstances replace the living fire of the lamps, which were accepted by the New Testament Church already from the Old Testament Church. The Lord Himself in the Old Testament commanded Moses that in the tabernacle, in a gold lamp, pure oil should be burned (Ex. 27:20), for which the sons of Israel were to bring oil beaten from olives, pure and without sediment. The materials for burning, like every gift to God, must be of the very best.

Some of the lamps in the temple are stationary, while others are carried from place to place during sacred ceremonies. On the altar and the table of oblation candles are always placed, which are set in candlesticks. Before the icons oil and candles are lit. The vessels for this are called kandilas and lampadas. A kandila having from seven to twelve candles is called a polykandila. Seven candles signify the seven gifts of the Holy Spirit, and twelve — the choir of the Apostles. A kandila having more than twelve candles is called a panykadila.

The burning of lamps in the temple harmonizes with the hymns and sacred rites of the services. The more solemn the service, the more lamps are lit. In the Ustav it is stated when and how many lamps should be lit at which services. Thus, for example, during the Six Psalms nearly all the lamps are extinguished, while during the singing of the polyeleos all the candles in the temple are lit. At the liturgy, as being the most solemn of services, the most candles of all should be lit. The candles in the temple and in the altar, excepting those on the altar table and the table of oblation, are lit by the kandila lighter, or ponomar. The candles on the altar table and the table of oblation are prescribed to be lit and extinguished only be the priest or the deacon. At the consecration of a temple a candle is lit in the altar for the first time by the bishop himself. The faithful, upon coming into the church, light candles themselves before whichever icons they desire. This is an expression of love for and burning faith in the saint before whose image we place the candle.

Censing before the holy icons expresses our reverence for the saints depicted on these icons, while censing directed towards the faithful expresses the wish that they should be filled with the Holy Spirit and be fragrant like incense before the Lord by their good deeds. The smoke from the censer which envelops those praying symbolizes the grace of God which surrounds us. In general, censing expresses the wish of those praying that their prayers should rise to the throne of God, just as incense rises to heaven, and that they should be just as pleasing unto God as the fragrance of incense is pleasing. Censing is always coupled with prayer, which is pronounced by the bishop or priest who blesses the censer before the censing. This prayer contains a petition to God, that He might accept this incense as an odor of spiritual fragrance, i.e., that the people here standing and praying might be a spiritually pleasing fragrance unto Christ (II Cor. 2:15), so that the Lord, accepting this incense upon His most heavenly altar, should send down the grace of His Most Holy Spirit. For the censing a censer on small chains, a hand censer called a katsia, a vessel for incense called a ladonitsa (from the Russian "ladan" — incense), and other vessels are used, which are placed in specific places in the temple for the filling thereof with fragrance, as the Ustav indicates to do at Paschal Matins. Incense, or frankincense, is an aromatic arboreal resin from some trees; it is also sometimes prepared artificially from fragrant substances. The censing is performed at various moments in the services, sometimes by the priest alone, sometimes by the priest with the deacon, and sometimes by the deacon alone. When a bishop is serving the censing is sometimes performed by the bishop himself. The one censing, by rule, at every swing of the censer must form a cross with it, bowing towards the person or icon which he is censing. The deacon, at a censing by a priest or a bishop, precedes the latter with a candle in his hands. A bishop when censing is preceded, besides the deacon, by subdeacons with the dikiri and trikiri. There are various types of censings: sometimes only a certain part of the temple or a certain object, such as, for example, an analoy with an icon, or the cross, or the Gospel is censed. The order of the censing is described in detail in Chapter 22 of the Typicon.

A full censing of the temple from the altar proceeds as follows: First, all four sides of the altar table are censed, then the high place, the table of oblation (if the Holy Gifts are prepared and on the table of oblation, then the table of oblation first), and the whole altar. Then the one censing exits through the north doors onto the ambon and censes the royal doors, then the icons on the south side of the iconostasis, beginning with the icon of the Savior; then the icons on the north side of the iconostasis, beginning with the icon of the Mother of God; then, following, the right and left choirs, or clirosi, and all those standing in the temple. Then, circling the temple from the south side, he censes the icons of the whole temple, then enters the vestibule and censes the "beautiful doors;" coming out of the vestibule he proceeds towards the altar along the north side, censing all the icons in the temple on this side. Returning again to the royal doors, he censes the doors, the icon of the Savior, and the icon of the Mother of God, then enters the altar by the south door, after which, standing before the altar table, he censes it from in front. If the royal doors are open, then he exits onto the ambon and returns into the altar through the royal doors.

At a partial censing, the one censing, having censed the iconostasis, the choirs, and the people from the ambon, turns back around and censes anew the royal doors and the icons of the Savior and of the Mother of God, then enters the altar. Sometimes the censing begins from the middle of the temple, from the analoy on which lies the icon of the feast. Then the one censing first censes the icon lying on the analoy from all four sides, then enters the altar through the royal doors, censes the altar, exits from it again through the royal doors, and goes on to cense the whole temple in the usual order, after which he returns from the royal doors, not to the altar, but back again to the analoy with the icon in the center of the temple. Sometimes the censing is performed by two deacons at once. In this case they separate in opposite directions: one censes the southern side of the temple, the other — the northern side. Then they meet once again and cense together simultaneously.

The censing of the entire temple beginning from the altar occurs at Vespers at the beginning of the All-night Vigil and at the singing of "Lord, I have cried"; at Matins at its beginning, the singing of "The Blameless," the singing of the polyeleos, and also at the 8^th and 9^th odes of the canon; and at the liturgy at the end of the proskomede and the reading of the Hours. The censing of the whole temple beginning from the center of the temple occurs at festal Matins after the singing of the megalynarion, at Matins of Great Friday when the Twelve Gospels are read in the center of the temple, at the Royal Hours, on Great Friday, on the eves of the Nativity and Theophany, at which there are Gospel readings, and at Matins for Great Saturday at the singing of the lamentations. The censing of the altar and the iconostasis alone occurs at the liturgy during the reading of the epistle (though by Ustav it takes place during the singing of the "Alleluia" following the epistle) and during the singing of the Cherubic Hymn; at a hierarchical liturgy the bishop himself also censes immediately after the small entrance. It is essential to know that at the liturgy, following the censing of the whole altar, the one who is censing does not cense the clergy and church servers therein immediately, but first exits through the royal doors and censes the iconostasis, after which he returns into the altar, censes those therein, and again exits through the royal doors onto the ambon; he then censes the people standing in the temple, beginning with the choirs. Upon returning into the altar and censing the altar table he always censes the bishop or serving priest for the final time. The first time the bishop is censed, he is censed thrice; i.e, not one, as is usual, but three crosses are made with the censer. The censing of the altar table or of the table of oblation alone occurs at the Liturgy following the end of the proskomede, before the great entrance, following the great entrance, at the words: "Especially for the Most Holy…" and after the exclamation, "Save, O God, Thy people…"

VII. Liturgical Books

The books according to which worship is performed in the temple are called liturgical books. These are divided into simple and music (choral) books.

Simple books.

There are four types of simple liturgical books: 1) those for common services, 2) those for individual services for the needs of one or several persons, 3) those used for both types of service, and 4) those for worship at home without the participation of the clergy.

Books for Common Services.

First and foremost it is essential to know that for the compilation of any one service on any day of the year several books must be used. This is due to the fact that in the composition of every service some things are constant, being the unchanging parts of the given service, while other things change with the days of the week and the different days of the year. It would be impossible to set forth all of these changing and unchanging portions in one book, since the services change daily according to the sacred memorials and the commemorations of the holy pleasers of God celebrated by the Church. Therefore, in some books the unchanging parts of the services are set forth, and in others — those that change according to the various movable and immovable feasts.

Following are the books concerning the common services:

The Service Book (Sluzhebnik).

This is the book in which are set forth the unchanging parts of the daily services, as well as what specifically the priests and deacons must say and do. The Service Book contains within itself the orders of Vespers, Matins, the Liturgy of St. John Chrysostom, the Liturgy of St. Basil the Great, the Liturgy of the Presanctified Gifts, and additional sections, such as a compilation of dismissals, prokeimenons, the Calendar and, at the end, the Instructional Information, which explains how the clergy should react to various unexpected occurrences in the services.

The Chinovnik (Book of Rites) for Hierarchical Services.

This is the same as the Service Book, but is intended for use by bishops performing the services, and contains directions for all the peculiarities of hierarchical serving. Besides the orders of the three liturgies, it contains the orders for appointments to various church ranks and the order of the consecration of the antimins.

The Horologion.

This book, which contains the unchanging portions of the daily cycle of services, with the exception of the liturgy, is for use by readers and singers on the cliros. In it are set forth the orders of the Midnight Office, Matins, the First, Third, Sixth, and Ninth Hours, Vespers, and Great and Small Compline.

It received its name, "Horologion," from the orders of the Hours contained within it. In the Horologion there is also an additional section, the contents of which varies in different editions. This usually includes the morning prayers, which are read before the Midnight Office, the order of the elevation of the panagia, the blessing for meals, the parakleses or supplicatory canon to the Theotokos, compiled by Theostiriktus the Monk, the prayers before sleep, troparia and kontakia, and theotokia, which conclude the singing of troparia and stichera. In the Great Horologion the Calender is also added. The Small Horologion is an abbreviation of the Great one. Only the supplements are affected by these abbreviations.

The Ochtoechos, or Book of the Eight Tones.

"Ochtoechos" comes from the Greek oktw — "eight" — and hcoV — "tone." This book usually consists of two parts, and contains the changing prayers for all eight tones (or melodies), which prayers are sung at the various church services of the weekly cycle, i.e., those services which change depending on the day of the week, as each day of the week has its own particular commemoration. The order of the changing services set forth in the Ochtoechos is as follows: the Sunday service of the first tone, the service for Monday of the first tone, then for Tuesday, Wednesday, Thursday, Friday, and Saturday; then the Sunday service of the second tone, the service for Monday of the second tone, then for Tuesday, and so on until Saturday; then the Sunday service of the third tone, the service for Monday of the third tone; and so on, in the same succession, all the weekly services in all eight tones. The singing of these eight tones throughout the eight weeks is called, in the church Ustav, a "pillar." Six such pillars are sung in the church liturgical year. The singing of the Ochtoechos on weekdays begins from the Sunday of All Saints after Pentecost, and finishes before Saturday of Meatfare Week. During the period of Great Lent, the periods of Cheesefare Week and Holy Week which are joined, respectively, to the beginning and end of Great Lent, as well as the period from Pascha until Pentecost, the Ochtoechos is not sung on weekdays. The Ochtoechos is not sung on Sundays beginning from Palm Sunday and ending with the Sunday of All Saints. In addition, if on any Sunday or weekday there should fall one of the twelve feasts that is dedicated to the Lord, the singing of the Ochtoechos is likewise suspended. The singing of the Ochtoechos is also suspended on week days on which a feast of the Theotokos or of a saint occurs.

The Monthly, Festal, and General Menaions.

The monthly menaion (from mhnaion - "mhn" meaning "month") contains the changing prayers for all the days of the year, according to the days of each month, for all of the immovable feasts (that is, for those that are always on a specific day of a specific month). Therefore, in accordance with the number of months in a year, the Monthly Menaion consists of twelve books. At the end of each book special hymns are printed — the resurrectional Theotokia or, as they are known, the "dogmatica," the resurrectional Theotokia that are sung following the stichera of the aposticha, and the Theotokia sung "when there is a ‘Glory’ to the saint of the Menaion;" then, the dismissal Theotokia which are sung following the troparia on Sundays and feast days, and the dismissal Theotokia which are sung on weekdays following the troparia.

Besides the Monthly Menaion there is also what is called the Festal Menaion, or "Anthologion," or "Trephologion," the "Book of Light," in which are contained, selected from the menaion, services for the Lord, the Theotokos, and especially venerated feasts in honor of several saints.

The General Menaion contains the changing prayers, not for each saint individually, as in the Monthly Menaion, but general prayers for every particular group of saints; for example, general services for Apostles, Martyrs, Hierarchs, and so forth. Besides services to the saints, it likewise holds the general orders for feasts of the Lord, the Theotokos, the Cross, the Angels, the Forerunner, and the Councils. The General Menaion has a dual use: firstly, it is essential for use with the Monthly Menaion when services must be performed for saints for whom no separate service is written in the Monthly Menaion; and secondly, in impoverished churches where there is no complete set of all the liturgical books, the General Menaion serves in place of the twelve Monthly Menaions.

There is also the Supplementary Menaion which contains the services for saints recently glorified, who have therefore not yet entered into the Monthly Menaion.

The Lenten Triodion and the Festal Triodion (or Festal Menaion).

These two books contain the prayers for the movable days of the liturgical year, which depend on what day of the year Pascha arrives on. These books are thus called because the distinctive characteristics of their contents are incomplete canons, which for the most part consist of three (the first, eighth, and ninth) odes (in Greek, triwdion - "triodion" — "triode"), or of four (quatrode), or of two (diode).

The Lenten Triodion contains the prayers of the Sundays preparatory to Great Lent, the prayers of Great Lent itself, and the prayers of Holy Week. The first service contained in the Lenten Triodion is the service for the Sunday of the Publican and the Pharisee, and the last is the service for Great Saturday. On weekdays the prayers of the Lenten Triodion replace the prayers of the Ochtoechos. From the Ochtoechos only a few sedalia and exapostilaria are taken; these, however, are printed in the Triodion itself, so that it is possible to dispense with using the actual book of the Ochtoechos. During the period of Great Lent only on Sundays are resurrectional hymns for each given tone taken from the Ochtoechos. During the singing of the Lenten Triodion the singing of the Menaion is not suspended, but there are several days when the Menaion is likewise set aside and the entire service is performed from the Triodion alone.

The Festal Menaion contains the prayers beginning from the first day of Pascha and ending with the Sunday of All Saints following Pentecost. The Festal Menaion, like the Lenten Triodion, at some times replaces the Menaion and at others is sung together with it. The Sunday hymns of the Ochtoechos are printed in their places in the Festal Menaion, the result being that one may do without the Ochtoechos.

Several orders from the Lenten Triodion and the Festal Menaion are printed in separate books. Such are the Order of the First Week of Great Lent, the Order of Holy Week, the Order of the Holy and Great Sunday of Pascha and for all of Holy Week, and others.

The Irmologion.

This book chiefly contains a compilation of the irmosi of all the canons of all eight tones, from which it receives its title. Besides this it contains several unchanging hymns that are essential for singers on the cliros, such as all that is sung at the liturgies of St. John Chrysostom, St. Basil the Great, and the Presanctified Gifts, the Theotokia for Sundays and for weekday services, the Triadica of the tone, the troparia sung at "the Blameless" for Sunday and funeral services, the hymns sung before and after the reading of the Gospel at Matins, the hymns from Holy Scripture which are sung at the beginning of each ode of the canon, the refrains at the ninth ode of the canon for feasts of the Lord and of the Theotokos, "Let Every Breath…," the sticheron, "Most blessed art Thou…," and the Great Doxology.

The Typicon, or Ustav.

This book contains detailed directions as to on what days and at what hours, at what divine services and in what order the prayers contained in the Service Book, the Horologion, and especially the Octoechos, Menaions, and Triodion should be offered up. This is a most essential guide for the performance of the divine services decently and in order.

The Typicon is divided by content into three parts. The first part, from chapters 1 to 47, contains general instructions concerning various services, instructions as to what the prayerful disposition of those praying should be during various services, and the rules for the life of monastics. The second part, from chapters 47 to 52, contains the Calendar for the whole year, with indications of the peculiarities of the services for all the days of the church year and the peculiarities of the services of the Holy Forty-day Fast up until the Sunday of All Saints. The third part, from chapter 52 until the end, is like an appendix and a supplement to the first two parts. Also joined to the Typicon is a table for the determination of the day of the celebration of Pascha, known as the "sighted paschalion" ("zrachaja paschalia").

Books for Individual Services.

These are of two sorts. Some of them have contents which differ completely from those of the books for common worship; others contain excerpts from the books for common worship which have been adapted for home use.

The first type of books for individual services includes the following:

The Book of Needs (the Trebnik).

This book contains an account of the sacred rites and prayers, called needs, which are performed according to the needs and requirements of one or more people at times dictated by the circumstances of their lives. Such sacred rites include, first and foremost, the orders of all the sacraments, as they comprise the first and most essential requirement for all Christians; then the orders of the burial of the reposed, the blessing of water, the tonsure of monks, the consecration of temples, and many others concerning various occurrences in the lives of Christians.

There is a Great, a Small, and a Supplemental Book of Needs.

The Great Book of Needs consists of two parts. The first part contains, mainly, the orders of the sacraments and other sacred rites, which accompany a man from birth and counsels him at his departure into eternity. The second part contains, for the most part, short prayers for various needs. Also to the Book of Needs added in an addition are the Calendar and the "Alphabetic Classification of Names," the latter being a list of Christian names.

The Small Book of Needs is excerpted from the Great Book of Needs for the purpose of convenience, in order to have a small book for the performance of needs, especially those needs which must be served outside the temple.

The Supplemental Book of Needs contains within itself the orders for the consecration of a temple and the consecration of things pertaining to the temple, such as the church utensils, vestments, icons, and so forth. This Supplemental Book of Needs is often combined into one book with the Small Book of Needs.

Ceremonies for Uniting the Heterodox

to the Orthodox Catholic Eastern Church.

This book is otherwise known as "The Book of Rites of Unification to Orthodoxy." As the Orthodox Church does not unite all heterodox unto itself in the same way, but does so in one way for those who have never been baptized (such as Jews and Muslims), in another for those who have been baptized but not anointed with holy chrism (such as Lutherans and other Protestants), and in another for those both baptized and chrismated, but not belonging to the Orthodox Church — there exist several different rites which are all combined in one small book. A few rites are also published in separate books.

The Book of Supplicatory Services.

This book contains rites for supplicatory services — molebens — for the new year, for the beginning of children’s studies, for the ailing, for those traveling, in time of drought, and many others for various occurrences in life.

The Order for the Sunday of Orthodoxy.

This is a rite of supplicatory service for the conversion of those in error, which is appointed to be served on the first Sunday of Lent, called the Sunday of Orthodoxy, with the anathematization of heretics and the "memory eternal" and "many years" for the champions of the holy Orthodox faith. The first part of this rite is performed in all churches, the second only in cathedrals.

Books for Home Usage.

These books mainly contain more or less extensive excerpts from books used for common services. These include the following:

The Rule, known in full as the "Rule for Those Preparing for the Communion of the Holy Mysteries of Christ." It contains all the prayers essential for preparing oneself for Holy Communion, in consecutive order.

The Book of Canons contains the Morning Prayers, the Canon with Akathist to Sweetest Jesus, the Canon with Akathist to the Most Holy Theotokos, the Canon to the Guardian Angel, the Prayers Before Sleep, the Canons for Each Day of the Week, the Canon and Prayers for Holy Communion, the General Service "for all days," and the Order of the Singing of the Twelve Psalms.

The Book of Akathists contains various akathists.

The Prayer Book contains excerpts from various liturgical books. There exist more complete prayer books as well as abbreviated versions.

Books for Common and Individual Services.

These consist of readings from the Holy Scriptures. Such are the Gospel, the Apostle, and the Psalter.

The Gospel.

The Liturgical Gospel, which usually lies upon the altar table over the antimins, is accordingly likewise called the "Altar Gospel." It contains the glad tidings of all four Evangelists — Matthew, Mark, Luke, and John — divided by chapters and by church beginnings. "Beginnings," or "readings," are the sections appointed by Ustav to be read at certain services on certain days of the liturgical year. Each of the four Gospels has its own tally of both chapters and readings. Before each reading a star is printed, while below is written when it is to be read, as well as the words with which the reading must begin. In the back of the Altar Gospel tables are placed which indicate on what days of the year and when each reading is to be read. The first table indicates the order of the readings by week, beginning from the first day of Pascha; the second table indicates the readings according to the day of the month (the Calendar). At the end, readings for various ranks of saints are indicated, as well as for various occurrences, at the performance of various needs.

The Apostle.

The Apostle contains the Acts of the Holy Apostles, the seven catholic epistles, the fourteen epistles of the Holy Apostle Paul, and sometimes the book of Revelation, which we do not read during the services. The book of Acts and the Epistles are divided into chapters. In addition to this the entire Apostle is separated into readings (except for the book of Revelation, as it is not read). The tally of these readings throughout the whole book is one common tally. In the Apostle, just as in the Gospel, a star stands before every reading, while below is indicated when the reading is read and with what words that reading must begin. At the end of the Apostle the same kinds of tables are placed as those at the end of the Gospel, indicating the order of the readings: first by week, beginning from the first day of Pascha; then the Calendar, indicating the reading according to the day of the month; then the readings for different ranks of saints and for various occurrences, at the performance of needs. Indicated simultaneously are the prokeimena, which are sung before the reading of the Apostle, and the "alleluiaria," which follow the reading of the Apostle, as well as the "communion hymns," which are sung at the liturgy during the communion of the clergy in the altar.

The Psalter.

There are two kind of Psalter: the usual Small Psalter and the Psalter with Order, or Sequence, also colloquially called the "Ordered Psalter."

The Small Psalter contains all 150 psalms which are found in the Bible, in the same order, but dividing them into twenty kathismata, each kathisma being divided into three "glories." Before and after each kathisma are found the Trisagion, penitential troparia, and prayers. In the beginning of the Small Psalter tables are placed which indicate which kathismata are chanted, when, during what periods of the liturgical year, and at what services. At its end are placed the Hymns of the Holy Scriptures, which are read or sung at Matins with the canon; the Megalynaria for Feasts of the Lord, the Theotokos, and the saints, with their selected psalms; and the Order following the Departure of the Soul from the Body. At the very end are the Book for Commemoration and the Rite of the Singing of the Twelve Psalms.

The Psalter with Order contains, as an appendix, the entire Horologion, in which are placed not only the Hours but also the Inner Hours, and also the Calendar with all the troparia and kontakia for every day of the liturgical year — as well as for the period of Great Lent, with the preparatory weeks and Holy Week, and for the period from Pascha until the Sunday of All Saints —, the troparia and kontakia from the Ochtoechos, and the troparia and kontakia from the General Menaion. At the end is included, in its entirety, the Rule for Holy Communion with all the canons and akathists pertaining to it, just as in the "Rule" and the "Book of Canons;" and also the Paschalion.

The Ordered Psalter is intended mainly for liturgical use, just as the Small Psalter is for home use and for reading for the departed.

On Music Books.

Liturgical music books are intended for use by singers on the cliros. In their contents and composition they correspond to the simple liturgical books. The Church Obihod of Notational Singing contains those hymns which constantly, or at least more often than others, are sung at Vespers, Matins, and the Liturgies, and the unchanging as well as the changing hymns from the Ochtoechos, the Menaion, and the Triodion. There is also a special Ochtoechos of Notational Singing which contains notes for the resurrectional services of all eight tones. Then there are the Irmologion of Notational Singing, the Feasts of Notational Singing, and the Lenten Triodion and Festal Menaion of Notational Singing. For those studying notational singing there is the Study Obihod of notational church singing. The word "obihod" signifies domestic or constant usage.

VIII. Understanding the

Various Cycles of Services

The church prayers which are used in worship are connected either with the time of day at which the service is performed, with the day of the week (or ‘sedmitsa,’ in Church Slavonic), or with the day of the year (that is, with a definite date and month). In this way three cycles of services may be distinguished: 1) the daily cycle, 2) the weekly cycle, and 3) the yearly cycle. From a combination of these three elements the services for every given day are compiled.

1. The Daily Cycle of Services.

Already in the Old Testament the sanctification by prayer of specific hours of the day had been established. This custom carried over into Christianity. The services appointed by the Holy Church for common prayer, which are performed every day at prescribed hours, are nine in number: 1) Vespers, 2) Compline, 3) the Midnight Office, 4) Matins, 5) the First Hour, 6) the Third Hour, 7) the Sixth Hour, 8) the Ninth Hour, and 9) the Divine Liturgy. These services comprise the daily cycle of services, and thus are called "daily." In each of these services a specific idea is developed, in connection with specific sacred remembrances.

According to ancient custom, Church liturgical days begin from the evening. For this reason the daily cycle of services begins with Vespers.

Vespers is the name given to the service which is performed towards the end of the day, in the evening, in thanksgiving for the past day and for the sanctification of the approaching night. It begins with the reading of the introductory psalm 103, in which the wisdom of the creator of the universe is glorified, and consists of prayers for all the members of the Church and their needs, the reading of psalms and the singing of verses with prayers to God that we be heard, of the glorification of the Lord Jesus Christ, the Mother of God, and the saints, and of petitions for various spiritual blessings. It finishes with the prayer of Symeon the God-receiver, "Now Lettest Thou Thy Servent," and sometimes with the prayer containing the Archangelic salutation of the Most Holy Virgin Mary, "O Theotokos Virgin, Rejoice." In this way Vespers calls to mind Old Testament times, beginning with the creation of the world and ending with the birth into the same of the Savior of the world.

Compline is performed before retiring for sleep, and consists of the reading of psalms and prayers in which we ask of God forgiveness of sins, help, and defense from enemies visible and invisible, who seek to ensnare our souls and are especially dangerous during sleep, the Symbol of Faith, and prayers to the Theotokos ("O Undefiled, Untainted…") and to Christ the Savior that we be blessed "on approaching sleep." Compline is performed at later hours, after Vespers. There exist both Great and Small Compline. Great Compline is performed only during Great Lent and on the eves of the feasts of the Nativity of Christ, Theophany, and the Annunciation (when the latter falls on a weekday during Great Lent). Small Compline is performed throughout the whole year.

The Midnight Office is a service which must be performed at midnight, or in any case long before the morning dawns, before Matins. Because in the parable of the ten virgins the Lord Jesus Christ portrayed Himself in the person of the bridegroom who came at midnight, Christians have had the custom to sanctify this hour with prayer, so as to meet the Lord, like the wise virgins, in wakefulness. In addition to this, midnight is hallowed for Christians by the remembrance that at that time the Lord sorrowed and travailed in the garden of Gethsemane even to the sweating of His blood, was betrayed by the traitorous Judas, and was subjected to bitter reviling while on trial before the high priest. The Midnight Office consists of the reading of the penitential psalms 50 and 118, which portray the blessedness of blameless men; of the Symbol of Faith, the hymn "Behold, the Bridegroom Cometh," and prayers for the departed. In this way the Midnight Office inclines us to repentance, the continual preservation of the law of the Lord, and spiritual vigilance in expectation of the unexpected Second Coming of Christ.

Matins is a service which is performed in the early morning, before the rising of the sun. It inclines those praying to give thanks to the Lord for the relaxation of the past night and for the gift of the approaching day, and also recalls the appearance of the Savior in the world and the resurrection of Christ. Matins begins with prayers for the Tsar, and thereafter consists of the reading of six psalms, which portray the dialogue of a human soul with God; prayers for the good estate of the Church of God and all of her members, the reading of kathismata, the glorification of God and His saints in troparia, sedalia, and canons, the laudatory psalms and the Great Doxology, and, in conclusion, petitions for various spiritual benefactions.

The First, Third, Sixth, and Ninth Hours consist of prayers compiled along one and the same lines: the opening prayers, three psalms which relate to the event being recalled, a troparion, a Theotokian, a closing prayer common to all the Hours, Compline, and the Midnight Office, "Thou Who at all times and at every hour…," and a particular closing prayer at the end of each hour. The First Hour, according to the reckoning still accepted in the East, corresponds to the seventh hour of the morning by our reckoning; the Third Hour, to the ninth hour of the morning; the Sixth Hour, to the twelvth hour of the day; and the Ninth Hour, to the third hour of the afternoon. At the First Hour we glorify God for His gift to us of material light, for at this hour the sun rises; at the Third Hour the descent of the Holy Spirit upon the Apostles is recalled; at the Sixth — the Crucifixion of the Lord Jesus Christ, and at the Ninth Hour — His death on the cross.

The Divine Liturgy is the focus, the most important service of the entire daily cycle, in relation to which all the other services are but in preparation for its fitting performance and the communion of the Holy Mysteries of Christ. For this reason the clergyman who desires to perform the Divine Liturgy is obliged by the rules of the Church to serve or, at the very least, listen to or read at home all the other services of the daily cycle.

Originally all of these services, especially in monasteries, were performed separately, each at its own appointed time of day.

Subsequently, however, for the convenience of the faithful who were kept occupied by everyday worldly labors, they began to come together into three groups: in the evening the Ninth Hour, Vespers, and Compline; in the early morning the Midnight Office, Matins, and the First Hour; and during the daytime, in the before-dinner hours, the Third and Sixth Hours and the Divine Liturgy. This order is somewhat modified during Great Lent, when by Ustav the Ninth Hour and Vespers precede the performance of the Divine Liturgy. On the eves of great feasts the All-night Vigil is performed, which comprises Vespers, Matins, and the First Hour. In the event that an All-night Vigil is served it is preceded by the serving of the Ninth Hour and Small Vespers, the latter of which is an abbreviated form of Great Vespers. Compline and the Midnight Office are completely dropped, since for them, if the vigil were to in fact continue throughout the night, no time would remain. In present times, due to human weakness and negligence, the All-night Vigil remains such only in name; in its length it takes up far less than even half the night, for in lay temples it often lasts only for all of one and a half or two hours.

2. The Weekly Cycle of Services.

Besides the prayers of the daily cycle that remain unchanging from day to day, into the composition of the services still other changing prayers are introduced, which are related to the commemorations which the Church connects with every day of the week.

On the first day of the week the holy Church remembers and solemnly glorifies the Resurrection of Christ, for which reason this day is called resurrectional, or (in Russian) Resurrection. In the Church Ustav, in Slavonic, Sunday is called "nedelja" (or "no doings"), that is, the day on which nothing is done: no one works.

On Monday the bodiless angelic hosts are glorified, who, after the Mother of God, who is honored in the divine services daily, occupy the primary place in the choirs of the saints.

On Tuesday the greatest of those born of women is glorified: the Prophet, Forerunner and Baptist of the Lord, John.

On Wednesday the treachery of Judas, who gave his Lord and Teacher over to death to the rulers of the Jews, is remembered. For this reason this day, except during a few periods in the year, is kept by fasting.

On Thursday the Holy Apostles of Christ and Hierarch Nicholas, archbishop of Myra in Lycia, the wonderworker, are glorified.

On Friday the crucifixion and death on the cross of the Lord Jesus Christ are commemorated, for which reason this day, like Wednesday, is kept by fasting.

Saturday, being a day of rest, is consecrated to the especial commemoration of the Mother of God, the holy martyrs, and all the saints who have attained repose in the Lord, and, likewise, to the commemoration of all the reposed who have departed in the faith and hope of eternal life.

3. The Yearly Cycle of Services.

Each day of the year — every day of each of the twelve months of the year — is dedicated to the remembrance of either a particular sacred event, one close to the heart of the Christian, or to the memory of a certain saint. The special prayers, hymns, readings, and rites established in honor of these events and persons constitute the yearly cycle of services. Some of the divine services of the yearly cycle are performed in a more festive manner and are called feasts. These are divided into feasts of the Lord, of the Theotokos, and of the saints. Several of the feasts are always performed on fixed days of the year, and are therefore called immovable. The greatest of all Christians feasts — Pascha, the day on which we glorify the Resurrection of Christ — is not restricted to a fixed day of the year, but occurs on different days in the period of time from March 22 to April 25, since according to the establishment of the Church it is celebrated on the first Sunday after the vernal equinox. Thus, Pascha is a movable feast. Several other feasts are celebrated depending on the date of Pascha, and hence are likewise movable. Feasts are divided into great, mid-ranking, and small feasts, depending on the level of solemnity. The most important feasts are numbered at twelve, and are accordingly called the twelve great feasts. Pascha is not included in their number, as it is "the Feast of feasts and triumph of triumphs."

The Compilation of a Church Service

On a Given Day.

Each church service consists of a combination of the "unchanging" parts of the service, which are inherent in it daily, with the "unchanging" parts of the service, the contents of which depend on what day of the week it is and what date of what month of the year. The unchanging parts of the service, which, as it were, constitute its framework, are taken from the Service Book by the clergy, and from the Horologion by the readers and singers. If it is a Sunday or a normal weekday, then to these unchanging prayers are added changing ones from the Ochtoechos, Menaion, and Psalter, or from the Lenten Triodion or the Festal Menaion, with additions from the Menaion or without the Menaion. On days of great and mid-ranking immovable feasts the changing parts of the service are taken only from the Menaion, while on the days of movable feasts, only from the Lenten Triodion or the Festal Menaion. The rule for combining the unchanging portions with the changing, and precisely what to select, are indicated for the most part "in place" in the liturgical books themselves. Everything is indicated and explained in detail in the Typicon. Several explanatory chapters of the Typicon which contain such directions, called Markovy Chapters, are likewise printed in the Menaions and the Triodion "in place," or collected together at the end. Before every service it is essential to prepare all the necessary books ahead of time and, having opened them, to look over the whole order beforehand, following the directions given in the books.

The text of liturgical books is usually printed in black type, while all directions and explanations are printed in red type (known as "kinovar").

The Titles of the Unchanging Prayers.

The unchanging prayers, which are read and sung daily at every service, are the following:

1) The Opening Prayers. Thus termed are the prayers with which all of our church services usually begin, and which therefore likewise bear the title of "the usual beginning." Every service begins with the summons by the priest or bishop to give praise to God. Such summonses, or exclamations, are three in number: 1) "Blessed is our God, always, now and ever, and unto the ages of ages" (before the beginning of most services), 2) "Glory to the Holy, and consubstantial, and life-creating, and indivisible Trinity, always, now and ever, and unto the ages of ages" (before the beginning of the All-night Vigil), and 3) "Blessed is the kingdom of the Father, and of the Son, and of the Holy Spirit, now and ever, and unto the ages of ages" (before the beginning of the Liturgy). After the exclamation the reader or the choir, on behalf of all present, by the word "Amen," meaning "truly," expresses concurrence with this praise, and immediately commences to praise God: "Glory to Thee, our God, glory to Thee." Then, preparing himself and those praying for worthy prayer, the reader, or sometimes the choir, addresses the prayer "O Heavenly King" to the Holy Spirit, Who alone can bestow upon us the gift of true prayer (Rom. 8:26), in order that He might dwell in us, cleanse us of all impurity, and save us. Then the reader addresses the three Persons of the Most Holy Trinity with a prayer for cleansing, reading: "Holy God, Holy Mighty, Holy Immortal, have mercy on us" thrice; "Glory to the Father, and to the Son, and to the Holy Spirit…," "O Most Holy Trinity, have mercy on us…," "Lord, have mercy" thrice; "Glory… both now…" again, and then finally reading the Lord’s prayer, "Our Father…," as a sign that this is the greatest model for all prayers. After this prayer the priest makes the exclamation: "For Thine is the kingom, and the power, and the glory, of the Father, and of the Son, and of the Holy Spirit, now and ever, and unto the ages of ages." The reader affirms, "Amen," and reads "Lord have mercy" twelve times, "Glory: both now…," and "O come, let us worship…" thrice, after which the psalm with which the given service begins is usually read. From time to time, and especially often during Great Lent, these prayers of the usual beginning are again repeated in the middle of the service, so as to again turn the attention of those praying to these most ancient prayers for the cleansing of our souls. In several instances the reading of these prayers begins directly with "Holy God," while if the given service is combined into one with the one preceding it, only "O come, let us worship" is read.

2) The Litanies, or Ektenias. These are lengthy intercessions which the deacon pronounces on the ambon ("ektenia" comes either from the Greek ekteiw - "I sustain," or from ektenwV - "fervent"). This intercession is divided into several sections, each of which is concluded with the words, "Lord, have mercy," or, "Grant this, O Lord." In these litanies all possible good things essential for spiritual and bodily life are requested for those praying. There exist five forms of litany: 1) the great litany, 2) the augmented litany, 3) the litany of intercession, 4) the small litany, and 5) the litany for the departed.

3) Exclamations. During the time that the deacon on the ambon pronounces the litany aloud, the priest in the altar inwardly reads a private prayer, the end of which he prounounces aloud, timed so that he pronounces these words immediately after the deacon finishes the litany. The ends of these prayers, pronounced aloud by the priest, are called exclamations. In them are usually expressed the basis of why we, praying to the Lord, may hope for the fulfillment of our prayers, and why we have the boldness to turn to God with petitions. Several exclamations simply serve to complete the litany, not being preceded by any private prayer. For the most part they begin with the word "for," i.e., "because," or "since."

4) Every church service finishes with special hymns, after which the priest or bishop pronounces the words of benediction for the departure from the temple, which bear the title of "dismissal." The order of the complete dismissal is thus: the deacon or, in his absence, the priest himself, says: "Wisdom," that is to say, let us be attentive to the most wise meaning of the words to be pronounced. Then the priest, addressing himself to the Mother of God, exclaims: "O Most Holy Theotokos, save us." The choir sings, glorifying the Mother of God, "More honorable than the Cherubim and beyond compare more glorious than the Seraphim…" Giving thanks to the Lord for the service that has been accomplished, the priest further exclaims: "Glory to Thee, O Christ God, our Hope, glory to Thee," at which the choir sings: "Glory…," "both now…," "Lord, have mercy" thrice, and then "Father, bless." Following this, the priest or the bishop, turning to face the people from the ambon, says: "May Christ our true God…," and goes on to enumerate the saints whom we have addressed during the past service, that is, the Mother of God, the saint of the day, the saint of the temple, and the Ancestors of God Joachim and Anna, and completes the dismissal by saying that, by the prayers of these saints, the Lord will "have mercy on us and save us, for He is good and the Lover of mankind." The giving of the dismissal is the sign that the service has finished, and that the faithful may leave the temple.

The Titles of the Changing Prayers.

Depending on this or that feast or day of commemoration of a saint, at the service certain excerpts from the Holy Scriptures of the Old and New Testaments are read. These readings bear the names of the books from which they were taken. Additionally, for any given feast or saint being glorified certain hymns are sung, which bear the following titles:

1) Troparion (troparion, from the Greek "tropoV" — a moral or model — or from tropaia" — a trophy or sign of victory — or from "trepw" — "I address"). This is a hymn which, in short but expressive terms, depicts the occasion of a feast or the life of a saint. For example: "Thy Nativity, O Christ our God…" or "The truth of things revealed thee to thy flock as a rule of faith…"

2) Kontakion (from the Greek word "kontakion;" or the diminutive form of kontax — "spear" —; but most likely derived from "kontoV," the rod upon which a scroll of parchment is wound, or from "kontakia," furls of parchment inscribed on both sides). This is a short hymn which, like the troparion, portrays the essence of the event being celebrated or the character traits of the saint being glorified. The difference between the troparion and the kontakion lies mainly in the place which they occupy in the service. Troparia are sung at the end of Vespers and at the beginning and the end of Matins, while the kontakion is always in the middle of Matins, immediately after the sixth ode of the canon. In addition, the troparion principally portrays the external side of the occasion of the feast, while the kontakion marks its inner essence and significance. Some of the better-known kontakia: "Today the Virgin gives birth to Him Who is transcendent in essence…" and "To Thee the Champion Leader…"

3) Megalynarion. This is a hymn containing the glorification of a feast or saint, which is sung at the All-night Vigil or festal Matins, first by the clergy in the center of the temple before the icon of the feast or saint, then several times by the singers on both clirosi.

4) Sticheron (from the Greek "stichra" — "many verses"). This is a hymn consisting of many verses written in the same meter of versification (in the Greek, since in the Slavonic translation the meter was, of course, lost), most of which are preceded by verses from the Holy Scriptures, mainly from the psalms. Each sticheron contains one and the same main thought, which is unfolded in diverse ways, very artistically and poetically, in living images and comparisons. Many stichera are sung at every divine service, but they have various titles. If stichera are sung following the verses of the psalm, "Lord, I have Cried," they are called the "stichera of Lord I have cried;" if stichera are sung after the verses of the psalm, "Let Every Breath Praise the Lord," they are called the "stichera of the praises." At the end of Vespers and of weekday matins there are also stichera which are called the "stichera of the aposticha." In addition there are also the stichera of the Litia, which are sung at the exit of the clergy into the vestibule for the Litia.

5) Theotokion (qeotokion). This is a hymn consecrated to the honor of the Mother of God. Thus called is the final sticheron of each of the aforementioned groups of stichera, which is always sung following "Glory, both now," and contains a glorification of the Mother of God. However, on days of great feasts the sticheron of the feast is sung at "Glory, both now" instead of the Theotokion. A Theotokion that contains within itself — simultaneously with the glorification of the Mother of God — an exposition of the dogma of the incarnation of the Son of God from Her, or that speaks concerning the union in Jesus Christ of two natures — the Divine and the human, uncommingling and indivisible —, or that tells of something else concerning the God-manhood of Christ, is called a Dogmaticon — in Greek, dogmatikon - and means "enactment," "teaching," "dogma." Such a title is usually applied to the Theotokion which concludes the stichera at "Lord, I have Cried" at Small and Great Resurrectional Vespers, served on Saturday evening. Ven. John of Damascus is considered the author of the "Dogmatica." There are eight of these in all, according to the number of the eight tones.

The number of stichera may be, depending on the level of solemnity of the feast, ten, eight, six, or four. This is shown in liturgical books by the specific expression, "ten stichera," "eight stichera," and so on. The indication of these numbers has an important practical purpose for the correct formation of the service, in that it determines the number of psalm verses which must be sung with the stichera, preceding each sticheron. First the verse of the psalm which corresponds in number is sung, then, after it, the sticheron itself. If there should not be enough stichera they may each be repeated twice or even three times, as is often directly indicated in liturgical books after the stichera by the word "twice" or "thrice."

6) Akathist (in Greek, akaqistoV - "nesedalion" — a service during which sitting is not permitted). This is especial laudatory singing in honor of the Lord, the Mother of God, or a saint, consisting of twelve kontakia and twelve ikosi. In the liturgical ustav the reading of the Akathist of the Mother of God is called for on the fifth Sunday of Great Lent at Matins of "the Laudation of the Most Holy Theotokos." (The author of this akathist is considered to be Sergei, Patriarch of Constantinople (610 — 638), but some point to George of Pisidia as the author, while others suggest that it was compiled by Patriarch Photius.) In present times akathists are used for home and cell rules, and are also read by clergy preparing for the performance of the services.

7) Ikos. This comes from the Greek oikoV, which means house, building, compartment, or repository. It is historically believed that kontakia are of Syrian origin, and in Syrian "deth," or "house," can also mean "verse," just as in Italian "stanza" means both "verse" and "room." The ikos usually comes after the sixth ode of the canon at Matins directly following the kontakion, and presents a more thorough development of the idea expressed in the kontakion, always culminating in the same words as the latter.

8) Sedalion (kaqisma). As its very name indicates, the hymn thus termed is that during which those praying are permitted to sit. This is because immediately following the singing of the sedalion the Ustav calls for the reading of the instructive works of the Holy Fathers, which are listened to while sitting. Sedalia occur at Matins, one after every kathisma; i.e., two or three sedalia in all, since at Matins two or three kathismata are usually read. They likewise appear after the third ode of the canon.

9) Hypakoi (from the Greek upakouein, which means to answer, to echo). This is a hymn that in antiquity was sung by the people, echoing the reader or chanter. It may also come from another Greek word, upakoh, which means obedience or attentiveness, since before the reading of the Gospel, which recounts the Resurrection of Christ, particular attentiveness to themselves was required of the faithful. In present times this is a purely conventional title, which merely indicates the place of this hymn in the divine service. It is usually located at Sunday Matins after the resurrectional troparia — "The Assembly of the Angels" — and the small litany following these troparia. This same hypakoi is also appointed at the Sunday Midnight Office.

10) Antiphons (from the Greek words anti and fwnh - "voice" — "counter-singing," or singing by turns on two clirosi). Such are the "Antiphons of Matins," which are sung at Sunday Matins before the reading of the Gospel. Antiphons of different content are sung at the beginning of the Liturgy on weekdays and on feasts of the Lord.

11) Prokeimenon (from prokeimenoV kanna - "lying in advance"). This is a verse which is pronounced by the reader and repeated by the choirs before the reading of lessons, the Apostle, and the Gospel. The prokeimenon serves as a kind of preface to the reading of Holy Scripture, and expresses the essence of the commemorated event or a characteristic of the saint being glorified.

12) Canon (in Greek, kanwn, possibly related to kanna - a staff, specifically a straight stick, used for measuring). For church writers this means the "rule" according to the model or plan of which the canons are compiled. The canon consists of a series of sacred hymns in honor of a feast or saint, which comprise the central part of every Matins. Thus, the canon is a type of church hymn having a most strictly consistent defined literary form. The canon consists of nine parts, called "odes." Each ode consists of what are called irmosi and troparia. The irmosi are sung, while the troparia are currently usually read. The irmos (in Greek, eirmoV - "connection") serves to connect the troparia. Every canon has its own definite subject, a single definite theme, which is developed in all of the odes. For example, in one canon the Resurrection of Christ is glorified: this canon is called resurrectional. In another the Resurrection of Christ together with the cross of Christ is glorified; hence this canon is called cruciresurrectional. In a third the Most Holy Theotokos is glorified, and it is hence called Theotokian. Before every troparion of the canon a particular refrain, corresponding to the main subject, is said: "Glory to Thy holy Resurrection, O Lord," or, "O Most Holy Theotokos, save us." If the canon is, for example, to Hierarch Nicholas, then "O Hierarch Father Nicholas, pray to God for us," and so forth. The number of troparia varies, for which reason we speak of a canon of ten, of eight, of six, or of four.

As a pattern for the canon we have the nine songs of the Holy Scriptures, which are printed in the Ordered Psalter and the Irmologion, as well as in the usual small Psalter. These songs, or "odes" — in Greek, wdai -, have from great antiquity been used in worship. The model for the first ode is the song of Moses at the crossing of the Israelites through the Red Sea (Ex. 15:1-19), as a result of which in all canons this event, in one variation or another, is always called to mind. The second ode or song of Moses (Deut. 32:1-43) is used during Great Lent. The third ode is the song of the holy prophetess Anna (1 Kings 2:1-10). The fourth is that of the prophet Avvakum (3:1-19). The fifth ode is that of the prophet Isaiah (26:9-19). The sixth ode is that of the prophet Jonah (2:3-10). For both the seventh ode (Dan. 3:26-56) and the eighth (Dan. 3:67-88) the song of the three youths in the Babylonian furnace serves as a model, and in the irmosi of the seventh and eighth odes, in one way or another, these youths are always remembered, or words from their song incorporated. Between the eighth and ninth odes for nearly the entire year (with the exception of the twelve great feasts) the Song of the Most Holy Theotokos — "More Honorable" (Luke 1:46-55) — is sung: this contains a glorification of the Mother of God. The ninth ode is the song of the holy prophet Zechariah, the father of the holy prophet John the Forerunner; it is cited by the Holy Evangelist Luke (1:68-79). By Ustav the troparia of the canon must be combined with the reading of the verses of these odes; an order for this combination is given for weekdays, feasts, and Great Lent. However, in present times this kind of combination has nearly been abandoned and is used only in churches that observe the Ustav in the strictest fashion, and then only during Great Lent. The above-mentioned refrains for the troparia (which are now used) replaced the Old Testament verses of theses odes.

Following the reading of all the troparia of each ode, the irmos of each ode (though, during the year, for the most part the irmos of the other, i.e., the second or last, canon) is sung by both choirs, descended from the clirosi and united together in the center of the temple: this mutual singing of the final irmosi is called the "katavasia" (from the Greek katabainw - "to descend, to come together"), katabasia, i.e., "the uniting," at which the two choirs unite in the center of the temple where they sing the "closing," or conclusive, irmos. Which katavasia are sung during what periods of the year is stated in detail in the Typicon. For the greater part of the year the irmosi of the Theotokian canon, "I shall open my mouth," serve as the katavasia. The Slavonic and other translations of the canons, unfortunately, do not convey an understanding of the exquisite artistic beauty of the canons, which in their breadth of material and artistry of composition could be called spiritual poems. Sometimes there occur incomplete canons: these consist of two, three, or four odes, and hence are called diodes, triodes, and quatrodes. These are found in especially great numbers in the Lenten Triodion and the Festal Menaion.

Liturgicists believe that the canon, this new form of church poetry, was founded by the hierarch Andrew of Crete (650 — 726), the compiler of the "Great Canon" which is read on Thursday of the fifth week of Great Lent. There is no information concerning the liturgical canons predating the seventh century. The description of the Sinai Matins of that century may be considered the earliest testimony. In it "troparia" are mentioned, sung with the eighth biblical ode. Prof. M. N. Skaballanovich conjectures that the original form of the canon was a uniode, and that later this gradually grew into a diode through the joining of the ninth ode to the eighth. From here troparia began also to be united to the usual ode of the day, and thus appeared the triode. Thus, all of this developed into an entire canon. This new type of church poetry was often quick to find imitators. After Ven. Andrew of Crete in this field began to labor the venerable John of Damascus, Cosmas of Maium, Stephan the Sabbaite, Theodore the Studite, Joseph the Hymnographer, and many others (see Prof. Archim. Kyprian’s "Liturgics").

13) Exapostilarion, or Photagogicon. Thus termed is the hymn which follows immediately after the canon and the small litany which follows the ninth ode thereof. Photagogica are so called because in them mention is usually made of the illumination of the soul from on high through heavenly grace. Photagogica occur, not in resurrectional, but in simple services. The term "exapostilarion" — in Greek, exaposteilarion, from exapostellw, "I send out" — may be derived from the fact that in resurrectional exapostilaria mention is made of the sending down of the Holy Spirit upon the Holy Apostles and of their embassy of the preaching of the Gospel; or because for the singing of the exapostilaria a chanter (the canonarch, or "psalt") was "sent out" to the center of the temple, as is done even now in monasteries. For instance, during Holy Week the canonarch sings "I see Thy bridal chamber…" or "The good thief…" Exapostilaria are sung at Sunday Matins on feasts of the Lord.

14) Communion hymn, or koinonikon (koinonikon). This is a verse which is sung at the Liturgy during the communion of the clergy in the altar.

IX. Church Singing,

Reading, and Iconography

All three of these subjects are closely linked with our worship, having a deep inner connection. If singing and reading are called upon to illustrate and more strongly impress liturgical material upon our hearts by means of so important a component of our external senses as hearing, then iconography does the same by means of another important sense: sight. Regarding the question of the character of church singing and reading and any kind of personal taste, the criteria of "I like" or "I dislike" are inadmissible. The role of church singing and reading, as well as of iconography, is to turn the thoughts and feelings of those praying away from all that is earthly and passionate, and to elevate them to what is heavenly and free from all passions. Everything that is in the temple must remind the Orthodox Christian that his purpose is to be estranged to "this world which lies in evil" with all of its sinful passions and lusts, and that while still living in the body here on earth he must in mind and heart be transported thence where he is destined to live eternally, to our heavenly fatherland. In other words, church singing, reading, and iconography must be in keeping with the spirit of Orthodox asceticism; they must be passionless.

The general character and harmony of ancient Christian singing was distinguished by a complete lack of artificiality and the absence of complex harmonies. All those present sang at worship with "one heart and one mouth," which must, naturally, be recognized as the ideal for church singing, for church singing, first and foremost, is prayer, and an art only after this. Since originally, for the most part, only the Old Testament psalms were sung, it must be supposed that the refrains were likewise Hebrew and Old Testament. Gradually, with the development of purely Christian singing and the joining of pagans to the Church, Syrian and Greek refrains began to be added — such, naturally, as corresponded to Christian worship in their strictness and grandeur. However, in contrast to Greek singing which had a metered, recitative character, Christian singing acquired a melodic character, designed for the strict subjection of the melody to the text and the meaning thereof. In contrast to Hebrew and Greek singing, which were coupled with an accompaniment by musical instruments, ancient Christian singing was always purely vocal. Thus it has remained until the present in the Orthodox Church. In contrast to dramatized Hebrew and Greek singing, which is suffused with expression, whether of melancholy and despair from a consciousness of sinfulness before God (in Hebrew singing), or of fear and horror before the mercilessness of fate (in Greek singing), ancient Christian singing acquired a character of calm compunction and filial dedication to Christ the Savior, the Conqueror of death and our Redeemer.

The means of performing different hymns varied: at some times one of the clergy would sing, and everyone else echoed him; at others, individual members of the Christian community would sing, sometimes incorporating their own inspired improvisations; at still others would be heard common choral singing in unison. It is essential to note that church singing throughout the ages, up until very recent times when the Italian influence appeared in Russia, was always unison, this being most conducive to concentration in prayer and to making it possible for all to take part in the singing. The singing of a psalm or a prayer by one person with the repetition of the last words by the whole assembly was called hypophonal; singing with the addition of a special refrain sung the whole assembly was called epiphonal; singing alternating between the two sides of those praying, or the two choirs, was called antiphonal. None of these fourth- and fifth-century methods of performing hymns disappeared; rather, they continued to develop and, most importantly, began to spread throughout various areas of the Universal Church. There exists a tradition that "antiphonal" singing was first introduced in Antioch by St. Ignatius the Godbearer (107), and in the Western Church by St. Ambrose of Milan (397).

From the fourth century Greek singing enters its second period (from the fourth to the eighth centuries). There appear many new hymns: stichera, troparia, kontakia, and so fourth, and together with them appear the particular offices of the reader and the chanter, who are appointed to their service by particular consecration. In the fourth century there also appear special choirs (which in Slavonic are called liks, or assemblies). Among the organizers of choirs, especially well known are Ven. Ephraim the Syrian and St. John Chrysostom. Choral singing saw its most brilliant development in the temple of Holy Wisdom in Constantinople during the reign of Emperor Justinian the Great. National Greek musical harmonies, or modes — the Dorian, Phrygian, Lydian, and Mixolydian modes — were adapted to the needs of Christian hymnography. Ven John of Damascus started a new, third period in the history of Church singing. He introduced what is known as the osmoglasie — a system of singing in eight tones, or melodies —, and compiled a liturgical singing book bearing the title "Ochtoechos," which literally signifies "the book of the eight tones." The fourth period, which began with the fall of Byzantium under the yoke of the Turks, was marked by the decline of Greek church singing: peculiar sounds were introduced into the melody, and extra words into the hymns themselves, such as, for example, "te-ri-rem," "a-na-ne," "ne-ne-ni," and so on. As Turkish influence made itself felt, singing acquired some peculiarities of East Asian nature. A gratifying and original aspect of Greek singing during this period is the "ison," a remnant and a reproduction of ancient hypophonal singing: while one is singing, others accompany him, quietly and evenly sounding one note together with the singer.

Russian church singing developed, naturally, under the influence of Greek church singing. With the acceptance of Christianity from Byzantium the Byzantine chant of that time was also carried over into Russia. Gradually this melody was reworked in the spirit of Russian national peculiarities, as the result of which there appeared Russian church singing — what is called Znamenny chant. This is recognized by experts and connoisseurs of church singing to be one of the most original contributions of the Russian people to the worldly arts. It is distinguished by dispassionateness and a truly heavenly beauty and poignancy, which incline one to prayer and are detached from all things earthly. Due to the fact that the notational markings of Znamenny chant resemble hooks (in Slavonic, "kryuki"), this kind of singing is also known as "kryukovoi." Unfortunately, in succeeding the Greeks, extra syllables and even whole words began to be included in our strict church singing also, such as "khubovo," "nenena," "khavua;" the hard sign began to be pronounced as an open "O," and the soft sign as "yeh." This resulted in "vonyemi" instead of "von’mi" ("attend") and "sogreshikhomo" instead of "sogreshikhom" ("we have sinned"). The ending "khomo" became so noticeable that the singing itself acquired the name of "khomovoye" singing, or "khomonia." In order to eliminate khomonia Tsar Alexei Michailovich called together in Moscow fourteen "didaskali," or teachers and experts on singing. The question of the improvement of church singing was also taken up by the Russian Church Counsel of 1666 — 1667, as well as by a special assembly of notational scholars in 1668. These were to reestablish "true speech" ("istinorechie") and simplify notational signs. Unfortunately, these reforms opened Russian church singing to foreign influence, and, from the time of the attempt to draw Russia closer together with the West in the eighteenth century, authentic, truly Orthodox Russian church singing gradually recedes into the background, is forgotten, and is replaced by Italian "part" singing, which is in essence foreign to the spirit of Orthodox asceticism. The Italians Galuppi, Sarti, and Vedel, and their Russian students and progeny Berezovski, Degtarev, and others began writing their own compositions, in which the Orthodox feeling of prayer is arbitrarily distorted. This is singing that is affected and sentimental, having absolutely nothing in common with the style of real native Russian and ancient Greek Orthodox church singing. It spread widely among us owing only to a general departure of the faithful strata of Russian society from churchliness in general, to a fascination with all things foreign, and to a disdain for the things native to one’s homeland. The Italians, having taken on the management of Russian church singing, began to introduce into choral church singing, not only the Italian style, but also actual Italian melodies. Such a congestion of our church singing led to the complete defacement of the true prayerful feeling and taste of those praying, which in its turn led to a still greater departure from Orthodox churchliness.

The first attempt to engage in the revitalization of our Orthodox singing through cleansing it of "Italianism" is credited to D. S. Bortniansky, who held the office of Director of the Court Capella (+ 1825). However, he himself was under the influence of his Italian teachers; hence it was difficult for him to renounce Italianism entirely. Particularly unchurchly are Bortniansky’s "concerts." Such a completely unreligious name was acquired by hymns which we began to perform during the communion of the clergy at the Liturgy, in place of the appointed "communion hymn." The most striking representative of an authentic return to the ancient, authentic church melodies was the protopriest Turchaninov. His zadostoiniki (hymns sung in place of "It is Truly Meet") are authentic Znamenny chant. However, another trend was simultaneously in motion: the inculcation of the Protestant choral style. The work of Director of the Court Capella A. T. Lvov was not especially successful: the latter, at the command of Emperor Nicholas I, took upon himself the work of the collection, harmonization for choir, and introduction for obligatory and solitary usage of the "authentic melodies of Russian church singing." Lvov, however, was unacquainted with the actual ancient singing, and arbitrarily legalized this or that melody according to his own personal taste, compiling the so-called "Obikhod." This "Obikhod" was later republished by Bachmetev. The corruption of our church melodies by this "Obikhod" was vehemently opposed by Filaret, metropolitan of Moscow, thanks to whom the Moscow diocese and the provinces adjacent to it maintained their ancient musical tradition. The "Obikhod" deprived Russian church singing of its inherent brilliance, rudely distorting many ancient melodies besides. In recent times much work on the resurrection of our ancient church melodies has been done by the religious composer A. D. Kastalsky, while of the church hierarchs the most reverend Arsenii, archbishop of Novgorod, did the most of all in this respect, who at the Counsel of Moscow in 1917 was one of the three candidates for the All-Russian patriarchal throne. To the end of returning our church clirosi to genuine church singing, such as it was for seven hundred years from the time of the acceptance of Christianity, the most reverend Arsenii twice convened conferences of church singing teachers in his diocese, in 1911 and 1913. At the first of these conferences he gave an excellent talk, the ideas of which must be assumed as the basis for the vital work of returning the Russian Church to authentic church singing. The Most Reverend expresses his sadness on account of the fact that "our church singing continues to decline;" that "when in the seventeenth century we turned our gaze to the West, we changed in everything;" "we forgot that singing is a holy work;" "we forgot the wonderful Znamenny, Bulgarian, and Greek chants;" and "church singers imagined themselves to be artists;" that contemporary church choir directors under Italian influence select "vulgar melodies" as church hymns; that "they are prepared to insert the music of some kind of romance fit for vaudeville in among liturgical hymns; they are ready to make a stage of the cliros." "And we do not realize," Vladyka exclaims with grief, "what a responsibility we bear for this profanation of worship by our singing." The most reverend Arsenii goes on to say that "the work of the preservation and restoration of ancient church singing is one of the most important concerns for those who hold dear the interests of the Church and the people." "Church singing must be strictly prayerful," "the cliros is not a stage for actors," and "in the church, everything must be holy."

The most important feature by which true church singing must be distinguished is complete dispassionateness. The guiding principle for us in the question of church singing must be Canon 75 of the Sixth Ecumenical Counsel, which proclaims:

"We desire that those who attend church for the purpose of chanting should neither employ disorderly cries and force nature to cry out aloud, nor foist in anything that is not becoming and proper to a church; but, on the contrary, that they should offer such psalmodies with much attentiveness and contriteness to God, Who sees directly into everything that is hidden from our sight. "For the sons of Israel shall be reverent" (Lev. 15:30), the Sacred Word has taught us."

Meanwhile, the Italian singing which has spread among us in the Russian Church for the last two centuries is now sugary-sweet and sentimental, now full of bravura, and is precisely that which is "incompatible" and "unnatural" to our Orthodox Church, for it goes deeply against the spirit of Orthodoxy. It replaces a healthy, prayerful feeling with aesthetic pleasure, mistaking this for a prayerful experience. In this way a soul-destroying forgery is produced: the spiritual is replaced by the emotional, which itself contains the terrible poison of "prelest" (spiritual delusion), against which our Holy Fathers — our instructors in the spiritual life — so earnestly warn. This poison of subtle prelest is so seductive that already many Russian people of today cannot imagine our worship without theatrical singing, and grow weary in church when strict, authentic church melodies are used on the cliros. Hence, the pastors of the Russian Church are faced with a great and vital task: to sober the spiritually ailing part of Russian society of this ruinous prelest that prevents the manifestation of genuine, healthy religious feeling, and to return authentic Orthodox church singing to the church cliros.

It should be noted, however, that in 1959 the "Sputnik Psalomshcika" ("The Chanter’s Companion") was republished, and many of our parishes in the diaspora now use it in the temple, on the cliros and at various divine services. This same book — the "Sputnik Psalomshcika" — is the guiding and directive basis for our church choir conferences, which in recent years have been conducted annually. For this reason we most often encounter this type of school of church musical tradition in those of our parishes whose priests are alumni of Holy Trinity Theological Seminary. In 1999 the monastery again reprinted the "Sputnik Psalomshcik."

Let us consider the matter of church painting, or iconography.

Iconography, like singing, must be conducive to the education of the faithful in a strictly Orthodox spirit. Likewise, iconography must lead, not to prelest, but to healthy religious feeling.

Orthodox iconography is, as it has been since the time of apostolic antiquity (in the catacombs), not realistic, but rather symbolical. It cannot and must not portray anything that today represents "this world which lieth in evil," which is mutilated by sin, bears on itself the stamp of sin, and pulls one towards sin. Iconography must not remind one who is praying of anything earthly; on the contrary, it must turn his thoughts and feelings away from all that is earthly and transport him to the higher world, the spiritual world. In the western world church art has taken a completely different path. In it Christ the Savior is often portrayed as a stout, muscular man, and the Mother of God as a woman of purely earthly beauty.

There can be no place in Orthodox temples, not only for the Madonnas of Raphael, but also for all of those depictions which are incapable of separating us from all things earthly which, although they indeed seem to us at a superficial glance to be something exalted and beautiful, nevertheless present to us images that are purely earthly, are encountered on the earth, and are connected with thoughts of the terrestrial. Like singing, iconography must completely separate us from the earth, for without this it will not be Orthodox, and will be unable to rear us in Orthodoxy.

Such was ancient Byzantine iconography, which later came to us in Russia along with our acceptance of Christianity. "The highest ideal of art," Prof. Pokrovsky says of this Byzantine iconography, "lies not in charms and gracefulness of form, but in the dignity of inward expression" ("Church Archeology," p. 48). "Art must express Christian ideas," he goes on to say, "and, in accordance with their exalted significance, must be distinguished by an exalted character." Russian iconographers assimilated the Byzantine tradition. The earliest Russian iconographer was, according to tradition, the inok of the Kiev Caves Alypii, who lived in the eleventh century. By no later than the eleventh and twelfth centuries in Russia entire iconographical schools had already appeared, first in the Kiev Caves Lavra, then at the house of the archbishop of Novgorod and in the monasteries of that city. With the passage of time such schools gradually spread throughout all of Russia, especially in Moscow and in the province of Vladimir-Suzdal. Three main schools of iconography are recognized in the history of Russia: the Novgorod, Moscow, and Stroganovsk schools. The Russian originality of these schools is already evident in them, especially in the depiction of Russian saints, but the general laws of iconography, inherited from Byzantium, remain immutable. In the second half of the fourteenth century came the period of the highest peak of Russian iconography, during which the Novgorod school prevailed. At the head of this school of iconography stood a monk of the Trinity-Sergius Lavra, Ven. Andrei Rublev (+1430), whose work is recognized as classical in the history of Russian iconography. The most noteworthy of his works is the Old Testament Trinity (the appearance of the Lord to Abraham in the form of three strangers). The school of Ven. Andrei Rublev exercised tremendous influence on Russian iconography. His icons were singled out by the Counsel of a Hundred Chapters (Stoglavy Sobor) as perfect, the counsel recommending their imitation. In the seventeenth century, western influence began to make itself felt in our iconography as well. The first innovator in this respect was the favored royal iconographer Simon Ushakov. Under the influence of his familiarity with western standards of religious art of a worldly nature, he made himself an enemy of conservatism in iconography, demanding outward elegance and beauty of form. Gradually Russian iconography began to be subjected to still greater and greater modernization, until it had entirely lost the character of iconography as an art specific to the Church, and had been transformed into religious painting, into ordinary art of a worldly nature with merely a religious theme. Such have been the recent works of our highly talented artists — who are certainly not, however, iconographers in the strict sense of the word — Vasnetsov and Nesterov.

In recent times, fortunately, great interest has been observed both in ancient church singing and in ancient iconography, and attempts are being made to return to them. This interest likewise continues to grow among foreigners, who are becoming more and more familiar with Orthodoxy as a result of the Russian dispersion. It must be born firmly in mind that the criteria for Orthodoxy is dispassion, for by the words of Christ the Savior Himself Orthodoxy preaches that "My kingdom is not of this world" (Jn. 18:36).

In some measure we may also now note that, in the greater part of our temples abroad, present-day church iconography is likewise consistent with the ancient Russian tradition, thanks to the fact that at our own Holy Trinity Monastery and Seminary resides the iconographer Fr. Archimandrite Kyprian, under whom has developed, one might say, the latter’s own iconographical school and tradition. Many of our temples were painted by Fr. Archim. Kyprian and his students. They have also painted icons which we print and distribute, not only among our own faithful abroad, but also in Russia.

Part II

The First Part of the All-night Vigil

The All-night Vigil and its origins.

The time for its performance and its structure.

The "All-night Vigil" is a festive service performed at night on the eves of Sundays, as well as of great feasts which are marked in the Typicon with the sign of a cross inside a circle printed in kinovar (red ink), and of median feasts, which are marked with the sign of a cross inside a half-circle printed in kinovar (red ink). Included among the great feasts on the eve of which the All-night Vigil is performed are all of what are known as "Twelve Great Feasts," "of the Lord" and "of the Theotokos," as well as the Nativity of St. John the Baptist on June 24, the Beheading of St. John the Baptist on August 29, the Holy Leaders of the Apostles Peter and Paul on June 29, the Circumcision of the Lord and the commemoration of St. Basil the Great on January 1, and the Protection of the Most Holy Theotokos on October 1.

The median feasts marked with the sign of a cross inside a half-circle printed in kinovar (red ink), on the eves of which the All-night Vigil is also celebrated, are the following: the commemoration of the Holy Apostle and Evangelist John the Theologian on September 26, of St. John Chrysostom on November 13, of St. Nicholas the Wonderworker on December 6, of the Three Hierarchs — Basil the Great, Gregory the Theologian, and John Chrysostom — on January 30, and of St. George the Trophy-bearer on April 23, as well as the second commemoration of the Holy Apostle and Evangelist John the Theologian on May 8. In addition, the All-night Vigil is performed in two other instances: 1) on the eve of a parish feast or in honor of a saint whose relics rest in the given temple, and 2) on the eve of median feasts marked with a cross printed in kinovar (red ink) and with the words, "If the rector permits (or, "If the rector desires"), a vigil is performed." Excepted are cases when the patron saint of the temple is commemorated on the Day of the Holy Spirit. In this case Great Vespers, which usually takes place immediately following the Liturgy on the day of Pentecost, is performed at its usual time.

The word "vigil" means "wakefulness," i.e., the passing of time without sleep. The All-night Vigil has its origins from the very earliest times of Christianity, when the first Christians would often remain awake throughout the entire night, passing the time in prayer by the graves of the martyrs, in the catacombs, especially on the eve of the first day of the week, Sunday, in hymns of praise glorifying the Resurrection of Christ. The exclamation of the priest at the end of the All-night Vigil, "Glory to Thee Who hast shown us the light!" refers to the appearance of the first rays of the sun in the east at the break of day. In several places, such as Mount Athos, to this day the All-night Vigil continues throughout the entire night. However, in the majority of contemporary monasteries, and especially in parish churches, due to human weakness and, undoubtedly, to extreme neglect of the observance of the ustav and of the prayers of the church, the vigil, being abbreviated more and more, has been reduced to a minimal length, which naturally cannot be considered permissible.

In accordance with the directions of the second chapter of the Typicon, the All-night Vigil must begin "when the sun has somewhat set;" that is, soon after sunset. Although the order and contents of the hymns and readings of the All-night Vigil are similar in many ways to the order and contents of what are called "Great Vespers" and "Polyeleos Matins," the Typicon strictly distinguishes between "vigil" and "polyeleos." Their principle difference is that Great Vespers and Polyeleos Matins are two independent services which are performed separately from one another, the one in the evening and the other in the morning, while the All-night Vigil is one complete, continuous service, which in addition is performed with great ceremony. The All-night Vigil is a composite service, consisting of three inseparably interconnected rites combined into one: Vespers, Matins, and the First Hour.

In liturgical books the word "vigil" is sometimes replaced with the word "council" — an indication of the fact that this service, due to its great ceremoniousness, is performed by an entire council of clergy. For example, the following expression is often encountered in the Typicon and the Menaions: "Where his relics lie or where his temple is, there a council is to be performed;" that is, wherever the relics of the given saint repose, or where there is a temple dedicated to him, there by ustav an All-night Vigil should be served. The word "vigil" is likewise sometimes replaced in liturgical books with the Greek title "agripnia" (agrupnia).

Small Vespers.

Since the All-night Vigil begins with Great Vespers, already after the sun has set, and hence before sunset, in order that this time of day should not be left without the prayers of the Church, by ustav (see Chapter 1) that which is known as Small Vespers is always appointed to be performed. The principle distinguishing characteristics of Small Vespers are the absence of the litanies common to all other vespers services, with the exception of a short closing litany, and that it is served entirely with the royal doors closed and the curtain drawn.

Small Vespers is preceded by the reading of the Ninth Hour, with which it is uninterruptedly combined. The ustav of the Ninth Hour is contained in the Horologian. Since the Ninth Hour relates to the day which is drawing to a close, the troparion and kontakion of the past day are read. At the end of the Ninth Hour, without a dismissal, the priest pronounces the opening exclamation, "Blessed is our God…," and Small Vespers proceeds according to the following order:

"O come let us worship…" thrice.

Opening psalm 103; Glory, both now;

"Lord, I Have Cried" in the tone of the given week, or of the stichera.

Stichera at "Lord, I Have Cried:" four in all (of the Sunday or of the feast; see Small Vespers in the Ochtoechos or the Menaion).

Glory, both now.

Theotokion, or sticheron of the feast.

"O Gentle Light" (read, not sung).

Prokeimenon of the day; the great prokeimenon, "The Lord is King…" is sung two and one half times, instead of four and one half.

"Vouchsafe, O Lord…"

Stichera at the Aposticha.

Glory, both now.

Theotokion, or sticheron of the feast.

"Now lettest Thou Thy servant…"

Trisagion through "Our Father."

Troparion; Glory, both now; theotokion, if it be not one of the twelve great feasts; if it be one of the twelve great feasts, then only the troparion of the feast.

A short augmented litany, such as is appointed for the beginning of Matins.

Exclamation: "For a merciful God art Thou, and the Lover of mankind…"

"Glory to Thee, O Christ God, our hope:" and the small dismissal.

Many years.

I. The Beginning of the All-night Vigil

Vespers.

The Singing of the Opening Psalm.

The All-night Vigil, according to the Typicon, begins soon after sunset. First there is a slow toll, a ringing of one bell, and then a toll with all the bells (the trezvon). The All-night Vigil is begun with particular ceremony, such as does not occur at the beginning of any other evening service. The priest vests himself in the epitrachelion and phelonion (in a parish; in a monastery the hieromonk vests himself in the epitrachelion alone), then, taking the censer and standing before the holy altar, puts incense into the censer and reads the prayer of the censer ("Incense do we offer unto Thee…;" this prayer is always read at the blessing of the censer) privately. The royal doors are opened and the priest and the deacon silently perform the censing of the whole altar, during which all the lamps in the temple are lit (the lampadas and candles, but not the chandeliers), after which the deacon, exiting through the open royal doors, holding a candle, exclaims: "Arise!" then, "O Lord, bless!" (When a bishop is present — "Master, bless!") The priest, standing before the altar and tracing a cross with the censer, begins the service with the glorification of the Holy Trinity: "Glory to the holy, consubstantial, life-creating and indivisible Trinity, always, now and ever, and unto the ages of ages!" The choir responds, "Amen," which means, "It is truly so! Let it be!" After this, the priest with the deacon calls the faithful four times (instead of the usual three) to come and worship Christ, our King and our God, and exits from the altar, performing the censing of the whole temple. As if in answer to the priest’s glorification of the Holy Trinity, and his summons to worship Christ, the choir sings a special, ceremoniously prolonged piece called the "opening" psalm 103, in which the Divine wisdom and greatness of God, the Creator of the world, are depicted. It is sung (though only selected verses are sung in current practice; by ustav the entire psalm should be sung) with specific refrains, such as, "Blessed art Thou, O Lord!" and, "Wondrous are Thy works, O Lord!" and, "Glory to Thee, O Lord, Who hast made them all!"

Thus, "Bless the Lord, O my soul! Blessed art Thou, O Lord! O Lord, my God, Thou hast been magnified exceedingly. Blessed art Thou, O Lord! Confession and majesty hast Thou put on. Blessed art Thou, O Lord! Upon the mountains shall the waters stand. Wondrous are Thy works, O Lord!" and so forth.

In its hymns, readings, and rites the All-night Vigil symbolically portrays the whole picture of Divine economy, that is, of God’s providence for the salvation of man, beginning from the creation of the world. The singing of the opening psalm and the sacred rites combined therewith transport those praying to the time of the creation of the world and the blessed state of our first parents. The censing recalls the words of the book of Genesis, concerning how the Spirit of God moved upon the face of the waters; the multitude of lamps, the words of God the Creator: "Let there be light!" and the opening of the royal doors, the communion of the first people with God, which they enjoyed in paradise. But this blessedness did not last. As a symbol of the casting out of the first people from paradise after their fall, and the closing of the gates of paradise to them, the royal doors are closed (see the Typicon, Ch. 23), and the priest, exiting the altar through the north doors with head uncovered and standing before the closed royal doors, like fallen Adam repenting before the closed gates of paradise, reads the seven so-called "lamp-lighting prayers," thus called because the priest gives glory to the Lord, who dwells in unapproachable light, for the bestowal of material light, and asks for enlightenment of soul. In liturgical books, due to these prayers, the remaining Vespers service sometimes also bears the name "lamp-lighting."

The character of the service now alters sharply: the light (the candles) is extinguished, and what began as a joyous, festive service becomes sorrowful and full of prayers for the forgiveness of sins and the bestowal of all that fallen humanity has come to require since the Fall. At the end of the opening psalm the deacon exits onto the ambon and begins the Great Litany (if there be no deacon serving, this litany is pronounced by the priest himself).

The Great Litany.

The Great Litany (or ektenia; ektenh) is a whole series of petitions made by the deacon, in which the many needs of man are set forth, and which contains prayers for the spiritual and secular authorities. At each petition the choir sings, on behalf of all the people, "Lord, have mercy!" As the petitions of the litany are an invitation to prayer, the prayer at the litany itself essentially amounts to the repetition of the brief, "Lord, have mercy." Yet there is hardly to be found a more direct and vivid expression for our fundamental and continual relation to God, from Whom first of all man seeks mercy and aid in need, and redemption from sins. Thus, this prayerful formula, together with the very shortest, most simple and comprehensible form of prayer, being the most appropriate for the faithful, by its widespread adoption and diffusion has become rooted in Christian worship. Simultaneously, it meets the basic necessities of the spirit of man. Although the Great Litany is mentioned already in the "Apostolic Constitutions," and later in the liturgical works the followed — the Liturgy of the Apostle James, for example —, its current petitions have been modified and abbreviated, as is borne witness to by the tradition that St. Basil the Great abbreviated the ancient liturgy, and that St. John Chrysostom also slightly altered the structure of the Liturgy in his turn. The Great Litany is otherwise called the litany "of peace," due to its beginning with the words, "In peace let us pray to the Lord!" and to its first petition, "For the peace from above and the salvation of our souls…," and to the second as well, "For the peace of the whole world…" The very word "ektenia" means "distribution," or, according to another explanation, "prolonged prayer." Besides the great litany there are three others: the small, augmented, and supplicatory litanies. The Great Litany is so called because it contains the most petitions of all — usually twelve. "In peace let us pray to the Lord" means: let us pray to the Lord in peace with our own selves, without confusion of spirit, without any kind of enmity or anger, but with mutual love in accordance with the precepts of the Word of God (Mk. 11:25 and I Tim. 2:8). The deacon, calling upon God, repeats a petition which is also contained in the lamp-lighting prayers of the priest, in himself portraying all of mankind, begging God for all good things essential for man — of which he was deprived through the fall into sin —, and principally, of course, for the principle blessing which he lost: peace. Peace with God, peace with one’s neighbor, and peace with oneself. The Great Litany concludes with the committing of ourselves and one another and all our life unto Christ our God, Who Himself knows all of our needs. To this the choir responds, "To Thee, O Lord!" at which the priest concludes the litany with the exclamation: "For to Thee is do all glory, honor, and worship, to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto the ages of ages;" that is: we hope to receive from God all the blessings requested, by virtue of His eternal perfections which arouse us to His glorification. The choir affirms this with the word "Amen," which means: "Truly! Let it be so!"

The First Kathisma.

The Concept of Kathismata in General

Following the Great Litany at the All-night Vigil on Sunday eves, the singing (in contemporary practice only selected verses are sung) or reading always takes place of the entire first kathisma, which begins with the words, "Blessed is the man who hath not walked in the counsel of the ungodly." At the All-night Vigil on the eves of feasts in honor of the Theotokos and of great saints, if they do not fall on a Sunday, only the first antiphon (or the first ‘glory’) of this kathisma is sung. Finally, at the All-night Vigil on the eves of great feasts of the Lord the singing of this kathisma does not take place at all, excepting cases when a feast of the Lord falls on a Sunday or a Monday. If a feast of the lord falls on Sunday, on Saturday evening the entire first kathisma is sung; if it falls on Monday, then on Sunday evening only the first antiphon of it is sung.

The entire Psalter is divided into 20 kathismata, and each kathisma — into three "glories," also known as "antiphons" (if the psalms are sung), and sometimes as "articles." The word "kathisma" (kaqisma) translated from the Greek means "sitting," and in present times it has become the established custom to sit during the reading of the kathisma. In antiquity, however, when the psalms were not read, as is currently done for the most part, but were sung, or chanted, as it is expressed in the Ustav (currently only selected verses are sung), all would stand during this singing. After each kathisma a reading was appointed, during which all would sit. From this reading, apparently, the kathismata took their name, and when the readings fell out of use and the psalms began to be read, the custom of sitting was transferred from the reading of the lessons to the reading of the psalms. The "glories" into which the kathismata are divided are also called "antiphons" in the Ustav, which clearly indicates for them to be sung, and sometimes "articles," which points to standing during their chanting. In present times during the services we have begun to read the psalms for the most part, but even so a series of selected verses from the first antiphon of the first kathisma are sung, at each of which a thrice-repeated "alleluia" is sung in refrain.

The Small Litany.

When the first kathisma occurs at the All-night Vigil, the small litany is pronounced after it. If only one antiphon is sung, then there is only small litany. If, however, all three antiphons are sung, then there are also three small litanies, one after each antiphon. The small litany constitutes an abbreviation of the great litany, and begins with the words, "Again and again, in peace let us pray to the Lord," after which it contains essentially only one petition: "Help us, save us, have mercy on us, and keep us, O God, by Thy grace." It then finishes with the usual committing of ourselves and all our life unto Christ our God, after which there follows the exclamation of the priest: after the first litany, "For Thine is the dominion, and Thine is the kingdom, and the power, and the glory…;" after the second litany, "For a good God art Thou, and the Lover of mankind…;" and after the third, "For Thou art our God…"

The Singing of the Verses of “Lord, I have Cried”

and their Stichera.

After the small litany the verses of Psalm 140 are sung: "Lord, I have cried unto Thee, hearken unto me. Hearken unto me, O Lord. Lord, I have cried unto Thee, hearken unto me; attend unto the voice of my supplication, when I cry unto Thee. Hearken unto me, O Lord. Let my prayer be set forth as incense before Thee, the lifting up of my hands as an evening sacrifice. Hearken unto me, O Lord." Verses are then sung or read from psalms 141, 129, and 116, with which are sung the so-called "stichera;" that is, special hymns which are now of New Testament content, in which the saint or feast is glorified in whose honor the vigil is performed. During this singing the deacon (or the priest himself, if there be no deacon) performs the censing of the altar and of the whole temple as an image of the multitudinous sacrifices which were offered throughout the ages in the Old Testament in propitiation for the sins of the people, and which prefigured the One Great Redeeming Sacrifice offered on the cross by the incarnate Son of God. The smoke from the censer additionally symbolizes the lifting up of our prayers to God. In this manner, after the remembrance of the creation of the world and of the Fall of the first parents, the divine service of the All-night Vigil brings the worshippers to an awareness of their sins as being the common illness of all mankind proceeding from the fallen progenitor, and arouses them to prayer for their salvation, for the healing of their sinful infirmities, and for forgiveness. Since for us, as Christians, the idea of the fall into sin is inseparably united with the idea of the redemption which was accomplished through the sufferings on the cross of the Lord Jesus Christ, the Old Testament verses — which contain supplication for forgiveness and deliverance from the yoke of sin — are coupled with New Testament stichera, which are dedicated to the glorification of events that are saving for us, or of the righteous who have already acquired salvation for themselves through the redeeming sacrifice of the Lord.

These stichera are usually called precisely what they are: the stichera at Lord, I have cried. At a Sunday vigil there will always be ten stichera at "Lord, I have cried" (expressed as "ten stichera"); at other feasts, eight ("eight stichera"). In the Horologian we find corresponding indications at the places where these stichera are inserted. Namely, before the tenth verse from the end, "Bring my soul out of prison," the note "for ten" is made; before the eighth verse from the end, "Out of the depths have I cried…" the note "for eight" is made. This means that, upon arriving at this verse, beginning therewith one stichera must be added to each of the following verses. Resurrectional stichera are printed in the Ochtoechos, and festal stichera — in the Menaion, the Pentecostarion, or the Lenten Triodion.

On Sundays when no feast or festal service to a saint occurs, seven stichera are taken from the Ochtoechos and three of the saint of the day are taken from the Menaion.

If there be a six-stichera saint (that is, one for whom six stichera are appointed in the menaion), then there are six resurrectional stichera from the Ochtoechos and four stichera of the saint.

If a forefeast, an afterfeast, or the leave-taking of a feast falls on a Sunday, only four resurrectional stichera are sung, and the remaining six are from the menaion — three of the forefeast or afterfeast and three of the saint of the day; or, in the case of the leave-taking of a feast, six of the feast.

If a forefeast or afterfeast and a saint with a polyeleos fall on a Sunday, only three resurrectional stichera are sung, then three stichera of the forefeast or afterfeast and four of the polyeleos saint.

More than ten stichera at an All-night Vigil never occur.

During the period of the Lenten Triodion and the Pentecostarion, instead of the stichera of the saint of the day stichera from the Triodion or Pentecostarion are added — usually three or four, depending on their number. If a saint with a polyeleos falls during this period, three (or four) of his stichera are added at the expense of the resurrectional stichera of the Ochtoechos.

Here it is essential to know that, during the period of the Pentecostarion, the resurrectional stichera of the Ochtoechos are not those of the ordinary tone, but those which are indicated for the given Sunday, and are printed there in place in the Menaion itself.

In all cases where there is any doubt, it is necessary to consult the so-called "Markovy chapters" which are printed in the forty-eighth chapter of the Typicon, known as the "Calender," as well as in place in the Menaions and at the end of the Lenten Triodion and the Pentecostarion. The name "Markovy chapters" refers to the articles written by the hieromonk Mark, who lived in the second half of the ninth century in the monastery of Ven. Savva the Sanctified, near Jerusalem. These articles indicate how the service is to be compiled if a feast of the Theotokos, an afterfeast, or the leave-taking of a feast falls on a Sunday, as well as when other types of coincidences occur. The "Markovy chapters" are marked by a large letter "M" printed in the margin.

The Vespral Entry.

The stichera at "Lord, I have cried" are concluded by the singing of "Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto the ages of ages. Amen." After this, on Sundays and on days when saints are commemorated, a sticheron is sung called the "theotokion" or "dogmaticon," due to its dedication to the glorification of the Mother of God, and the dogma of the incarnation of the Son of God from Her expounded therein. There are eight of these dogmatica in all, according to the number of the eight tones, and they are printed in the Ochtoechos in place, as well as in the back of the Menaion and in the Horologion. These theotokia are ascribed to the venerable John of Damascus. Prof. M. Skaballanovich notes a correlation of the eight dogmatica to one another in content. "In the dogmaticon of the first tone, the expounding of the dogma of the incarnation begins with an indication of the universal glory of the Most Holy Virgin: by this the promise of the seed of the women is recalled, as it were, which promise was given to the first parents in paradise and fulfilled in the Most Holy Virgin. In the dogmaticon of the second tone the relationship of the Old Testament prefigurations to the New Testament events is shown. In the dogmaticon of the third tone the very birth in the flesh of our Lord Jesus Christ and the manner of this birth-giving are revealed. Inasmuch as it is essential to know the purpose of the incarnation of the Son of God, this is revealed in the dogmaticon of the fourth tone. Beyond this it is inscrutable for us, how the Mother of God, while being a Virgin, gave birth to Christ, and how, after giving birth, She remained a Virgin; this is made somewhat more accessible to our understanding through the contents of the dogmaticon of the fifth tone (through several Old Testament prefigurations). Insomuch as we still know not the manner in which, in the person of Jesus Christ, two natures — the Divine and the human — were united, this is spoken of in the dogmaticon of the sixth tone, i.e., that two natures were united, uncomingling and indivisble, in the single person of the God-man. Additionally, despite all explanations, the incarnation of God the Word is a mystery, to be comprehended more by faith than by the probing intellect; regarding this it is said in the dogmaticon of the seventh tone that the incarnation was accomplished in a supernatural manner. In the dogmaticon of the eighth tone the dogma of the incarnation of God the Word is presented in a brief and positive manner." (See "The Typicon with Commentary," p. 121, 2^nd edition, 1913, by M. Skaballanovich.)

On the twelve great feasts, at "Glory, both now" a sticheron is sung in which the given feast is glorified. Sometimes one other sticheron is inserted before this final sticheron, at "Glory." On days when a saint is commemorated, the theotokion is sung in the tone of the sticheron at ‘Glory,’ or, as it is otherwise known, the "doxasticon."

During the singing of the dogmaticon or of the final festal sticheron at "Both now," what is called the "Vespral Entry" is performed. The royal doors are opened; the priest and the deacon, circling the altar from the right-hand side, exit the altar through the north door and, walking along the solea, stop before the royal doors. The deacon carries the censer, and he and the priest are preceded by two candles (see Typ. Ch. 2). Upon arriving at the royal doors the priest stands directly opposite them. The deacon, standing to the right of the priest, "somewhat bowed" and "with head inclined," says privately — so quietly that only the priest might hear him —, "Let us pray to the Lord." The priest then privately says the prayer of the entry (in practice, if the priest does not know this prayer by heart, he reads it from the Service Book before the entry). Then the deacon, having censed the temple icons and the priest, points with his orarion to the east and says to the priest, "Bless, master, the holy entry." The priest blesses towards the east cruciformly with his hand, saying, "Blessed is the entry of Thy holy ones, always, now and ever, and unto the ages of ages." The deacon says privately, "Amen," steps back and censes the priest, then stands again in his former place and censes the icon of the Most Holy Theotokos or, if it be a feast of the lord, the icon of the Savior, and awaits the conclusion of the singing of the sticheron. When the singing ceases, tracing a cross with the censer between the royal doors, he exclaims in a loud voice, "Wisdom, Aright!" and enters the altar. The priest, having kissed the icons on either side of the royal doors and blessed the candle-bearers with his hand (but not the worshippers, as some mistakenly suppose), enters the altar after the deacon.

The Vespral Entry symbolizes the coming into the world of the Divine Redeemer, Whom the Old Testament prophets foresaw, and Who by His cross opens the gates of paradise anew to the fallen race of men. The Vespral Entry was developed on the basis of the entries of the liturgy, but it differs from them in that it is performed without the Gospel and the Gifts (an entry with the Gospel occurs at Vespers only when the former is to be read at Vespers — for example, at the Liturgy of the Presanctified Gifts during Holy Week, or at the Vespers of Pascha). Here the priest symbolizes Christ the Savior, while the deacon symbolizes the Forerunner, and the candles, the spiritual light which the Lord brought to the earth. The censer expresses that, through the mediation of the Lord and Redeemer, our prayers, like frankincense, rise up to the throne of God.

The historical development of the Vespral Entry may be traced in part to the ancient Byzantine traditions, as fragrant smoke was an aspect of royal entries in Byzantium; the carrying of fans was practiced in processions before the Roman Caesars. This was then passed on to the Church. In Byzantium lighted candles were carried before the patriarch.

The exclamation, "Wisdom, Aright" (in Greek, "Sofia Orqoi"), means: "What is being performed reveals the Wisdom of God; stand upright, with attention and with reverence." In answer to this the choir sings a compunctionate hymn in honor of the Son of God: "O Gentle Light of the holy glory of the immortal, heavenly, holy, blessed Father, O Jesus Christ: Having come to the setting of the sun, having beheld the evening light, we praise the Father, the Son, and the Holy Spirit: God. Meet it is for Thee at all times to be hymned with reverent voices, O Son of God, Giver of life. Wherefore, the world doth glorify Thee." This is a hymn which has its origins from the earliest times of Christianity. Two authors of "O Gentle Light" are indicated in some ancient books — the hieromartyr Athinagorus (bishop of Sebastius in Armenia in 311) and, in the Slavonic Horologion, St. Sophronius, patriarch of Jerusalem (634 — 644). However, as liturgicists point out, this hymn is typical Christology of the second or third century, and the name of its author is unknown.

Upon entering the altar, the deacon censes the altar table and the high place. At the royal doors the priest kisses the icons on both sides, blesses the candle-bearers with his hand, and enters the altar, as indicated above. Having venerated the table they both approach the high place. There, turning to face the people, they exclaim in turn: the deacon — "Let us attend;" the priest — "Peace be unto all" (the priest simultaneously blesses the people with his right hand); and again the deacon — "Wisdom."

The Prokeimenon and the “Readings” (Lessons), or Paremii.

The prokeimenon is said by an appointed monk or reader, or by the canonarch, or, as in present times for the most part, by the deacon himself, immediately after he says "Wisdom" (or by the priest himself, if there be no serving deacon).

In Greek the word prokeimenoV, or prokeimenon, means, "coming beforehand." It is a verse taken from Holy Scripture, most often from the psalms, which usually precedes the reading of Holy Scripture and serves in a way as a foreword thereto. Sometimes no reading from Holy Scripture occurs following the prokeimenon; it then serves simply to express the significance of the current day, and is therefore called the prokeimenon of the day. Every prokeimenon has a verse which follows it, which comprises, as it were, its continuation, and is closely connected to it logically. The choir repeats the words of the prokeimenon after the reader or deacon; at the end the reader pronounces the first half of the prokeimenon, and the choir completes it by singing the second half. Other than the usual prokeimena, which are sung two and one half times, there are also the so-called great prokeimena, which have three verses and are therefore sung four and one half times.

At the All-night Vigil on the eve of a Sunday (on Saturday evening), a prokeimenon taken from Psalm 92, "The Lord is King, He is clothed with majesty," is invariably sung, four and one half times. At vigils on the eves of great feasts and other feasts the prokeimenon of the day is sung (each day of the week has its own specific prokeimena for liturgy and vespers). If a feast of the Lord falls on a Saturday, at vigil the prokeimenon of the day is not sung; rather, that great prokeimenon is sung which should have been sung at vespers on the very day of the feast, since the prokeimenon "The Lord is King" is never set aside or replaced by another, but is invariably sung at every Sunday vespers (on Saturday evening).

After the prokeimenon at the All-night Vigil on the eves of great feasts and other feasts in honor of saints, there occur the so-called "readings," taken, for the most part, from the Old Testament. They are likewise called "paramii," from the Greek paroimia, which means "proverb," or "parable." These readings, or paramii, contain prophecies concerning the event being commemorated, or praises of the saint being celebrated. On feasts in honor of the holy Apostles, excerpts from their epistles are read. At All-night Vigils on the eves of Sundays paramii usually do not occur, with the exception of the Sundays on which the memory is celebrated of the holy fathers, before the Nativity of Christ; of the holy fathers of the First Ecumenical Counsel, on the seventh Sunday after Pascha; of the holy fathers of the first six ecumenical counsels, on the Sunday closest to July 16; and of the holy fathers of the Seventh Ecumenical Counsel, on the Sunday closest to October 11, as well as Sundays on which the memory is celebrated of a saint for whom paramii are appointed by ustav. At the All-night Vigil, only three lessons are usually read; only in extremely rare instances, when two feasts coincide, are six lessons read. Before the reading of each lesson the deacon directs the attention of the worshippers to the reading with the exclamations "Wisdom" and "Let us attend." During the reading of the lessons the royal doors are closed, and the priest sits at the high place, to the right of the altar.

The Augmented Litany, and the Litany of Fervent Supplication.

Immediately following the prokeimenon, if there be no reading (as at an ordinary Sunday vigil when no other feast is celebrated), or after the readings when there are such, the deacon exits onto the ambon and pronounces the so-called "Augmented Litany," which in liturgical books is called "diligent prayer." This litany does not have the same beginning each time it occurs in the divine services. At Great Vespers at a vigil it has a full beginning, consisting of two preliminary appeals:

1) "Let us all say with our whole soul and with our whole mind, let us say," and, 2) "O Lord Almighty, God of our fathers, we pray Thee, hearken and have mercy." In response to these two appeals the choir sings, "Lord, have mercy," once. Beginning with the very first petition of the litany, "Have mercy on us, O God, according to Thy great mercy, we pray Thee, hearken and have mercy" — with which the litany sometimes begins, without the two above-mentioned appeals —, at every petition, of which there are usually six, the choir sings, "Lord, have mercy," thrice, from which the litany takes its title of "augmented," that is, "fervent" or "diligent" prayer. The Augmented Litany always ends with the same exclamation of the priest: "For a merciful God art Thou, and the Lover of mankind…"

At the All-night Vigil, the prayer "Vouchsafe, O Lord, to keep us this evening without sin…" is read after the Augmented Litany. In a way it constitutes a continuation of the glorification of the Triune God offered up in the vespral hymn, "O Gentle Light," and itself concludes with a glorification of the Most Holy Trinity: "To Thee is due praise, to Thee is due a song, to Thee glory is due, to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto the ages of ages. Amen."

After the prayer, "Vouchsafe, O Lord," there follows the so-called "Supplicatory Litany," which begins with the words, "Let us complete our evening prayer unto the Lord." After this appeal follows the petition, "Help us, save us, and keep us, O God, by Thy grace." To the first appeal and to this petition the choir responds by singing, "Lord, have mercy," once; there then follow six petitions, to each of which the choir responds with, "Grant this, O Lord!" corresponding to the words which conclude each petition, "… let us ask of the Lord!" which are why the litany itself is called "supplicatory." The petitions of this litany are committed exclusively to spiritual blessings, in addition to which each petition contains a prayer for the bestowal of peace, the greatest of spiritual gifts. This litany, like the great and small litanies, ends with our commission of ourselves to the will of God, at which the choir sings, "To Thee, O Lord." The priest concludes the litany with the exclamation, "For a good God art Thou, and the Lover of mankind…"

Immediately after this exclamation, the priest, remaining before the altar, turns to face the people and bestows "peace unto all," blessing the people with his hand. By so doing the priest greets the people with the same blessing for which they have just been so fervently asking. He bestows this gift according to the command of the Lord Himself, Who left with us His peace. At the time when the Savior lived, "Peace" was the usual greeting; it was beloved by Him (see Jn. 14:27); and He commanded that all seeking peace should be greeted with peace (Mt. 10:12-13). Of this the holy Chrysostom says: "Is it I that bestow peace? Christ in His authority speaks through us" (Third Conversation with the Colossians).

The deacon then exclaims, "Let us bow our heads unto the Lord," and, while the choir sings a prolonged "To Thee, O Lord," the priest reads a private prayer called "The Prayer at the Bowing of Heads." The closing exclamation of this prayer, "Blessed and most glorified be the dominion of Thy kingdom…," is pronounced aloud by the priest.

The Litia.

Following the All-night Vigil the litia is appointed, which at the All-night Vigil on the eves of Sundays has now, for the most part, passed out of use among us, and is performed only at vigils for great feasts. The litia begins with the clergy, preceded by two lamps, coming out of the altar and into the vestibule through the north doors, the royal doors being shut (see the Typicon, Ch. 2). Standing in the vestibule, the deacon censes there the holy icons, the rector, and the choirs in order by rank. During this time the "stichera at the litia" are sung.

At the litia the first hymn to be sung is the sticheron of the temple, that is, the sticheron appointed for the litia on the feast day of the temple. Exceptions to this are the days listed below, on which the sticheron of the temple is not sung:

1. All of the twelve great feasts

2. Days of the afterfeasts and leave-takings of the latter, when they fall on a Sunday

3. The forefeast of the Nativity of Christ (Dec. 20 — 23), when it occurs on a Sunday

4. Palm Sunday, Thomas Sunday, and the Sundays of the Myrrh-bearers, the Holy Fathers, and Pentecost

5. The feast of the holy Apostles Peter and Paul, on June 29, and of the Beheading of St.

John the Baptist on August 29.

On each of these days, only the stichera of the given feast or saints are sung.

In all other cases, the sticheron of the temple is sung first, then the sticheron of the saint, and at "Glory, Both now" the sticheron of either the forefeast or the feast, or the theotokion. The stichera at the litia are always indicated in place in the Menaion or the Triodion. If it be Sunday, after the stichera of the litia, at "Both now," the theotokion is sung, and not the sticheron of the feast; the "theotokion of the aposticha, which is sung on Sunday" (Typ., Ch. 3) is sung, or else the first theotokion, in the tone of the sticheron of the saint (Typ., Ch. 4).

When the singing of these stichera is completed, the deacon pronounces the special litany of the litia which contains five petitions of extremely broad scope in content, at each of which the choir repeatedly sings, "Lord, have mercy": first, 40 times, then 30, then 50; then, for the last two petitions, three times. The litany begins with the words, "Save, O God, Thy people, and bless Thine inheritance…" The litany of the litia concludes with the exclamation of the priest: "Hearken unto us, O our Savior…" Then the priest, blessing the worshippers with his hand, bestows "peace unto all;" the deacon bids all to bow their heads, and the priest reads aloud the prayer, "O Master, plenteous in mercy…," which comprises the dismissal of the litia.

The litia takes its name from the Greek lith, or "fervent prayer," and signifies prayer outside the temple or in the vestibule of the temple. In the vestibule originally catechumens and penitents stood, to whom entry into the church itself was forbidden. So that they also might not be deprived of church prayer, the Church herself goes out to them and prays together with them. For those standing in the vestibule this has the same symbolism as has the vespral entry for those standing in the church itself; that is, that our Lord Jesus Christ — the "Gentle Light" — came down to us; that even those who are unworthy to pray together with the rest of the faithful may look forward to mercy for themselves from God and remission of their sins. On the other hand, the exit of the faithful into the vestibule, the place for catechumens and penitents, signifies the deep humility of the faithful, who are prepared to put themselves in the place of catechumens and sinners and to pray together with them. During the litia, says St. Symeon of Thessalonica, "… we pray, standing before the gates of the holy temple, as though before the gates of heaven… like Adam, the publican, the prodigal son." Hence the somewhat penitent and sorrowful character of the prayers of the litia.

The Stichera at the Aposticha.

At the end of the litia, the clergy who have been serving it reenter the temple and stop in the center thereof. During this time the "stichera at the aposticha" are sung. These are so called because they are preceded by verses, selected from various psalms and other books of the Holy Scriptures, which are appropriate to the given feast or commemoration of a saint. The first sticheron has no verse whatsoever preceding it. At a coincidence of two celebrations on one day, the stichera at the aposticha are usually sung for only one of the celebrations. The final sticheron alone, at "Glory, both now," may be dedicated to another event being celebrated. Thus, on ordinary days at "Glory, both now" a theotokion is always sung, but during the period of a forefeast or a feast at "Glory, both now" the sticheron of the forefeast or the feast is sung.

“Now Lettest Thou Thy Servent,”

The Troparion, the Blessing of the Loaves,

and the End of Vespers.

After the stichera at the aposticha, in which events salvific for man or the virtues of a holy one pleasing to God, who is commemorated on that day, are glorified, a desire naturally manifests itself in the worshippers to seek that blessed state of rest which the Lord has prepared for the righteous. Therefore, having understood from the whole of the foregoing service the salvation which the Lord has prepared for all people, the worshippers call unto the Lord with the words of Symeon the God-bearer: "Now lettest Thou Thy servant depart in peace, O Master, according to Thy word…" This prayer is appointed by ustav to be read, and by no means sung, as has been introduced in recent times in parish churches.

As a sign that we have understood the light which appeared as a revelation for the Gentiles and the glory of the people of Israel, and have come to know the true God, glorified in Trinity, we read further, "Holy God;" "Glory to the Father, and to the Son, and to the Holy Spirit, both now, and ever, and unto the ages of ages. Amen;" "O Most Holy Trinity, have mercy on us…" "Lord, have mercy," thrice, and again: "Glory, both now;" and the Lord’s prayer, "Our Father."

Following "Our Father" and the exclamation of the priest, "For Thine is the kingdom…," the so-called dismissal troparion is sung, which states in brief the essence of the commemorated event or the laudation of the celebrated saint. To this troparion three chapters of the Typicon are dedicated — chapters 52, 53, and 55. At the All-night Vigil the singing of these troparia is appointed as follows:

1. At a vigil on the eve of a Sunday when there is no other feast, the troparion: "O Theotokos Virgin, rejoice…" is sung thrice.

2. At a vigil on the eve of a great feast of the Lord or the Theotokos, the troparion of the feast is sung thrice.

3. At a vigil on the eve of a feast in honor of a saint, the troparion of that saint is sung twice, and "O Theotokos Virgin" is sung once.

4. At a vigil on the eve of a Sunday when the latter coincides with the afterfeast or leave-taking of a feast, "O Theotokos Virgin" is sung twice, and the troparion of the feast is sung once.

5. At a vigil on the eve of a Sunday which coincides with the commemoration of saint for whom a vigil or a polyeleos is appointed, "O Theotokos Virgin" is sung twice, and the troparion of the saint is sung once.

6. At a vigil on the eve of a Sunday on which another special celebration occurs — for instance, the first and third Sundays of Great Lent, the Sunday of All Saints, and the Sunday of the Holy Fathers —, "O Theotokos Virgin" is sung twice, and the troparion of that celebration is sung once.

"According to the custom of the Orthodox Church, which concludes each series of hymns with a hymn in honor of the Mother of God, the troparion of Sunday Vespers, ‘O Theotokos Virgin,’ is dedicated to Her… For this troparion were chosen the most joyful of all the words which the Mother of God heard, and which have been passed on to us: the salutations to her of the Angel and of the righteous Elizabeth. Consequently, the troparion is compiled of biblical (Lk. 1:28, 42), divinely inspired words, which at the same time are encompassed by and interwoven with our own ("O Theotokos Virgin," "Mary," "For Thou hast born the Savior of our souls"). The main idea of the hymn, the "rejoice" which calls the Mother of God to joy, in the Hebrew and Greek languages actually signified a general greeting which corresponds to the Latin and Russian "good health" (see Skaballanovich’s "Typicon with Commentary," second edition, p. 181).

Before the singing of the troparia, in the middle of the temple is placed the tetropod (tetrapodion) or chetveronozhets, a small table on four legs, on which there stands a tray with five loaves and with vessels of wine, oil, and wheat. Having completed the litia, the clergy enter into the temple from the vestibule and stop in the center thereof before this tetrapod, which has been prepared beforehand. While the troparia are being sung, the deacon, taking a blessing from the priest, censes around the table (thrice) and the clergy only. Then he exclaims, "Let us pray to the Lord," and the priest reads the prayer, "O Lord Jesus Christ our God, Who didst bless the five loaves and didst satisfy the five thousand…," in which he asks the Lord to bless these loaves, wheat, wine, and oil, to multiply them throughout all the world, and to sanctify the faithful that partake of them. Before the reading of this prayer the priest lifts up one of the loaves, and with it traces a cross above the remaining loaves; then, during the reading of the prayer, at the words, "Do Thou Thyself bless also these loaves, wheat, wine, and oil," he indicates each of these substances with his right hand, and with it thereby forms a cross. However, Prof. M. Skaballanovich gives the following instructions, which differ somewhat from the practice indicated above and have become established. He states that, in the prayer, the clergyman "asks the Savior, Who manifested the whole of the might of His blessing in the miracle of the feeding of the five thousand, for this same blessing, and for the multiplication (as in that miracle) of the substances offered, as well as for the sanctification of those who partake thereof… Before the words of the prayer, "Do Thou Thyself bless…," the priest blesses these substances cruciformly, not with his hand alone, but with one of the loaves, signifying the heavenly Bread, and ‘in so doing he (also) shows that Christ did likewise, taking the five loaves into His hands in a similar fashion’" (see the "Typicon with Commentary," 2^nd edition, pp. 314-315).

After the blessing of the loaves the choir sings thrice, "Blessed be the name of the Lord from henceforth and forevermore," and the reader reads Psalm 33: "I will bless the Lord at all times," not in its entirety, but only up to the words: "… He shall not be deprived of any good thing." The priest, leaving the place where he had performed the blessing of the loaves, stands before the royal doors, "looking toward the west" (see Typ., Ch. 2), and blesses the worshippers with his hand, saying: "The blessing of the Lord be upon you through His grace and love for mankind, always, now and ever, and unto the ages of ages." The choir sings, "Amen," and thus the first part of the All-night Vigil, consisting of Great Vespers, is completed.

The blessing of the loaves was established for the renewal of the strength of the faithful. In the second chapter of the Typicon it is stated that at the end of Vespers there is a reading from the book of Acts or from the epistles of the holy Apostles, during which all seat themselves, "each in his own place." Then the cellarer, having broken the blessed loaves on the tray, distributes them to the brethren and draws one cup of wine for each of those in the temple. After this partaking of the bread and the wine, no one should dare to partake of anything else on that evening, "for the sake of the communion of the Most Pure Mysteries of Christ."

At the end of the Service Book is placed the so-called "Instructional information: How it is proper for the priest and deacon to perform their ministry in the Holy Church," with accompanying directions concerning various unfortunate and unexpected occurrences. There it is stated that one who wishes to commune of the Holy Mysteries of Christ must abstain from food and drink from the evening before, or eat very little: "From midnight one must naturally not partake of anything… for from midnight the natural day begins."

In the Service Book, together with the order of Vespers, an admonition to the priest is printed concerning the use of the blessed loaves, wheat, wine, and oil. Here it is impressed on the priest that he should not bless this blessed oil, wine, wheat, and bread a second time at a second vigil. The oil should be used for the anointing of the people when they venerate the icon, and may also "be added to food;" the wine should be drunk with reverence; the bread, once broken, may be distributed with the "dora" (that is to say, the remnants of the bread, if there be any, may be distributed with the antidoron — "dora" is the same as "antidoron"), or it may be eaten with honor at a meal at home, before the common foods; and the wheat may either be planted or ground together with other wheat and eaten with thanksgiving. The blessed loaves and wine should under no circumstances be liturgicized, according to the rule of the Nomokanon concerning sacred rites.

The anointing with the blessed oil in present times is usually performed at Matins, after the reading of the Gospel and the prayer, "Save, O God, Thy people, and bless Thine inheritence," and replaces the anointing with oil that by ustav is appointed to be performed in the vestibule after the Matins dismissal (see the Typicon, Ch. 3), using oil from the kandilo (lampada) of the icon of the feast or saint. Simultaneously the blessed bread is distributed, the broken peaces of which are moistened with the blessed wine.

In present times, in view of the fact that vigil is usually performed with considerable abbreviations and there is no necessity for fortifying oneself with the blessed bread and wine, the litia and the blessing of loaves at the All-night Vigil is generally not performed on the eves of Sundays; rather, immediately after the supplicatory litany and the concluding exclamations, the stichera at the aposticha are sung. At vigils in honor of the twelve great feasts and of great saints, the litia and the blessing of loaves is performed as though as a sign of the particular festiveness of the worship on these days.

After the end of Vespers at the vigil, readings from the Apostle and from the commentaries of St. John Chrysostom and other commentators on the New Testament are appointed by ustav. The commentary is always read after the reading of the Apostle. For this reading the entire Aposlte is divided into special sections, in addition to the usual divisions into chapters, verses, and readings.

The custom of reading parts of the Holy Scriptures of the New Testament at worship has its origins from the most ancient times of the Church. At an All-night Vigil for a Sunday, the Typicon calls for lessons to be read seven times, and at a festal vigil, six: at the end of Vespers, at Matins after the first and second kathismata, follwing the polyeleos, following the third and sixth odes of the canon, and at the end of Matins (the latter only on Sunday). The purpose of these readings is exhortation and instruction, while at the same time they serve for the refreshment of the memory and the relaxation of the body, since they are listened to while sitting. The first reading is an excerpt from the Holy Scriptures (from the book of the Acts of the Apostles or from the Apostolic epistles); the next four readings are taken from patristic commentaries concerning the excerpt which was read; the sixth is taken from the lives of the saints; and the seventh, a moral-ascetical "catecheses," is taken from the writings of Ven. Theodore the Studite.

Unfortunately, almost nowhere is this currently fulfilled, except, perhaps, in some monasteries; even when this does occur, only one reading is read. Sometimes in parishes, at Matins after the sixth ode, a short life of the saint or story of the feast is read from the Synaxarion.

II. The Second Part of the All-night Vigil

Matins.

The order of the Matins of the All-night Vigil is given in the second chapter of the Typicon. Matins is the second and most important part of the All-night Vigil. After the reading from the Acts or from the Apostolic Epistles and the Commentary on the New Testament, in accordance with the ustav the beginning of Matins is marked by the ringing of bells. The Typicon states that "the paraecclesiarch goes out and rings the great bell and the other bells." In current practice, however, immediately following "The blessing of the Lord…" and the "Amen" sung by the choir, Matins begins directly with the Six Psalms, without a trezvon.

The Six Psalms.

The Six Psalms, which in liturgical books are sometimes called by the Greek name exayalmoV (exapsalmos), consist of six psalms — psalms 3, 37, 62, 87, 102, and 142 — and begin with the reading of the thrice-repeated angelic doxology, "Glory to God in the highest, and on earth peace, good will among men" (Lk. 2:14), and the twice-repeated prayerful appeal of the reader, "O Lord, Thou shalt open my mouth, and my lips shall declare Thy praise." At the beginning of the reading of the Six Psalms the majority of the lamps in the temple are extinguished, doubtlessly so as to listen attentively to the psalms without distraction by anything external. In addition, the church, plunged into darkness, should remind the worshippers of the night in Bethlehem on which Christ was born. With the birth and appearance in the world of Christ the Savior our salvation began. The Six Psalms are, in a way, the inward reflections of a man who has heard of the birth of the Savior. In the psalms his awareness of his iniquitous state is expressed. We see depicted the multitude of enemies (demons), who seek to destroy both soul and body, hope in the boundless compassion of God, and the hope that the Lord will hearken unto all those who hope in Him, and have compassion upon those who fear Him. From a whole series of observations regarding the reading of and listening to the Six Psalms, which we find in the Typicon and in liturgical books in place, we see that the Church ascribes especial significance to the Six Psalms; hence, those contemporary worshippers sin greatly who allow themselves to sit during the reading of the Six Psalms, or even to leave the church completely, considering the reading to be of secondary import and of little significance. Thus, in the ninth chapter of the Typicon it is stated: "He readeth the Six Psalms in a quiet, light voice, unhurriedly and audibly to all. While the Six Psalms are being read it is fitting to attentively apply oneself to the hearing thereof: for the psalms are filled with repentance and compunction. We therefore read these psalms with reverence and the fear of God, as unto God Himself invisibly present, and none hath the right to whisper, nor to spit or expectorate; rather, we must attend all the more to what the psalm-reader is saying, having our hands crossed across our breasts, with head bowed and eyes downcast, gazing with the eyes of the heart to the east, praying regarding our sins, remembering death, the future torment, and life eternal."

The Six Psalms are divided into two parts by a doxology in honor of the Holy Trinity. Following the first three psalms, we read, "Glory, both now," and, "Alleluia, alleluia, alleluia, glory to Thee, O God," thrice, then again, "Glory, both now," and the remaining psalms. In conclusion only "Glory, both now" and the thrice repeated, "Alleluia, alleluia, alleluia, glory to Thee, O God" are read.

After the reading of the first three psalms, the priest exits from the altar vested in the epitrachelion alone, stands before the royal doors with bared head, and there from the Service Book reads to himself the "Morning Prayers," which are twelve in number, in which he offers thanksgiving to the Lord for His gift to us of the light of day, and requests various spiritual blessings for himself and for his flock, asking that in our hearts the "true sun of God’s righteousness" might shine forth, so that "walking honestly as in the day in the way of the commandments of God we may attain unto life eternal," and be vouchsafed the enjoyment of the unapproachable light of God. In reading this prayer before the closed royal doors the priest represents Christ the Mediator, promised to Adam and the whole human race (see "New Tablet" ("novy skrizhal"), Part III, Ch. 4, paragraph 6). Prof. M. Skaballanovich indicates that the morning prayers, or, more exactly, the matins prayers, like the vespral prayers, were at one time scattered throughout the whole of Matins. Due to this, their contents are adapted to various parts of Matins, inasmuch as they were read at various points therein (see the "Typicon with Commentary," second edition, p. 205 and beyond).

The Great Litany.

After the faithful have heard the angelic singing, proclaiming to them the birth of the Savior, and have recognized the whole depth of their spiritual fall; after their hearts have become suffused with hope in the One who has been born, and through this hope have inclined their souls to prayer — they once again call out unto God with the same words as those at the beginning of Vespers. The Great Litany, "In peace let us pray to the Lord," is pronounced, in which are requested all those diverse spiritual and bodily blessings of which men were deprived with the casting out of Adam from Paradise, but which it became possible to receive again after the coming to earth of the Divine Redeemer. The litany is pronounced by the priest or the deacon before the royal doors.

“God is the Lord” and the Troparia.

Immediately after the Great Litany, the deacon exclaims and the choir loudly and joyously sings a glorification in honor of the Lord, who has come down to earth for the salvation of the world: "God is the lord and has appeared unto us, blessed is He that cometh in the name of the Lord" (Ps. 117:26-27). These last words were applied to the Savior at His triumphant entry into Jerusalem, and according to His own words He will be met again with these same words at His second coming (Mt. 23:39). This hymn is sung four times, and before each repetition a different verse is sung, each taken from the same psalm, telling of the goodness and mercy of God and disclosing the prophecies concerning the Savior of the world. By ustav both "God is the Lord" and these verses are proclaimed by the canonarch in the center of the temple (see the Typicon, Ch. 2). Judging by the directions of the Ustav it may be supposed that, apparently, the canonarch first himself sang "God is the Lord" in the given tone, then the verses also, after which (alternately, hence the four verses) the choir responded by singing four times, "God is the Lord…" However, it has now become a deeply rooted custom for the deacon to proclaim all of this, or, if their be no deacon, the priest.

At Sunday vigils, "God is the Lord" is always sung "in the present (that is, the regularly scheduled) tone;" at vigils for the twelve great feasts, in the tone of the festal troparion; and at vigils in honor of saints, in the tone of the troparion of the saint.

The singing of "God is the Lord" is immediately followed by the singing of the troparia, titled "dismissal" since they are also sung at the end of Vespers. The morning worship now crosses over from a mournful, penitential disposition to a festive, joyful disposition, to a foretaste of salvation. The matins hymns are now Christian in content and are performed very festively.

These troparia are sung in the following manner:

1. At a Sunday vigil the Sunday (or resurrectional) troparion is sung twice; glory, the troparion of the saint from the Menaion; both now, the resurrectional theotokion in the tone of the troparion of the saint. If on that day there be no troparion to a saint in the Menaion, then, following the Sunday troparion, which is sung twice, Glory, both now is sung, then the theotokion of the present tone — that is, in the same tone as the resurrectional troparion.

2. At vigils for great feasts of the Lord and of the Theotokos, the troparion of the feast is sung thrice, the third time after Glory, both now.

3. At vigils for saints the troparion of the saint is sung twice, then Glory, both now, and the resurrectional theotokion in the tone of the troparion of the saint. Here it is important to note a peculiarity of the Saturday service. If the memory of a saint for whom a vigil is appointed falls on a Saturday, then the theotokion in the tone of the troparion of the saint is not sung, as is usual; rather, the theotokion in the regular tone from the Ochtoechos for the given week, from which tone we are "taking leave" (Saturday being the "leave-taking" of the tone of the past week"), is sung; it is called the "first theotokion of the present tone."

If a great feast of the Theotokos falls on a Sunday, then the resurrectional troparion is sung twice, then Glory, both now, and the troparion of the feast.

5. If a day of commemoration of a saint for whom a vigil is appointed falls on a Sunday, then the resurrectional troparion is sung twice; Glory, the troparion of the saint; both now, and the first theotokion in the tone of the troparion of the saint.

6. If a forefeast, an afterfeast, or the leave-taking of a feast falls on a Sunday, then the resurrectional troparion is sung twice; Glory, both now, and the troparion of the forefeast or of the feast. If on that day there is also a troparion to the saint of the day in the Menaion, it is sung at Glory; at both now, the troparion of the forefeast or of the feast is sung.

7. If the celebration of the memory of two saints falls on a Sunday, the resurrectional troparion is sung once; then the troparion of the first saint; Glory, the troparion of the second saint; both now, and the theotokion in the tone of the troparion of the second saint. If in addition to this a forefeast or afterfeast coincides with the Sunday, then at both now, in place of the theotokion, the troparion of the forefeast or of the feast is sung.

After the singing of the troparia, "Lord, have mercy" is sung thrice; then, "Glory to the Father, and to the Son, and to the Holy Spirit." The reader continues with, "Both now, and ever, and unto the ages of ages. Amen," and begins the reading of the kathismata.

The Kathismata, the Small Litanies, and the Sedalia.

The kathismata are the readings of defined sections of the Psalter, which is divided entirely into twenty such sections, called "kathismata," from the Greek word kaqizo — "I sit" —, because by ustav after each such section a reading is appointed during which all sit. It has now become the custom to sit during the reading of the kathismata themselves (concerning this see the detailed explanation of Vespers, "The First Kathisma"). At matins which are part of the structure of an All-night Vigil, only two kathismata are ever chanted, each being divided into three glories. After every "glory" the reader pronounces: "Glory to the Father, and to the Son, and to the Holy Spirit," and the choir sings: "Both now, and ever, and unto the ages of ages. Amen," then, "Alleluia, alleluia, alleluia, glory to Thee, O God," thrice, "Lord, have mercy," thrice, and, "Glory to the Father, and to the Son, and to the Holy Spirit:" The reader continues: "Both now, and ever, and unto the ages of ages. Amen," and goes on to read the next "glory."

After each kathisma at the All-night Vigil the Small Litany is invariably pronounced, which litany, according to Chapter 2 of the ustav, "the priest says, having gone out before the holy doors." Every small litany concludes with a particular exclamation by the priest. After the first kathisma the small litany has the exclamation, "For Thine is the power, and Thine is the kingdom, and the power, and the glory…," and after the second kathisma, "For a good God art Thou, and the Lover of mankind…"

Here it should be mentioned that on those Sundays when by Ustav no polyeleos is appointed (concerning this, see below), instead of the polyeleos the Seventeenth Kathisma is chanted: "Blessed are the blameless…" after which the small litany does not occur, and the troparia of the resurrection are immediately sung: "Blessed art Thou, O Lord, teach me Thy statutes. The assembly of the angels was amazed…" These troparia are, in fact, thus called: "The troparia of the resurrection, sung after The Blameless." In this case the small litany is pronounced after these troparia.

In general it should be known that the ustav for the small litanies following the kathismata is connected with the greater or lesser solemnity of the service. After each kathisma a so-called sedalion is appointed. If this sedalion is of festal content, a small litany is pronounced before it; if, however, it is penitential or compunctionate in content, as occurs on week days and on days of the holy Forty-day Fast, then the small litany is not pronounced before it. This is why at vigil on the eve of the Annunciation, which in most cases falls during the holy Forty-day Fast — and hence at which, if it falls on a week day, not two kathismata, as is usual at a vigil, but three are read —, the small litany is not pronounced after every kathisma. According to ustav, if the vigil for the eve of the Annunciation occurs during the holy Forty-day Fast, before Holy Week, no litany occurs after the first kathisma, but litanies are appointed following the second and third kathismata. If, however, Annunciation occurs during Holy Week, no litanies are called for following the first two kathismata, but there is a litany after the third kathisma.

At Sunday vigils, after every kathisma and the small litany which follows it, the sedalia are sung or read from the Ochtoechos, and on great feasts and feasts of saints — from the Menaion; or, correspondingly, from the Lenten Triodion or the Pentecostarion, on feasts from the Triodion or Pentecostarion cycle. The feast of the Annunciation constitutes a special circumstance when it falls on a week day of the holy Forty-day Fast: the first sedalion is then not of the feast, but from the Triodion.

The Polyeleos, Troparia of the Resurrection, and Megalynaria.

At vigils for great feasts, at Sunday vigils during certain periods of the year, and, as always, at any festal Matins in general, when the Gospel is read — following the kathismata and the Sedalia, the polyeleos is sung, at the beginning of which all the lamps in the temple are lit and the royal doors are opened, as a sign of especial festivity.

The word poluV eleoV, "Polyeleos," poluV meaning "many," and eleoV, "mercy," in the Russian translation from the Greek means "mnogomilostivoye," or "greatly merciful." Thus called is the triumphant singing of two psalms: 134 — "Praise ye the name of the Lord," and 135 — "O give thanks unto the Lord…" From the frequent repetition in the second of these psalms of the words, "for His mercy endureth forever," the whole of this singing acquired the name "polyeleos." Another reason for this title may also be that for this part of Matins the ustav directs that the illumination of the temple be increased in honor of the feast by the burning of candles and oil — poluV elaion meaning "much oil." It is currently customary to call the polyeleos after the opening verse, "Praise ye the name of the Lord…," i.e., "Praise Ye the Name." In present times these psalms are rarely sung in their entirety; for the most part four verses in all are sung, in the following manner:

"Praise ye the name of the Lord; O ye servants, praise the Lord. Alleluia" (thrice).

"Blessed is the Lord out of Sion, Who dwelleth in Jerusalem. Alleluia" (thrice).

"O give thanks unto the Lord, for He is good; for His mercy endureth for ever. Alleluia" (thrice).

"O give thanks unto the God of heaven; for His mercy endureth for ever. Alleluia" (thrice).

The ustav calls for the singing of the polyeleos on Sunday vigils only from September 22 until December 20, and from January 14 until Cheesefare Sunday: that is to say, during the winter months, excepting the periods of the feasts of Nativity and Theophany. During the summer months, from Cheesefare Sunday until the leave-taking of the Exaltation on September 21, the singing of the polyeleos is appointed only for those Sundays on which a great feast falls. In general, the polyeleos is so closely connected with great feasts, and the commemorations of saints for whom it is appointed by Ustav, that it is often called the "polyeleos of the feast," or the "polyeleos of the saint." On Sundays, when no polyeleos is called for, the chanting of the seventeenth kathisma is appointed in its stead: "Blessed are the blameless…" (Typ., Ch. 2 and 17). However, it has now become customary in parishes almost everywhere to sing the polyeleos on Sunday vigils the year round.

On the Sundays preparatory to Great Lent — the Sunday of the Prodigal Son, Meatfare Sunday, and Cheesefare Sunday —, after the polyeleos, Psalm 136 is sung, "By the rivers of Babylon…," with a "beautiful alleluia" — that is to say, to an especially compunctionate melody.

At Sunday vigils, immediately following the polyeleos, or after the chanting of the seventeenth kathisma if the polyeleos was not sung, special troparia of the resurrection are sung, which are usually called the "troparia of the resurrection, sung after the blameless." Before each of these troparia a refrain taken from Psalm 118 is sung: "Blessed art Thou, O Lord, teach me Thy statutes." The first of these troparia begins with the words, "The assembly of the angels was amazed…"

Four troparia in all are sung; then Glory, and a troparion in honor of the Holy Trinity; then Both now, and a troparion in honor of the Most Holy Theotokos. The singing finishes with the thrice-repeated, "Alleluia, alleluia, alleluia, glory to Thee, O God."

The troparia, "The Assembly of the Angels," as Prof. M. Skaballanovich shows, is of Jerusalemic origin. In the well-known Jerusalem Order of Holy Week and Bright Week from the ninth century, from an A.D. 1122 edition, in the service for Palm Sunday, the second through the sixth of these troparia are found, along with others similar to the contemporary troparia of "The Assembly of the Angels" (see the "Typicon with Commentary," second edition, p. 235).

At vigils on the eves of great feasts and in honor of saints, at the beginning of the singing of the polyeleos, an icon of the feast or saint is carried into the center of the temple and placed on an analoy (currently this icon is often already in the center of the temple on an analoy), and before it, following the completion of the polyeleos, the megalynarion to the feast or saint is sung together with a selected psalm. These megalynaria and selected psalms are printed at the end of the Psalter, in the Irmologion, and in the Service Book. The clergy usually sing the megalynarion the first time; then each choir by turns sings a verse from the selected psalm, repeating the megalynarion after every verse. At the conclusion, Glory, both now: is sung; then the thrice-repeated Alleluia, alleluia, alleluia, glory to Thee, O God; and the megalynarion is again sung, for the final time, by the clergy.

At the beginning of the singing of the polyeleos, the rector distributes lighted candles to those serving with him — as well as, according to the Ustav (see Ch. 2), to the people standing in the temple —, with which all stand until the completion of the reading of the Gospel. However, in current practice the custom of the people holding candles at the vigil is observed only on two days: the feast of the Entry of the Lord into Jerusalem and the Paschal Matins.

The singing of the polyeleos psalms and the troparia of the resurrection "… at Matins," states M. Skaballanovich, "marks the most solemn and sacred moments, which symbolize, as always, the might and divine inspiration of prayer, which through the singing of these psalms truly attains the highest level of intensity; it likewise symbolizes the grace of the Holy Spirit which is drawn by such a prayer. The rise of the soul’s disposition is likewise promoted by pleasant fragrances (incense). In this instance the censing further relates to the commemoration connected with this part of Matins: it recalls the sweet-scented myrrh which, at this hour on the night of the Resurrection, the myrrh-bearers ‘mingled with tears of pity’"("Typ. with Com.," second ed., p. 233).

At the singing of the troparia of the resurrection, following the blameless, and at the singing of the megalynarion, a censing of the whole temple takes place. It begins in the center of the temple from the icon placed there on an analoy: the icon is censed, from all four sides, then the altar and the entire temple, in order.

The selected verses from the psalms which are sung at the megalynaria contain either prophetic foretellings of the event being celebrated, or a recounting of the virtues of the saint for which he was numbered with a particular rank of saints. Each rank of saints has its own general megalynarion.

Both the troparia of the resurrection and the megalynaria prepare the worshippers for the impending hearing of the Gospel, in which a narrative is set forth of the event being celebrated, or in which are glorified the virtues of the saint whose memory is being celebrated.

If on a Sunday there falls a great feast (except for a feast of the Lord, when the Sunday service is entirely set aside and replaced completely with the service of the feast) or the commemoration of a saint for whom a megalynarion is appointed, then following the polyeleos the clergy immediately sing the megalynarion (the choir do not repeat it), and the troparia of the resurrection following the blameless are sung immediately afterward.

The Small Litany, the Hypakoe or Sedalion,

and the Antiphons of Ascent (or Hymns of Ascents).

Following the troparia of the resurrection at a Sunday vigil, or after the megalynarion at a vigil in honor of a feast or a saint, the small litany is pronounced, which culminates in the exclamation of the priest: "For blessed is Thy name, and glorified is Thy kingdom, of the Father, and of the Son, and of the Holy Spirit…"

Since following this, by Ustav, a reading is appointed during which all sit, after the small litany there follows the Sedalion, which at a Sunday service is called the "hypakoe." At a Sunday vigil the "hypakoe of the tone" is sung. The majority of the resurrectional hypakoe tell of the going of the myrrh-bearing women to the life-giving tomb, or of the fruits of the Resurrection of Christ. If a feast of the Theotokos or of a saint with a polyeleos falls on a Sunday, the sedalia of the feast or saint are sung after the "hypakoe." First the sedalia are sung which were appointed to be read after the kathismata, but were not sung in their own place, since the resurrectional sedalia were sung in their place. Then, at "Glory," the "sedalion following the polyeleos" is sung; on feasts, at "Both now" this same sedalion is repeated a second time, but on days of the commemoration of saints the theotokion is sung, which for such days is printed immediately after the polyeleos sedalion. On feasts of the Lord, when the entire Sunday service is replaced by the service of the feast, the sedalion of the feast is sung. In present times the sedalia and hypakoi, for the most part, are not sung, but read.

After the sedalia or hypakoi there follows the singing of the matins antiphons, which are called "Ascents." The word "antiphon" is derived from the Greek words anti (anti), "against," and fwnh (phoni), "tone," and literally means "antitone-antisinging." This name is given to hymns which are appointed to be sung alternately on two clirosi. They are called "ascents" because they are composed in accordance with the fifteen psalms (psalms 119 through 133) which bear the name of the "Hymns of Ascent," since they were sung on the steps of the temple in Jerusalem by two choirs of Jews.

The contents of the ascents cleanse and "uplift" the soul, and thus prepare the worshippers for the hearing of the Gospel. The approaching reading of the Gospel is proclaimed during the singing of the ascents by the ringing "of the cymbals;" that is, by a trezvon. This toll indicates that "the sound (of the Gospel) hath gone forth into all the earth." Only at Sunday and festal Matins is the Gospel preceded by a trezvon; the liturgy Gospel is not. However, contemporary practice transfers the toll for the Matins Gospel to the beginning of the polyeleos (the "Typicon with Commentary," M. Skaballanovich, second edition, Kiev, 1913).

Antiphons of ascent exist in all eight tones, and are found in place in the Ochtoechos. At a Sunday vigil the antiphons of ascent of the corresponding regular tone are sung, which is why they are called the "antiphons of the tone." At great feasts of the Lord and of the Theotokos and on days of commemoration of saints for whom there are a polyeleos and a megalynarion, only the first antiphon of the fourth tone is sung: "From my youth many passions have warred against me…" When any great feast of the Lord falls on a Sunday, as well as on Palm Sunday, the second Sunday of Pascha, Thomas Sunday, and the Sunday of Pentecost, only the first antiphon of the fourth tone is sung. However, if a great feast in honor of the Theotokos or of a saint with a poyeleos falls on a Sunday, then the "antiphons of the tone" are sung — that is, of the tone of the regular order which falls on the given Sunday. In the antiphons of the ascents, as though in answer to the summons of the verses of the polyeleos to praise the Lord, we confess our iniquities and infirmities to the Lord, and we glorify the Father, the Son, and the Holy Spirit.

The Prokeimenon and the Reading of the Gospel.

The ascents are followed by prayers and exclamations, which usually occur before the reading of the Gospel, and which serve to prepare the faithful for the worthy hearing of the Gospel. The deacon exclaims, "Let us attend. Wisdom." He then pronounces the Prokeimenon. By its content this prokeimenon is always connected with the Gospel which is about to be read.

At a Sunday vigil, if no great feast of the Lord or of the Theotokos coincides therewith, the Sunday prokeimenon of the regular tone is pronounced and sung. There are eight such prokeimena in all, according to the number of tones, and they alternate each week. If a Sunday coincides with a great feast of the Lord or of the Theotokos, the prokeimenon of this feast is pronounced and sung. At vigils on the eves of great feasts and in honor of saints a special Prokeimenon of the Feast is always sung in the fourth tone, the contents of which correspond to the given feast or to the memory of the saint being celebrated. The matins prokeimena always have only one verse, and are sung by the choir two and one half times.

Upon the completion of the prokeimenon, the deacon exclaims, "Let us pray to the Lord," and the choir responds, "Lord, have mercy." The priest then makes the exclamation, "For holy art Thou, O God, and Thou restest in the saints, and unto Thee do we send up glory: to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto the ages of ages." Then the deacon exclaims, "Let every breath praise the Lord." The choir repeats these words. The deacon proclaims the verse: "Praise ye God in His saints, praise Him in the firmament of His power." The choir again sings, "Let every breath praise the Lord." The deacon pronounces the first half: "Let every breath," and (as with the prokeimenon) the choir sings the second half to the end: "Praise the Lord." After this the deacon calls the attention of the worshippers to the impending reading of the Gospel with the words: "And that He will vouchsafe unto us the hearing of the Holy Gospel, let us pray unto the Lord God." The choir sings thrice, "Lord, have mercy." The deacon then proclaims what we are about to hear: "Wisdom;" hence we must stand "Aright;" that is, upright, in order, with deep reverence; for — "Let us hear the Holy Gospel." The priest, continuing this exclamation of the deacon, bestows "peace unto all," and the choir, on behalf of the worshippers, expresses a desire for the same peace for the priest: "And to thy spirit." The priest exclaims, "The reading is from the Holy Gospel according to (name)." The choir then gives glory to God: "Glory to Thee, O Lord, glory to Thee." The deacon calls all to attention with the exclamation: "Let us attend," and the reading of the Gospel begins.

"The Gospel at Matins is read, not by the deacon, as at Liturgy, but by the priest, in order that he might "first nourish with the Divine word those whom he will nourish at the Liturgy with the mystical bread," as did Christ Himself, and as He commanded His apostles to do ("Go ye therefore, and teach all nations, baptizing them…" — Mt. 28:19). At the Liturgy the priest has a much higher function even than reading the Gospel. Besides this, the Gospel at Sunday Matins is more significant than that of the Liturgy, since it is directly concerned with the event of the Resurrection (the Gospels of Matins and Liturgy are similarly related on several other feasts, such as the Nativity of Christ and Pascha). In view of this the Matins Gospel is read in the altar on the holy table, while the Gospel at the Liturgy is read in the center of the temple on an analoy (by the deacon). This especially applies to Sunday Matins, since the altar signifies the tomb of the Savior." (See the "Typicon with Commentary," second edition, pp. 246-247.)

On Sundays the Gospel is appointed to be read in the holy altar (Typ. Ch. 2), from which, as though from out of the Tomb of the Lord, there resound the joyous tidings of the Resurrection of Christ. Therefore, the priest reads the Gospel on the holy table. On feast days the Gospel is read amongst the people, in the middle of the temple, before the icon of the feast which lies on the analogion. The deacon carries the Gospel out onto the ambon and there exclaims the prokeimenon, then presents the Gospel to the priest, who reads it. However, if the priest serves without a deacon, after the megalynarion and the litany he exclaims the prokeimenon, goes into the altar, and reads the Gospel on the ambon, facing the people. At Sunday vigils following the reading of the Gospel the latter is carried out from the altar through the royal doors for veneration. During this time, "Having beheld the Resurrection of Christ" is sung, and Psalm 50 is read. According to the Ustav the priest stands in the center of the temple, "holding the Holy Gospel before his breast," while two candle-bearers stand at his sides with candlesticks, and thus holds the Gospel until all have venerated it; after which, "the veneration and the fiftieth psalm having been completed," he carries the Holy Gospel back into the altar, having blessed the people present with it from the royal doors. In practice it has become customary, upon carrying it out of the altar, to lay the Holy Gospel upon an analogion in the center of the temple, where all venerate it somewhat later, namely after the reading of the prayer, "Save, O God, Thy people," and the exclamation. The Gospel remains here until all have venerated it; some leave it even until the end of the Great Doxology. In the first case the priest stands the whole time beside the Gospel on the left-hand side of the analogion and, as is customary in many places, blesses those venerating with his hand after they have kissed the Gospel. In the second case the priest exits the altar and comes to take the Gospel after the Great Doxology.

At Sunday All-night Vigils, the Gospel of the Sunday is always read, with the exception of instances where a great feast of the Lord or even of the Theotokos falls on a Sunday. In these cases the Gospel of the feast is read. In exactly the same way, on parish feasts which fall on a Sunday the Gospel of the temple is read (see the chapters 1, 5, 6, 8, 10, and others, concerning the temple, of the Typicon). When the day of a vigil-rank saint coincides with a Sunday, the Sunday Gospel is read, and the usual kissing of the Gospel takes place.

The Matins Resurrection Gospels are eleven in all, and they comprise the so-called "Gospel pillar." This series of Matins Resurrection Gospels begins on the first Sunday after Pentecost, that is, on the Sunday of All Saints. After all eleven Gospels have been read in order, the next Sunday the first Resurrection Gospel is again read, and in this manner these pillars are continually repeated throughout the duration of the year. Exceptions to this are Sundays during the period of the Pentecostarion: here exactly the same Resurrection Gospels are appointed, but not in the usual order. At the end of the liturgical altar Gospel there is a note, "concerning how the Gospel should be read each day for the weeks of the entire year," which indicates which Matins Resurrection Gospels are read on the Sundays from Holy Pascha until the Sunday of All Saints, and then on the thirty-two Sundays thereafter. After the thirty-second Sunday and through the fifth week of Great Lent inclusive, precisely which Matins Gospels are to be read is not indicated. This is because, depending on the movement of the day on which Pascha is celebrated — the earliest Pascha occuring on March 22, and the latest, on April 25 — between the thirty-second Sunday after Pentecost and the Sunday of the Publican and the Pharisee the number of weeks does not remain constant from year to year, the result of which is that the same Gospels are not always read on these Sundays from year to year. In order to find out precisely which Gospels are to be read on these Sundays in a given year, one must use the so-called Visual Paschalion, which is found at the end of the Typicon and of the Supplemented Psalter. In the Indiction one must find the key letter of the given year, and near the key letter, together with the indication of the day of the celebration of Pascha, of other feasts, and on which days they fall, is likewise indicated on which day of the month each pillar of the tones of the Ochtoechos begins, and which Matins Resurrection Gospels should therefore be read. At the same time one must remember that the tallies of both the pillars of the tones of the Ochtoechos and of the Matins Resurrection Gospels begin from the Sunday of All Saints. Tone eight always occurs on the Sunday of All Saints, and the first Matins Gospel is read; on the second Sunday after Pentecost, tone one occurs, and the second Matins Gospel is read, and so on in order. Therefore, until the Sunday of All Saints the pillars of the tones and of the Gospels should be looked for under the key letter which relates to the previous year.

There are six pillars in all: the first begins on the first Sunday of the Saints Peter and Paul fast; the second, after the day of Prophet Elijah; the third, after the Exaltation; the fourth, during the fast before the Nativity of Christ; the fifth, after the Theophany of the Lord; and the sixth, during Holy and Great Lent. These pillars likewise are always printed at the end of the Ochtoechos.

A Resurrection Gospel which is not read at the All-night Vigil, due to the coincidence of a Sunday with a great feast, is entirely omitted, and at the following Sunday vigil the next Resurrection Gospel in order is read.

At a Sunday vigil, following the reading of the Gospel, a triumphant hymn is sung in which the risen Christ is glorified: "Having beheld the Resurrection of Christ, let us worship the holy Lord Jesus, the only sinless One. We worship Thy Cross, O Christ, and Thy holy Resurrection we hymn and glorify. For Thou art our God, and we know none other beside Thee, we call upon Thy name. O come, all ye faithful, let us worship Christ’s holy Resurrection, for behold, through the Cross joy hath come to all the world. Ever blessing the Lord, we hymn His Resurrection; for, having endured crucifixion, He hath destroyed death by death." During this singing the deacon, or, if there be no deacon, the priest himself, stands with the Gospel on the ambon. After the completion of the singing the Gospel is laid upon the analogion in the center of the temple. Besides at the Sunday vigil, this hymn is also sung at the vigils for the Exaltation of the Cross of the Lord and for the Ascension of the Lord. At all Sunday vigils from Pascha until Ascension this hymn is sung thrice. However, on feasts of the Lord — Palm Sunday, Pentecost, the Nativity of Christ, Theophany, and Transfiguration —, even if they should fall on a Sunday, "Having beheld the Resurrection of Christ" is not sung.

After this hymn the fiftieth psalm is read: "Have mercy on me, O God, according to Thy great mercy…," since, as we read in the tenth matins prayer, we have seen from the reading of the Gospel that the Lord our God has granted unto man forgiveness through repentance, and has shown us, as an example of the knowledge and confession of sin that leadeth to forgiveness, the repentance of the Prophet David.

After the fiftieth psalm, on a normal Sunday we sing: "Glory to the Father, and to the Son, and to the Holy Spirit: Through the prayers of the Apostles, O Merciful One, blot out the multitude of our transgressions." Then, going on: "Both now, and ever, and unto the ages of ages. Amen. Through the prayers of the Theotokos, O Merciful One, blot out the multitude of our transgressions." Then the opening words of Psalm 50 are sung in tone six: "Have mercy on me, O God, according to Thy great mercy, and according to the multitude of Thy compassions blot out my transgression." Then, a sticheron revealing the fruits of the Resurrection of Christ: "Jesus, having risen from the grave, as He foretold, hath given us life eternal and great mercy."

On the Sundays preparatory to Great Lent — the Sundays of the Publican and the Pharisee, of the Prodigal Son, Meatfare and Cheesefare Sundays, and the five Sundays of Great Lent until Palm Sunday —, after Psalm 50, at Glory the following compunctionate sticheron is sung in tone eight: "The doors of repentance do Thou open to me, O Giver of life, for my spirit waketh at dawn toward Thy holy temple, bearing the temple of the body all defiled. But in Thy compassion cleanse it by the loving-kindness of Thy mercy." Then, at Both now: "Guide me in the paths of salvation, O Theotokos, for I have defiled my soul with shameful sins, and have wasted all my life in slothfulness, but by Thine intercessions deliver me from all uncleanness." Then the first words of Psalm 50 are sung in the sixth tone: "Have mercy on me, O God…" and finally, in the same tone: "When I think of the multitude of evil things I have done, I, a wretched one, I tremble at the fearful day of judgment; but trusting in the mercy of Thy loving-kindness, like David do I cry unto Thee: Have mercy on me, O God, according to Thy great mercy."

In the hymns cited above, which are deeply compunctionate in content, a feeling of sincere repentance is emphasized, to which feeling we must strive, especially during the time of the fast. Additionally, these prayers express a filial fear of deprivation of the Father’s love, due to the "multitude of evil things done;" yet, at the same time, in them one senses a firm hope in the embraces of the Heavenly Father which continually await the repentant sinner.

At the All-night Vigil on the eves of the twelve great feasts, after the reading of Psalm 50, special verses are sung at "Glory" and at "Both now," which are indicated in place in the service for the given feast; then, immediately, the first words of Psalm 50, followed by the sticheron of the feast. This sticheron of the feast is sung even if the great feast, regardless of whether it be a feast of the Lord or of the Theotokos, should fall on a Sunday; it is sung in place of the resurrectional sticheron, "Jesus, having risen from the grave…" At vigils for saints the sticheron of the saint is sung. When a parish feast falls on a Sunday the sticheron of the temple is always sung instead of the resurrectional sticheron, with the exception of the first Sunday of Great Lent, when the resurrectional sticheron is sung.

After the stichera the deacon reads the first prayer of the litany of the litia, "Save, O God, Thy people," in answer to which the choir sings twelve times, "Lord, have mercy," and which the priest concludes with the exclamation: "Through the mercies and compassions and love for mankind of Thine Only begotten Son..."

After this, custom dictates for all the worshippers to come and venerate the Gospel, on Sundays; or, on days of great feasts, the icon of the feast which lies in the center of the temple on an analoy. In addition, if there was a blessing of loaves, wheat, wine, and oil at the vigil, the faithful, upon kissing the Gospel or the icon of the feast, are anointed by the priest with the blessed oil, unto the sanctification of soul and body, in the name of the Father, and of the Son, and of the Holy Spirit. To the faithful the priest likewise distributes pieces of the bread which had been blessed at the end of Vespers. This anointing is performed instead of the anointing from the kandila (lampada) of the feast or saint, which is appointed in the Typicon for after Matins.

The Canon.

After these prayers, the most important, fundamental, specifically festal part of Matins, the canon, begins.

Prof. M. Skaballanovich states the triode may be considered to be the original form of the canon. In addition to the psalms, in early worship Old Testament songs, or odes, were also used, and by way of refrains for them troparia with Christian content began to be composed. "Refrains in the form of troparia for the Old Testament songs are indicated already in certain descriptions of the Sinai liturgy of the sixth or seventh century (introduction to chapter 328); it is worthy of note that, in this description, the refrains of the eighth ode are set apart from the rest, although they bear the same name of "troparia." Possibly the refrains of the remaining odes took the form of short verses that were the same for every ode (for the first: "Let us sing to the Lord, for gloriously has He been glorified;" for the second: "Glory to Thee, O God;" for the third: "Holy art Thou, O Lord, and of Thee doth my spirit sing;" and so forth), and only at the eighth ode were there "troparia;" if, then, this is so, the original form of the canon was the uniode. The uniode gradually grew into a diode through the addition of a ninth ode to the eight" (see the "Typicon with Commentary," M. Skaballanovich, second edition, p. 267). Later on triodes appeared, then entire canons.

The canon consists of nine odes. The second ode does not occur at the All-night Vigil (being penitential, it occurs only in services on weekdays of Great Lent); the third ode follows immediately after the first. Each ode at the All-night Vigil begins with the singing of the so-called "Irmos," after which follows the reading of troparia, with refrains for each; the ode is completed with the singing of what is called the "Katavasia." The so-called "Odes from Holy Scripture" are the foundation of the canon. These are hymns to the Lord God which are found, for the most part, in the Old Testament (only the ninth ode, which consists of two parts, is taken from the New Testament).

Ode I was sung by Miriam, the sister of Moses, at the event of the miraculous crossing over of the Hebrews through the Red Sea. It begins with the words, "Let us sing to the Lord, for gloriously has He been glorified" (Ex. 15:1-19).

Ode II is the song of Moses during the wandering of the Hebrews in the wilderness: "Attend, O heaven, and I shall speak" (Deut. 32:1-44).

Ode III is the song of Anna, the mother of the prophet Samuel, in thanksgiving for the birth of a son: "My heart hath been established in the Lord" (I Kings 2:1-10).

Ode IV is the song of the prophet Avvakum, who saw God coming through the overshadowed mountain: "O Lord, I heard Thy voice and was afraid" (Avvakum 3:2-20).

Ode V is the song of the prophet Isaiah, proclaiming the birth of Emanuel from the Virgin: "From the night I seek Thee early with my spirit, O God" (Is. 26:9-20).

Ode VI is the song of the prophet Jonah, who was three days and three nights in the belly of the whale, and was then cast forth onto dry land: "In my sorrow I cried unto the Lord God" (Jon. 2:1-7).

Ode VII is from the song of the three youths in the fiery furnace: "Blessed art Thou, O Lord, God of our Fathers" (Dan. 3:26-56).

Ode VIII is from the song of the same youths: "O all ye works of the Lord, bless ye the Lord; praise and exalt Him for all ages" (Dan. 3:57-72).

Ode IX consists of two parts: the song of the Most Holy Theotokos at Her visit to Elizabeth — "My soul doth magnify the Lord" (Lk. 1:46-55) —, and the song of the holy prophet Zacharias, the father of St. John the Baptist — "Blessed is the Lord God of Israel, for He hath visited and wrought deliverance for His people" (Lk. 1:68-79).

These odes, in their entirety as they appear in the Bible, are appointed by ustav to be read or sung only on weekdays during Great Lent. At first the ode itself is sung; then it is sung from the verse which is preceded by the note, "for 14 verses," or "for 8 verses," or "for 6 verses," or "for 4 verses." For example, let us take the first ode, "Let us sing to the Lord." All of the verses are sung up until (and including), "The enemy said," for 14 verses. After the verse, "The enemy said," the irmos of the canon immediately follows; then, alternately, all the troparia of the canon, so that the verses of the ode serve as refrains for the troparia of the canon.

On feast days the odes themselves are not appointed to be sung, and the refrains of the ode for the troparia of the canon are usually replaced with other refrains, which are related to the content of the canon. Thus, for example, the troparia of the resurrectional canon have the refrain: "Glory, O Lord, to Thy holy Resurrection;" for the troparia of canons on feasts of the Lord, "Glory to Thee, O Lord, glory to Thee;" for the cruciresurrectional canon, "Glory, O Lord, to Thy holy Cross and Resurrection;" and for troparia for the canons at feasts of the Theotokos, "O Most Holy Theotokos, save us." During the period of the Lenten Triodion, at the Great Canon, we sing, "Have mercy on me, O God, have mercy on me." At the Sunday Midnight Office: "O Most Holy Trinity, our God, glory to Thee." Feasts of saints likewise have their own refrains, which constitute a prayerful appeal to these saints. For example: "O holy archangels and angels, pray to God for us;" "O holy great John, Forerunner of the Lord, pray to God for us;" "O hierarch father Nicholas, pray to God for us;" and, "O holy greatmartyr…," "O holy martyr…," "O hieromartyr…," or, "O venerable martyr (name), pray to God for us." For venerable saints: "O venerable father Andrew…," or, "O venerable father Seraphim, pray to God for us;" "O venerable mother Mary, pray to God for us."

The very word "canon" — kanwn — in translation from the Greek means "rule," an injunction or measure, and in this case signifies the combination of a series of hymns according to a certain rule. The Typicon distinguishes two types of this sort of combination or system of canon: the weekday system is denoted conditionally by the words: "To the Lord let us sing;" the festal, by the words: "Let us sing to the Lord." For the festal system the above-enumerated odes from the Holy Scriptures are not chanted; rather, the canon consists exclusively of the irmosi, the troparia of the ode with their refrains, and the katavasii.

The irmosi are those hymns with which each ode of the canon begins. The irmos takes its content and even several individual words and characteristic expressions from the corresponding ode from the Holy Scriptures. The very word "irmos" — eirmoV — means "connection," and indicates that the irmos serves as a link between the Old Testament hymns and the troparia of the canon.

Following the irmos, the troparia of the canon with their refrains are read; then finally, on feast days, each ode is finished with, once again, an irmos, called the katavasia, which means "convergence," since at the singing of the irmos the ustav calls for the singers of both choirs (clirosi) to come together in the center of the temple.

The author of the resurrectional canons is undoubtedly the venerable John of Damascus (675 — 749-50).

The canon at a Sunday vigil is usually a combination of four canons into one, consisting of the resurrectional canon, the cruciresurrectional canon, the theotokian canon (all three of which are printed in the Ochtoechos in place), and the canon of the saint of the given day from the Menaion. At vigils for the twelve great feasts and for great saints, two canons usually occur; sometimes, however, there is only one canon to the given feast or saint. On feast days the canon is sung as usual, according to the technical expression for 16 (on Pascha and on the Nativity of Christ) or for 14, as is indicated in the ustav. This expression, "for 16," or, "for 14," does not mean that this number of troparia and irmosi will unfailingly be found in the canon, but rather that the troparia must be sung or read as many times as is necessary to total sixteen, or fourteen, in each ode. By ustav the irmosi and troparia should be sung by two choirs, that is, by two clirosi alternately; the irmosi are sometimes indicated to be sung twice (four times at Pascha). In Russia from the middle of the seventeenth century the singing of the troparia of the canon was gradually replaced by the reading thereof, so as not to greatly prolong the service. In present times it is customary to sing the troparia of the Paschal canon.

Each ode of the canon at vigil, as at every festal Matins in general, concludes with the katavasia. Different katavasii occur at different times of year. More often than most is sung the katavasia "of the whole year," "I shall open my mouth." (These are the irmosi used at feasts of the Theotokos, although on the days of great feasts of the Theotokos several of them are adapted to the festal event and are altered.) These katavasii are sung during all periods of the year when there is neither forefeast nor afterfeast of any great feast. Besides them there are also katavasii which are sung over a considerable period of time. Such are "This is the day of Resurrection…" which is sung from Pascha until the leave-taking thereof; "Tracing a cross with his staff…" from August 1 until the leave-taking of the Exaltation on September 21, with the exception of several days connected with the feast of Transfiguration and the feast of the Dormition; and "Christ is born, give ye glory…" from November 21 — the feast of the Entry into the Temple of the Most Holy Theotokos — until the leave-taking of the Nativity of Christ on December 31. There are likewise other katavasii which are sung for a less prolonged period of time, which is indicated in place liturgical books. Exact and complete facts concerning which katavasii are sung are found in Chapter 19 of the Typicon.

During the singing of the canon, after odes III, VI, and IX, small litanies are pronounced, which serve for the arousal of the attention of the worshippers, at the laudation of the Lord and His saints, to pray also for themselves. In these litanies we entreat the Lord that He might help, save, have mercy on, and keep us by His grace, and having called to remembrance all the saints and the Mother of God we commit ourselves and all our life unto Christ our God. The priest, after each of these litanies, makes an exclamation concerning why we are committing ourselves to God. After ode III: "For Thou art our God…" after ode VI: "For Thou art the King of Peace and the Savior of our souls…" after ode IX: "For all the hosts of the heavens praise Thee…" At each of these exclamations he sends up glory to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto the ages of ages.

Each of the three parts of the canon, which conclude in this way with a small litany, are accompanied with a single short hymn, which sometimes consists of several parts, which follows immediately after the small litany.

After the third ode of the canon a sedalion or hypakoe is sung or read. After the sixth ode there always follow a kontakion and an ikos. After the ninth ode follows the exapostilarion or photagogicon (svetilen). Sometimes a kontakion and ikos occur after the third ode as well, particularly in the event of a combination of two feasts in one day. Then the kontakion of the more significant feast is sung after the sixth ode, while the kontakion of the less significant feast is transferred to the place following the third ode, before the sedalion. Always after the sixth ode only one kontakion with ikos occurs, while after the third ode the union of several sedalia is possible; likewise, after the ninth ode several photagogica may be combined.

After the third ode and the sedalion, the ustav calls for a "reading" concerning the given feast. After the sixth ode, following the kontakion and ikos, the so called "Synaxarion" (from the Greek sunagw, "I converge," "I gather") is appointed, which contains a wealth of material regarding the given event or the person of the saint being celebrated. Material concerning feasts, as well as that which concerns the lives of saints, may be found, as is indicated in the "Synaxarion," in the "Lives of the Saints" or in the "Prologue," or in special collections. In the works of the Holy Teachers and Preachers, "Addresses" of the latter may also be found dedicated to the memory of the saints or of the events being celebrated.

As regards how several canons are to be combined, in the event of the coincidence of several feasts, at the performance of the All-night Vigil, it is essential to always inquire into the "Markovy chapters," which are printed in the Menaions and the Triodion, as well as, naturally, in the Typicon. It is important to know that on Sundays the canon is always appointed to be sung for 14. The irmosi of the resurrectional canon are sung once, and the troparia — for 14, followed by the katavasia.

At a normal Sunday Matins the resurrectional canon is sung for four, with the insertion here of the irmos, which is sung once; the cruciresurrectional canon is sung for three, the Theotokian for three, and the canon to the saint from the Menaion for four; the three latter canons are read without their irmosi.

The resurrectional canon is not sung only on great feasts of the Lord; on those of the Theotokos it is unfailingly sung. It is likewise not sung on December 24, if it should fall on a Sunday, since then a special resurrectional canon from the Menaion is appointed.

The cruciresurrectional canon is not sung on those Sundays on which the feast of a vigil-rank saint falls, on parish feasts, on forefeasts, and on afterfeasts. In general it is sung only when the canons from the Menaion or Triodion of the saint or of the feast are sung for six; if they are sung for eight, then the cruciresurrectional canon is omitted.

The Theotokian canon (always found in the third place in the Sunday service from the Ochtoechos) is not sung on those Sundays on which a forefeast or an afterfeast occurs, or a saint with a vigil or of the temple, or two saints, two whom two canons are appointed, or in general when two canons besides the resurrectional canon are sung, one for four, the other for six (that is, for ten in all).

On Sundays when the Pentecostarion is sung, from Pascha until the Sunday of All Saints, the resurrectional, cruciresurrectional, and Theotokian canons of the Ochtoechos are altogether not sung, and in their stead are sung the canons of the Pentecostarion only. If the parish feast or a saint with a polyeleos falls on one of these Sundays, the canons from the Pentecostarion and the Menaion are sung.

At the end of the eighth ode, before the katavasia, is sung: "We praise, we bless, we worship the Lord, praising and supremely exalting Him before all ages." Then the ninth ode of Holy Scripture is sung: "My soul doth magnify the Lord:" with the refrain: "More honorable than the Cherubim..." The hymn "More Honorable" is the irmos of the ninth ode of the triode of Great Friday, "From the night," and the author of this triode is Ven. Cosmos of Maium (700 — 760). For this hymn he used the words of Ven. Ephraim the Syrian concerning the Theotokos: "More honorable than the Cherubim, and beyond comparison with any of the heavenly hosts" (see the "Typicon with Commentary," II, p. 290). During the singing of this hymn a censing is appointed. The deacon, or the priest, if there be no deacon, already during the singing of the eighth ode performs a censing of the whole altar; then, at the singing of the katavasia of the eighth ode, exits the altar through the north doors, censes the iconostas, and, stopping before the icon of the Mother of God, exclaims, as soon as the singing of the katavasia is completed: "The Theotokos and the Mother of the Light let us magnify in song." After this the choir begins to sing: "My soul doth magnify the Lord…" with the refrain: "More honorable than the Cherubim…;" the deacon during this time performs the censing of the whole temple.

The whole of this singing, conditionally called in the ustav "More Honorable," does not always occur throughout the year. In the Typicon there is a special chapter, Chapter 20, which is thus entitled: "Concerning when More Honorable is sung and when it is not sung." Thus, "More Honorable" is not sung 1) from Lazarus Saturday until the Sunday of Apostle Thomas, 2) on all the Sundays of the Pentecostarion until the leave-taking of Pascha, 3) on all great feasts of the Lord and the leave-takings thereof, if the leave-taking does not occur on a Sunday, and on all great feasts of the Theotokos, if they do not fall on a Sunday, as well as their leave-takings, 4) and on the Midfeast of Pentecost and its leave-taking, Monday of the Holy Spirit, the second day of the Nativity of Christ on December 26 and on the second day of Theophany on January 7, and on January 1 and 30.

When "More Honorable" is not sung, in its place special refrains for the irmos of the ninth ode and for all the troparia of that ode are sung, or simply the irmos of the ninth ode without any refrains. All of this is usually indicated in the liturgical books, the Menaions and the Triodion, in place.

After the small litany and the exclamation of the priest at a Sunday vigil, the deacon exclaims in the tone of the Ochtoechos: "Holy is the Lord our God," which is then sung by the choir thrice alternating with the deacon’s pronunciation of the verses: "For holy is the Lord our God," and, "Above all peoples is our God."

The Exapostilarion, or Photagogicon (Svetilen).

At the Sunday All-night Vigil, after the canon and the singing of "Holy is the Lord our God," there follows the "Exapostilarion," which is thus called due to the fact that in antiquity a singer was sent to the center of the temple for the singing thereof. The name comes from the Greek "exapostello" — exapostellw —, which means "to send out," "to send." It is also possible that they are likewise thus called because the Sunday exapostilaria recount the Lord’s sending the Apostles forth to preach after the Resurrection. There are eleven resurrectional exapostilaria in all, according to thenumber of the resurrectional Matins Gospels. Their content in a way constitutes a brief account of each of these resurrectional Gospels; hence, at Sunday vigils the exapostilarion which corresponds to the Gospel which was read is always either read or sung. All of these are located at the end of the Ochtoechos together with their Theotokia, immediately after the table of the "Gospel pillars." The Sunday exapostilaria (probably with their theotokia) were composed, as their inscription in the Ochtoechos shows, by the Byzantine emperor Constantine VII Porphyrogenitus (912 — 959), the son of the emperor Leo VI the Wise, the author of the Gospel stichera.

In Greek liturgical books only the title "exapostilarion" is found, but in the Slavonic either the name "exapostilarion" or "svetilen" (photogogicon) is used. This title, apparently, originates from the fact that both the Lenten Triodion and the weekday photagogica speak of God and glorify Him as light and the Giver of light. For instance, in the photagogicon of the Lenten Matins in the eighth tone is written: "As though art light, O Christ, enlighten me with Thyself."

The Psalms of Praise and the Stichera at the Praises.

After the singing of the exapostilarion, or the photagogicon, the so-called psalms of praise are sung, at the Sunday vigil in the regular tone, and at a festal vigil in the tone of the stichera that follow them: Ps. 148 — "Praise the Lord from the heavens;" Ps. 149 — "Sing unto the Lord;" and Ps. 150 — "Praise ye God in His saints." These psalms are appointed to be sung by both choirs, verse by verse. In practice these psalms are usually not sung in their entirety, but rather only selected verses with their refrains, in this manner: "Let every breath praise the Lord. Praise the Lord from the heavens, praise Him in the highest. To Thee is due praise, O God. Praise Him, all ye His angels; praise Him, all ye His hosts. To Thee is due praise, O God. This contrasts to the weekday service, at which the singing or reading of these psalms begins with the words: "Praise the Lord from the heavens;" at a vigil this order is called as such: "Let Every Breath." "Let Every Breath" is sung when there is a "Great Doxology."

Then follow the so-called "stichera of the praises," which are sung to the last six or four verses of these psalms. At a Sunday vigil the singing of these stichera begins after the final verse of Psalm 149: "To do among them the judgment that is written:" and there are eight stichera in all, which is why for the final two stichera special refrains are taken: "Arise, O Lord my God:" and, "I will confess Thee, O Lord." Then follow the stichera at "Glory" — at which the Gospel sticheron is sung — and at "Both now," at which at a Sunday vigil the same sticheron is always sung: "Most blessed art Thou, O Virgin Theotokos…" If the commemoration of a saint with a vigil or a polyeleos falls on a Sunday, then only four of the eight stichera are resurrectional, taken from the Ochtoechos; the other four stichera are for the saint, the last two of which have refrains for the saint, which are usually printed in the service to the saint amongst the stichera at the aposticha. The same occurs if a forefeast, an afterfeast, or the leave-taking of a feast falls on a Sunday: then four resurrectional stichera are taken, and four of the forefeast or the feast, the last two with festal refrains. The same occurs in coincidence of a Sunday with a great feast of the Theotokos: four resurrectional stichera and four stichera of the feast. If, in addition to a forefeast or afterfeast, a saint to whom stichera at the praises are appointed falls on a Sunday, then the stichera of the forefeast or the feast are not sung, and only four resurrectional stichera and four of the saint with their refrains are sung. During the singing of the Lenten Triodion and the Pentecostarion, on different Sundays different combinations of stichera at the praises occur, which are always indicated in place.

After the stichera at the praises at a Sunday vigil, at "Glory," for the most part, the so-called "Gospel Sticheron" is sung, which is otherwise called the "Matins Sticheron." These stichera are, like the exapostilaria, eleven in all, and they always correspond to the Matins Gospels and are found in the Ochtoechos immediately after the exapostilaria. Above these stichera is inscribed the tone in which they should be sung. On several Sundays the Gospel stichera are appointed to be sung, not after the stichera at the praises, but after Matins altogether, before the reading of the First Hour. In this case, at "Glory," following the stichera at the praises, the stichera of the feast from the Menaion or from the Triodion is sung. The Gospel sticheron is appointed to be sung after the Matins dismissal on those Sundays which coincide with one of the great feasts of the Theotokos or the forefeast or the leave-taking of the Nativity of Christ or Theophany, as well as on the Sundays from the Sunday of the Publican and the Pharisee until the Sunday of All Saints, since these days have their own stichera at "Glory" (or doxasticon) which is sung instead of the Gospel sticheron.

At vigils for the twelve great feasts of the Lord and the Theotokos and for great saints, at the praises only four stichera usually occur, which are sung with the verses of Psalm 150, beginning from the verse: "Praise Him for His mighty acts;" at Glory and Both now likewise, stichera of the given feast are sung, and on days of commemoration of great saints the theotokion is sung at Both now.

The Great Doxology.

Following the singing of the stichera at the praises and the final stichera at Both now, the senior priest exclaims: Glory to Thee, Who hast shown us the light; and the choir sings what is called the "Great Doxology," which begins with the words: Glory to God in the highest, and on earth peace, good will among men." Before this, usually during the singing of the final stichera at Both now, the royal doors are opened, and remain open until the dismissal of Matins. In this hymn, which is adapted to the morning, the beginning of the day, glorification is offered up to God for His various blessings. The priest, on behalf of all the worshippers, sends up glory and thanksgiving to God, both for the light which shines upon us by day and for the light of faith which has illumined us like the sun and has made us children of light and of the day (I Thess. 5:5). In this hymn we give thanks to the Holy Trinity and especially to the Lamb of God, who takest away the sings of the world, and we ask that He might vouchsafe us to pass the whole time of the day without sin. This hymn is one of the most ancient, for it is mentioned by fathers of the fourth century such as, for example, St. Anthony the Great, in his book on virginity and elsewhere ("The Meaning and Significance of Orthodox Christian Worship, E. I., p. 24). This Great Doxology, which is sung at Sunday and festal vigils, differs somewhat in order from the Doxology which is read at every weekday Matins, and culminates in the singing of the Angelic hymn: "Holy God, Holy Mighty, Holy Immortal, have mercy on us; thrice, then: Glory, both now; and: "Holy Immortal, have mercy on us; and the final closing "Holy God;" once.

After the conclusion of the Great Doxology and the Trisagion, at Sunday vigils the resurrectional troparion is sung. These resurrectional troparia, which were written by Ven. John of Damascus, and are sung following the Great Doxology, are two in number: one for the odd tones of the Ochtoechos, i.e., tones one, three, five, and seven — "Today salvation has come to the world" — and the other for the even tones two, four, six, and eight — "Having risen from the tomb." At vigils for the twelve great feasts the troparion of the feast is sung once, and at vigils for great saints — the troparion of the saint, glory, both now, and the resurrectional theotokion in the tone of the troparion of the saint. On the third Sunday of Great Lent and on the feast of the Exaltation, following the Great Doxology and the Trisagion the troparion of the cross is sung — "Save, O Lord, Thy people" — and the veneration of the cross takes place.

In ancient times, and even today on Mount Athos, the senior priest pronounced the opening exclamation of the Great Doxology — "Glory to Thee, Who hast shown us the light!" — following the All-night Vigil, when he saw that it had already dawned in the east. Then the Christians, before dispersing, would once again confess, in this triumphant hymn, the Divine glory of the Redeemer, beginning it with the praise of the angels who glorified the wondrous birth of the God-child of Bethlehem. This doxology dates from times of the greatest antiquity: it is already mentioned in the Apostolic Constitutions and in the latter of Plinius the Younger to the emperor Trajan. For the sake of greater solemnity it is appointed to be sung in the middle of the temple (see "The Order of Supplicatory Singing").

The Augmented and Supplicatory Litanies

and the Dismissal of Matins.

After the Great Doxology and the troparion which follows it, the Augmented Litany is pronounced, which begins with the petition: "Have mercy on us, O God, according to Thy great mercy we pray Thee, hearken and have mercy!" This litany is immediately followed by the Supplicatory Litany, which begins with the words, "Let us complete our morning prayer unto the Lord!" It concludes, however, not with the same exclamation as at Vespers, but with another: "For Thou art a God of mercy, compassion, and love for mankind, and to Thee do we send up glory…" The priest then bestows "peace unto all." The choir replies, "And to Thy spirit." The deacon calls all to bow their heads, and the priest privately reads the prayer at the bowing of heads, which differs from the prayer which was read at Vespers, and in which we ask God that He, as One Who is good and the Lover of mankind, might forgive us all the ways in which we have sinned voluntarily and involuntarily, and bestow upon us His earthly and spiritual good things. He finishes it aloud with the exclamation: "For thine it is to show mercy and to save us, O our God, and unto Thee do we send up glory…" Then follow the exclamations and prayers which always precede the dismissal. The deacon exclaims, "Wisdom." The choir sings, "Father, bless." The priest exclaims, "He that is is blessed, Christ our God, always, now and ever, and unto the ages of ages." The choir sings, "Amen," then, "Establish, O God, the holy Orthodox faith of Orthodox Christians unto the ages of ages." The priest exclaims, "O Most Holy Theotokos, save us!" to which the choir responds with the doxology of the Most Holy Theotokos: "More honorable than the Cherumbim…" The priest then glorifies the Lord: "Glory to Thee, O Christ God, our hope, glory to Thee." The choir, continuing this doxology, sings: "Glory to the Father, and to the Son, and to the Holy Spirit, both now and ever, and unto the ages of ages. Amen;" it asks mercy of the Lord, thrice singing, "Lord, have mercy;" then, finally, it asks the blessing of the priest to exit the church, singing, "Father, bless." At this the priest gives the blessing, pronouncing the so-called dismissal.

Dismissals may be great or small, usual or festal. At the end of a festal Matins, as at the ends of Vespers and Liturgy, the great dismissal is always pronounced. At the ends of the Hours, Compline, and the Midnight Office the small dismissal is always pronounced. The great feasts of the Lord and the days of Holy Week have their own special festal dismissals. All of these dismissals are located in the Service Book.

The great dismissal always begins with the words, "May Christ our true God, through the prayers of His Most Pure Mother, of the holy and glorious and all-praised apostles…" Further on the saint to whom the temple is dedicated is commemorated, then the saint whose memory is celebrated on the given day. The dismissal then continues: "… of the holy and righteous ancestors of God Joachim and Anna and of all the saints, have mercy on us and save us, for He is good and the Lover of mankind." The choir sings, "Amen," and the Many Years. On Sundays the dismissal begins with the words, "May Christ our true God, Who rose from the dead…" Feasts of the Lord likewise have their own beginning, as indicated in the Service Book. The Small dismissal is pronounced thus: "May Christ our true God, through the intercessions of His most pure Mother, of our holy and God-bearing fathers, and of all the saints, have mercy on us and save us, for He is good and the Lover of mankind." On Sundays, however, the words "…Who rose from the dead…" are added to the beginning.

III. The First Hour and The End of the All-night Vigil

After the dismissal of Matins at the All-night Vigil on Sundays and feast days, according to chapters two, three, four, five, and seven of the Typicon, an exit into the vestibule to the singing of the idiomelon sticheron (that is, the litia sticheron of the temple) is appointed. If the Gospel sticheron has not been sung in its usual place — at Glory following the stichera at the praises —, Glory, both now, and the Gospel sticheron are sung. After this the reading of a catechiticalhomily of Ven. Theodore the Studite is appointed; then, at the completion of the reading, his troparion, "O instructor of Orthodoxy," is sung, after which follows the First Hour.

In present times, particularly in parish temples, this exit into the vestibule does not take place; rather, after the dismissal of Matins the reading of the First Hour is immediately begun inside the temple.

The First Hour begins with the reading of "O come, let us worship God our king," thrice, and consists of three psalms: psalms 5: "Unto my words give ear, O Lord;" 89: "Lord, Thou hast been our refuge;" and 100: "Of mercy and judgment will I sing unto Thee, O Lord." Then Glory, both now is read, followed by the thrice-repeated "Alleluia, alleluia, alleluia, glory to Thee, O God," "Lord have mercy," thrice, and "Glory to the Father, and to the Son, and to the Holy Spirit," after which the resurrectional troparion of the given tone, the troparion of the feast, or the troparion of the saint being celebrated is read. Then, "Both now and ever, and unto the ages of ages. Amen," after which follow the so-called "Theotokion of the Hours" — "What shall we call Thee…" —, "My steps do Thou direct according to Thy saying…," and the Trisagion through Our Father. After the exclamation of the priest, "For Thine is the kingdom," the reader says Amen and reads the kontakion of the Resurrection, of the feast, or of the celebrated saint. Then, "Lord, have mercy," forty times, and the prayer in which every hour usually finishes: "Thou Who at all times and at every hour…" Then, "Lord, have mercy" thrice, "Glory, both now," "More honorable than the Cherubim…," and the reader asks the blessing of the priest, saying: "In the name of the Lord, father, bless." At this the priest pronounces the exclamation: "O God, be gracious unto us and bless us, and cause Thy face to shine upon us, and have mercy on us!" Then, after the "Amen" pronounced by the reader, the priest exits the altar onto the ambon and, turning to face the icon of Christ the Savior, pronounces the prayer: "O Christ the True Light, Who enlightenest and sanctifiest every man that cometh into the world…," which is the closing prayer of the First Hour. During the final words of this prayer, "…through the intercessions of Thy Most Pure Mother…," the priest turns to face the icon of the Theotokos. The choir then sings, according to custom: "To Thee, the Champion Leader, we thy servants dedicate a feast of victory…" The priest now glorifies the Lord anew: "Glory to Thee, O Christ God, our hope, glory to Thee!" The choir sings, "Glory, both now," "Lord, have mercy," thrice, and "Father, bless!" The priest then pronounces the small dismissal. The choir sings, "Amen," then, "Lord, have mercy," thrice. This ends the All-night Vigil.

We are informed "concerning the All-night Vigils which occur throughout the year" in the sixth chapter of the Typicon, which reckons fifty-two Sunday vigils in the year — including all the feasts, sixty-eight vigils in all —, while stipulating that, should the rector so desire, vigils may be served on other days also; it likewise states that on the day of the feast of the temple a vigil invariably "must take place."

The ustav of the All-night Vigil is expounded in a detailed manner in several chapters of the Typicon — in the chapters two and three, for the most part; also in chapters four, five, and fifteen.

The Calendar for the whole year, in which all of the so-called "Markovy chapters" are placed, is set forth in Chapter 48 of the Typicon; the ustav of the Holy Forty-day Fast is found in Chapter 49, and the ustav of the period of Holy Pentecost in Chapter 50. In all uncertain cases, answers should be carefully sought in these chapters.

IV. The Polyeleos Service

On days of so-called "Median" feasts, denoted in liturgical books by the sign of a (cross) cross printed in red type, a service termed "Polyeleos" is performed, rather than the All-night Vigil. In many ways this service is similar to the All-night Vigil, but there are also several essential differences between them, primarily the following:

1. At a polyeleos service Vespers and Matins are not combined together, but are performed separately — Vespers in the evening, on the eve of the feast, and Matins later.

2. Immediately before Vespers the Ninth Hour is read (Small Vespers is not served). Upon the completion of the prayer of the Ninth Hour the curtain is drawn open; the priest goes out and stands before the royal doors and begins Vespers with the exclamation: "Blessed is our God…" and the reader reads: "O come, let us worship…" The opening psalm 103 is then read, and not sung; the opening of the royal doors and the censing do not take place.

3. At "Blessed is the Man," only the first antiphon is sung.

4. At "Lord, I have Cried," six stichera are sung, or eight if desired; all are taken from the Menaion service for the given feast.

5. Stichera are not sung at the litia; the litia and the blessing of bread are not performed.

6. After "Now Lettest Thou Thy Servant" and the Trisagion through "Our Father," the troparion of the saint is sung once, then Glory, both now and the resurrectional theotokion in the tone of the troparion; or, if it be a forefeast or afterfeast, the troparion of the feast is sung instead of the theotokion. Then the deacon exclaims: "Wisdom!" The choir sings: "Father, bless!" The priest: "He that is is blessed, Christ our God…" The choir: "Establish, O God…" The priest: "O Most Holy Theotokos, save us!" followed by the great dismissal of the day (see the Service Book). The choir then sings the Many Years. This type of Vespers is called Great Vespers.

After Vespers, in the evening, Small Compline is performed; then, at night, the Midnight Office.

In the morning Matins, known as Polyeleos Matins, is performed at the appointed time.

The Polyeleos Matins begins, not with the Six Psalms, as at vigil, but with the reading of two so-called "royal psalms" (psalms 19 and 20), troparia, and a special litany (these psalms and troparia are omitted only during the period from Pascha to Ascension), in the following manner:

The priest, tracing a cross with the censer before the altar table, exclaims: "Blessed is our God…" The reader reads the usual opening prayers in their entirety; however, if Matins follows immediately after the Midnight Office, he reads only "O come, let us worship," thrice, and psalms 19 — "The Lord hear thee in the day of affliction…" — and 20 — "O Lord, in Thy strength the king shall be glad…" During the reading of these psalms the priest, exiting through the north doors, performs a full censing of the altar and the whole temple. Then follows the reading of the Trisagion through Our Father; the troparion, "Save, O Lord, Thy people…;" Glory; the kontakion, "O Thou Who wast lifted up willingly…;" Both now; and the theotokion, "O awesome intercession…" The priest enters the altar and, with the censer in his hands, pronounces a special brief augmented litany before the altar. After the exclamation thereof, "For a merciful God art Thou, and the Lover of mankind…," the choir sings: "In the name of the Lord, father, bless!" The priest, tracing a cross with the censer, exclaims: "Glory to the holy, consubstantial, life-creating, and indivisible Trinity, always, now and ever, and unto the ages of ages." The choir sings, "Amen," and the reading of the Six Psalms begins.

Then follows the same order as when Matins which is part of the all-night Vigil; the canon, however, is read with only eight troparia. On days when saints are commemorated this canon is preceded by the canon to the Theotokos, with six troparia including its irmos; on days of a forefeast or afterfeast it is preceded by the canon of the feast, likewise with six troparia including its irmos. The ustav of the polyeleos service is detailed in Chapter 7 of the Typicon.

In the Typicon a polyeleos service is appointed for each of the twelve Apostles, with the exception of St. John the Theologian, for whom a vigil is appointed; a vigil is likewise appointed for the holy first leaders of the Apostles, Peter and Paul. Additionally, according to the Ustav, polyeleos services are appointed for the hierarchs of Moscow Peter, Alexis, Jonah, Phillip, Hermogenes, and Tikhon, on October 5; the Holy Great-martyr Demetrius of Thessalonica, on October 26; the Synaxis of the Holy Archangel Michael, on November 8; the Holy Prophet Elias, on July 20; and also on feasts of the appearance and translation of several wonderworking icons of the Most Holy Theotokos, such as, for example, the appearance of the Tikhon icon, on June 26; the Kazan icon, on July 8 and October 22; the Smolensk Hodigitria, on July 28; the Novgorod Icon of the Sign and the Kursk Root Icon of the Sign, on November 27; and the Vladimir icon, on August 26, June 23, and May 21. Polyeleos services are also appointed for the Holy Equals-to-the-Apostles Constantine and Helen, on May 21, and for two feasts which always fall during Great Lent (the first sometimes on Meatfare Saturday, Meatfare Sunday, or during Cheesefare Week), for which the services are accordingly performed in a somewhat different manner, being combined with the Lenten service according to the directions of the Markovy chapters: these are the feasts of the first and second findings of the head of John the Forerunner, on February 24, and of the Forty Martyrs who suffered in the lake of Sebaste, on March 9.

V. The Doxology Service

On the days of so-called "small" feasts, denoted in liturgical books by the special sign [insert sign] in red, which consists of three dots "not completely encompassed," a service which bears the title of "Doxology" is performed. This title is due to the fact that at Matins on these feasts the great doxology is sung, though there is no polyeleos. The ustav of this service is not always the same: since it comprises something between a festal and a daily weekday service, at some times it bears a greater resemblance to a festal service, and at others it has more of an everyday character. Therefore, on days when a doxology service is appointed, one must consult the directions of the Typicon especially diligently. Thus, for example, at a doxology service daily Vespers usually takes place, at which the usual regular kathisma is read, six stichera are sung at "Lord, I have Cried," and no entry takes place (the canon at Matins is read with six troparia). Sometimes, however, Great Vespers takes place, with an entry and even with Old Testament readings. At doxology Matins, before the great doxology, "Let every breath" is sung with stichera at the praises, which does not occur at daily Matins.

The number of small feasts for which doxology services are appointed is considerable. The majority of these feasts are those of Russian saints. Doxology feasts for non-Russian saints number, in all, about fourteen. Such, for example, are the feast of the Founding of the Holy Temple of the Resurrection of Christ in Jerusalem, on September 13; the Conception of St. John the Baptist, on September 23; the Placing of the Venerable Robe of the Most Holy Theotokos at Blachernae, on July 2; the feast of the Bringing-out of the Venerable Wood of the Life-creating Cross of the Lord ("bringing-out" here means "carrying out," or the procession with the cross which took place in Constantinople), on August 1; the feast of the Translation of the Image Not-made-by-hands, or the Holy Urbus, on August 16; the Placing of the Sash of the Most Holy Theotokos, on August 31; and the Church New Year, on Septeber 1, on which, according to the directions of the Typicon, although it is marked in the Typicon with a polyeleos sign, merely doxology Matins are performed, though Great Vespers are served with an entry and with Old Testament readings.

Doxology Matins is likewise performed on the leave-takings of all twelve great feasts of the Lord and of the Theotokos, as well as on the second day of the Nativity of Christ, December 26; the second day of Theophany, January 7; the second day of Pentecost, Holy Spirit Day; the leave-taking of Pascha; Cheesefare Saturday, when the memory of all the saints who have shown forth by fasting is celebrated; the Saturday of the Akathist in the fifth week of Great Lent; Lazarus Saturday; and Great Saturday, during Holy Week.

At doxology Matins the order of daily Matins is followed from the beginning of Matins until the end of the canon, with the exception of the katavasii at the canon, which are festal. Beginning from the singing of "Let Every Breath," however, the end of Matins follows the same festal order as has been indicated above.

VI. The Six-Stichera Service

On days of so-called "small feasts," denoted in liturgical books by the special sign [insert sign] in black (in contrast to the same sign in red, by which a doxology service is denoted, as we saw above), which consists of three dots "not entirely encompassed," a service is performed which bears the title of "six-stichera," or, in abbreviated form, simply "six-stich." This title stems from the fact that, on the days of these small feasts, six stichera are sung at "Lord, I have Cried" from their service in the Menaion, while at the usual daily Vespers only three stichera are sung to the saint of the day. The second peculiarity of these small feasts is that at the canon at Matins only four troparia are read from the Menaion. Only in these two peculiarities does the six-stichera service differ from the usual weekday service. These small feasts for which six-stichera services are served include, for example, the commemoration of the Holy Righteous Zacharias and Elizabeth, on September 5; the commemoration of the Miracle of the Archangel Michael at Colossae, on September 6; the memory of the Holy Equal-to-the-Apostles Thecla, on September 24; the Holy Prophet Daniel and the three youths, on December 17; the Venerable Paul of Thebes and John Calabytes, the Hut-dweller, on January 15; the Veneration of the Chains of the Holy Apostle Peter, on January 16; and many others.

VII. The Five Ranks of Feast.

Thus, as we have seen, the Typicon distinguishes five ranks of feast in all:

1. Great feasts, denoted by a cross inside a sphere [insert symbol] in red, for which an All-night Vigil is performed.

2. Two ranks of median feasts:

a) those denoted by a cross inside a semicircle [insert symbol] in red, for which an All-night Vigil is performed, and b) those denoted by a cross alone [insert symbol] in red, for which a polyeleos, and not a vigil, is performed.

3. Small feasts, of which there are also two ranks:

a) those denoted by three dots "not entirely encompassed" [insert symbol] in red, for which a doxology service is performed, and

b) those denoted by three dots "not entirely encompassed" [insert symbol] in black, for which a six-stichera service is performed.

VIII. The Daily Vespers.

Daily Vespers are performed on the eves of days on which no great or median feast occurs; it is performed on weekdays as well as on the eves of small feasts of the first, "six-stichera" rank, and in part on the eves of small feasts of the first, "doxology" rank.

The order of the daily Vespers is as follows: it is always preceded by the reading of the Ninth Hour, after which no dismissal occurs; rather, the priest, having drawn open the curtain of the royal doors, exits through the north doors onto the ambon and, following the end of the closing prayer of the Ninth Hour, exclaims:

"Blessed is our God, always, now and ever, and unto the ages of ages."

The reader responds with "Amen," followed by "O come, let us worship…" thrice. He then reads the Opening Psalm 103, during which the priest, standing before the royal doors with bared head, reads the lamp-lighting prayers. Upon the completion of the psalm the deacon, or, if there be no deacon, the priest himself, pronounces the Great Litany there before the royal doors.

After the great litany the regular kathisma is read (the order of the reading is indicated in the beginning of the Psalter). Here it is important to remember that at Vespers no more than one kathisma is ever chanted; at Vespers "on Sunday (that is, on the eve of Monday) no kathisma is never chanted." So also at Vespers on the twelve great feasts: if an All-night Vigil was served on the eve, the regular kathisma at Vespers is omitted. After the kathisma there follows the Small Litany with the exclamation: "For Thine is the dominion…" Then, "Lord, I have Cried" is sung in the tone of the given week with six stichera, three of which are from the Ochtoechos of the given tone and day of the week, and three of which are from the Menaion, for the saint of the day. During the singing of "Lord, I have Cried," the priest customarily performs a censing of the altar and the temple. At the end of the singing of the stichera, Glory, both now is sung, followed by the theotokion, or the stavrotheotokion, if Vespers is performed on the eve of a Wednesday or a Friday. These theotokia are compiled in a special section at the end of the Menaion, under the heading: "The Theotokia of the eight tones, sung when there is a doxasticon for the saint in the Menaion." When there is a sticheron at "Glory" in the Menaion for the saint, the theotokion at "Both now" is sung in the same tone, i.e., in the tone of the Glory.

"O Gentle Light" is read, and at the reading thereof neither are the royal doors opened, nor does an entry with the censer occur. Then, before the royal doors, the priest pronounces the prokeimenon of the day, which is indicated for each day of the week in the Service Book and in the Horologion. After the prokeimenon, "Vouchsafe, O Lord" is read. Up until the prayer "Vouchsafe, O Lord," the prayers of Vespers were somewhat concerned with the end of the past day. From the prayer "Vouchsafe, O Lord," however, they already pertain to the coming day. Therefore, during fasts, following "Vouchsafe, O Lord," prostrations cease, if the next day is a festal one, and conversely prostrations are begun, if the next day begins a fast. Then follows the Supplicatory Litany, "Let us complete our evening prayer unto the Lord…," with its closing exclamation: "For a good God art Thou, and the Lover of mankind…" Then the priest bestows "Peace unto all;" the choir responds: "And to Thy spirit;" the deacon says: "Let us bow our heads unto the Lord;" and the priest silently reads the Prayer at the Bowing of Heads, concluding it aloud with the exclamation: "Blessed and most glorified be the dominion of Thy kingdom…"

The Stichera at the Aposticha are then sung from the Ochtoechos with the refrains indicated in the Horologion. If it be a forefeast or an afterfeast, the stichera of the forefeast or afterfeast are sung from the Menaion. Then Glory, and the sticheron from the Menaion, if there be any; Both now, and the theotokion, or the stavrotheotokion, on the eves of Wednesdays and Fridays, or the sticheron of the forefeast or afterfeast from the Menaion.

"Now Lettest Thou Thy Servant" is then read, followed by the Trisagion through "Our Father," after which the priest exclaims: "For Thine is the kingdom…" The Troparion is then sung, followed by Glory, Both now, and the theotokion, or, on a day of an afterfeast, the troparion of the feast.

Then follows the augmented litany, "Have mercy on us, O God…," which concludes with the exclamation of the priest: "For a merciful God art Thou…"

The deacon exclaims, "Wisdom!" at which the choir sings, "Father, bless!" and the priest exclaims, "He that is is blessed, Christ our God…" The choir sings, "Amen," then, "Establish, O God, the holy Orthodox faith…" The priest exclaims, "O Most Holy Theotokos, save us!" which is followed by the great dismissal. After the dismissal of daily Vespers, just as after the dismissal of Small and Great Vespers, the many years is sung.

IX. Small Compline.

After daily Vespers, just as after Great Vespers when no All-night Vigil is appointed, Small Compline is performed (in monasteries it usually takes place after the evening meal, before going to sleep, and is combined with the reading of the prayers before sleep). Small Compline is served almost throughout the year; however, on weekdays during Great Lent, excepting Wednesday and Friday of the fifth week, and on Tuesday and Thursday of Cheesefare Week, Great Compline is performed instead of Small Compline. The order of Small Compline is as follows:

"Blessed is our God…"

"Glory to Thee, our God, glory to Thee."

O Heavenly King.

The Trisagion through "Our Father."

"Lord, have mercy" twelve times.

Glory, both now.

O come, let us worship, thrice.

Psalm 50: "Have mercy on me, O God, according to Thy great mercy…"

Psalm 69: "O God, be attentive unto helping me…"

Psalm 142: "O Lord, hear my prayer, attend unto my supplication…"

"Glory to God in the highest…" — the doxology which occurs at weekday Matins.

The Symbol of Faith: "I believe in one God, the Father Almighty…"

The canon to the Most Holy Theotokos from the Ochtoechos (see the Typicon, Ch. 9).

"It is truly meet..."

The Trisagion through "Our Father…"

The troparion of the saint of the day, of the temple, or of the forefeast.

The troparia, "O God of our fathers…," and, "Adorned in the blood of Thy martyrs…"

Glory: "With the saints give rest…"

Both now: "Through the intercessions, O Lord, of all the saints…"

"Lord, have mercy," forty times.

The prayer, "Thou Who at all times and at every hour…"

"Lord, have mercy," thrice; Glory, both now; "More honorable than the Cherubim…"

"In the name of the Lord, father, bless!"

The exclamation of the priest: "Through the prayers of our holy fathers, O Lord Jesus Christ our God, have mercy on us!"

The prayer, "O undefiled, untainted…"

The prayer, "And grant unto us, O Master, in the coming of sleep…"

"Most glorious Ever-Virgin…"

"My hope is the Father, my refuge is the Son…"

"Glory to Thee, O Christ God, our hope, glory to Thee!"

Glory, both now; "Lord, have mercy," thrice; "Father, bless!"

The small dismissal.

The usual asking of forgiveness and the special litany of Compline.

The significance of Compline is described in the so-called "Instructional Information" found at the end of the Service Book. There the following is written: "At Compline, and while reading the prayers on approaching sleep, let the priest piously meditate on how the most holy soul of the Savior, united with divinity, having descended into hades, all-powerfully bound the prince of darkness, took captive his kingdom and delivered from suffering the spirits of all the righteous who from the ages dwelt there, led them out with Him, and caused them to dwell in paradise until His glorious Ascension. Therefore, thanking Him for all these kindnesses which He gave to the human race by His saving suffering and life-giving death, let him sincerely pray that by them He may cleanse his sins as well, deliver him from eternal punishment, and make him worthy of His kingdom. Let him sincerely pray to the most holy Theotokos, Who was a participant in the suffering and death of Her Son and, having seen all this, cosuffered that in this life She might be a mediatress and a helper in all virtues, and in the day of separation from the body deliver his soul from all diabolical phantoms by Her powerful mediation, and cause him to dwell in the kingdom of Her Son." Compline, as we see, is compiled in accordance with these thoughts.

On days of the fourefeast of the Nativity of Christ, from December 20 to 24, as well as those of the forefeast of Theophany, from January 2 to 5, the canon to the Theotokos at Compline is replaced by special triodes and canons from the Menaion. Likewise on August 5, if it falls on a Sunday. On days of the afterfeasts of the Nativity of Christ and of Theophany, Compline has no canon whatsoever. At Compline during Holy Week special triodes are likewise appointed, from the Lenten Triodion. On the day of Pentecost, instead of the canon to the Theotokos, a special canon to the Holy Spirit is sung from the Pentecostarion. From the Sunday of St. Thomas until the Saturday before Pentecost, one of the triodes from the Pentecostarion (all of which are printed at the end of the Menaion in order) is also joined to the canon of the Most Holy Theotokos at Compline, and "where we read a triode, that ode to the Theotokos in the canon is omitted." In some instances not only is a canon appointed to be read at Compline, but stichera as well.

After the dismissal at the end of Compline the so-called "usual asking of forgiveness" takes place, which consists of the serving priest making a prostration to the ground, asking forgiveness of all those standing in the temple with the words: "Bless, holy fathers and brethren, and forgive me, a sinner, all wherein I have sinned this day in deed, word, and thought, and in all my senses." Then, having arisen, he blesses, saying: "Through His grace may God forgive and have mercy on us all." After this a special litany with brief petitions is said.

X. The Midnight Office.

At midnight, or at night in general, before the beginning of Matins, a service called the "Midnight Office" is appointed to be performed. There are three types of Midnight Office: daily — which is performed on weekdays Monday through Friday —, Saturday, and Sunday. The daily and Saturday Midnight Offices are more prolonged and consist of two parts each; the Sunday Midnight Office consists of but one part. The order of the Midnight Office is as follows:

Daily	Saturday	Sunday
	Blessed is our God…
	The usual opening prayers
	Psalm 50: *"Have mercy on me, O God…"*
The Seventeenth Kathisma: "Blessed are the blameless…"	The Ninth Kathisma: "To Thee is due…"	The Canon of the tone to the Most Holy Trinity, from the Ochtoechos
The Symbol of Faith	The Symbol of Faith	The Trinitarian Troparia; "It is truly meet…"
	The Trisagion through "Our Father"
The troparion: *"Behold, the Bridegroom…"*	The troparion: *"O Thou Who art by nature…""*	The resurrectional hypakoe of the tone
Glory: "Meditating on that terrible day…"	Glory: "Imitating on earth…"
Both now: "Thee, the unassailable wall…"	Both now: "From bed and sleep…" "Lord, have mercy," 40 times
"Thou Who at all times…"	"Thou Who at all times…"
"Lord, have mercy," thrice
"Glory, both now"
"More honorable than the Cherubim…"
"In the name of the Lord, father, bless."
"O God, be gracious unto us and bless us…"
The prayer: "O Master, God, the Father Almighty…"

At the Sunday Midnight Office the prayer, "O omnipotent and life-creating Holy Trinity…," the small dismissal, and the usual asking of forgiveness take place.

The second part of the Midnight Office then follows (on weekdays and Saturdays), which consists of psalms 12, "I have lifted up mine eyes to the mountains…," and 133, "Behold now, bless ye…;" the Trisagion through "Our Father;" troparia for the departed; and the prayer for the departed: "Remember, O Lord…"

All three forms of the Midnight Office finish with the small dismissal, the usual asking of forgiveness, and a special litany, the same as that which occurs at the end of Compline. According to the Athonite rule, at the end of the daily and Saturday Midnight Office the following troparia are sung: "Have mercy on us, O Lord, have mercy on us!" Glory: "Lord, have mercy on us…;" Both now: "The doors of compassion open unto us…," and a litia is said that consists of two petitions: "Have mercy on us, O God, according to Thy great mercy…," at which "Lord, have mercy" is sung thrice, and "Again we pray that this sacred monastery and this city may be preserved…," at which "Lord, have merc," is sung forty times, after which follows the exclamation, "Hearken unto us, O God our Savior…" then, "Glory to Thee, O Christ God, our hope…" and the dismissal with the usual asking of forgiveness.

The purpose of the Midnight Office, according to the explanation of the "Instructional Information," is 1) to remind the faithful of how our Lord, going to His voluntary sufferings at Midnight in the Garden, was praying so fervently during this struggle that His sweat became like drops of blood which dripped upon the ground; 2) to arouse the faithful to be always ready for the day of the Last and Terrible Judgment, which may arrive, like the bridegroom, at midnight; and 3) to teach the faithful to imitate the vigil of the Angels, who unsleepingly sing, "Holy, holy, holy!"

From the middle of Holy Week until Thomas Sunday the ustav directs that in monasteries the Midnight Office be served, not in the temple, but in individual cells.

On feast days such as September 9, December 26, January 7, Monday of the Holy Spirit, and the leave-taking of Pascha, it is indicated that, following the first Trisagion, instead of "Behold, the Bridegroom cometh at midnight," the troparion of the feast should be sung, and following the second Trisagion, in place of the troparia for the departed, the kontakion of the feast. At this time the prayer for the departed, "Remember, O Lord, our fathers and brethren…," is not said (see the order for these days in the Typicon).

XI. Daily Matins.

By ustav the daily Matins usually follow immediately after the Midnight Office. The priest draws open the curtain of the royal doors, takes the censer in his hands, and standing before the altar traces a cross with the censer, exclaiming: "Blessed is our God, always, now and ever, and unto the ages of ages!" The reader responds, "Amen," and reads "O come, let us worship…" thrice. He then reads the two so-called "royal psalms," which contain prayers for the Tsar: Psalm 19, "The Lord hear thee in the day of affliction…;" and Psalm 20, "O Lord, in Thy strength the king shall be glad…" These are followed by "Glory, both now," the Trisagion through "Our Father," the exclamation of the priest: "For Thine is the kingdom…," the troparion: "Save, O Lord, Thy people…," Glory, the kontakion: "O Thou Who was lifted up willingly on the Cross…," Both now, and the theotokion: "O awesome intercession…" During this time the priest performs a complete censing of the whole temple, beginning with the altar, concerning which the ustav notes: "The reader and the priest should be attentive, so that when the priest must say, "For Thine is the kingdom…," he should be in the center of the temple" (Typicon, Ch. 9). Towards the end of the reading the priest enters the altar by the south doors and, standing before the altar, pronounces a special brief augmented litany, consisting of only three petitions, with the exclamation, "For a merciful God art Thou…" The choir sings, "Amen. In the name of the Lord, father, bless!" The priest, tracing a cross with the censer before the holy table, exclaims: "Glory to the holy, consubstantial, life-creating, and indivisible Trinity, always, now and ever, and unto the ages of ages." The choir sings, "Amen," and the reader begins the reading of the Six Psalms in the center of the church, during which time the priest silently reads the Morning Prayers. The great litany then follows. Then, "God is the Lord, and hath appeared unto us" (in the tone of the troparion) is sung four times, and the troparion is sung to the saint of the day. The troparion is sung twice, then Glory, both now, and the theotokion from the so-called "lesser theotokia" (not from the resurrectional Theotokia sung at vigils and polyeleos feasts), which are found in a special section, with divisions by tone and day of the week, at the end of the Menaion and the Psalter with Appendix, under the heading: "The dismissal theotokia following troparia of saints, sung throughout the whole year, at Vespers, at Matins at "God is the Lord," and again at the end of Matins" (Typ. Ch. 57). If there are troparia to two saints in the Menaion, the troparion to the first saint is sung twice, then at "Glory" the troparion to the other saint, once, and at "Both now" the theotokion in the tone of the second troparion. After the theotokion follows the reading of the kathismata: from Thomas Sunday until the leave-taking of the feast of the Exaltation of the Cross of the Lord (the summer period), two kathismata are chanted at Matins; from the leave-taking of the Exaltation of the Cross of the Lord until the Sunday of the Prodigal Son (the winter period), three kathismata are read at Matins, excepting the periods of the feasts of Nativity and Theophany, from December 20 until January 14, when, due to the feasts, only two kathismata are read, as in the summer. During the two preparatory weeks before Great Lent — Meetfare and Cheesefare — two kathismata are likewise read, "to give some little respite to the brethren" before the beginning of Great Lent, when a completely separate ustav for the Psalter is appointed, and three kathismata are again read at Matins. There is likewise an entirely separate ustav for the reading of the Psater during the fifth week of Great Lent and during Holy Week.

At daily Matins, when it is neither a Saturday nor during a forefeast or afterfeast, the small litany is not pronounced after every kathisma; rather, after each completed kathisma there immediately follows the sedalion from the Ochtoechos. If it be Saturday, the small litanies are pronounced; if during a forefeast or afterfeast, then the sedalia from the Menaion are read; the small litany is pronounced before them. After the end of the last kathisma and sedalion, Psalm 50 — "Have mercy on me, O God, according to Thy great mercy" — is read, and following the reading thereof, if it be a normal time of year, and not Great Lent, the canon immediately begins, which consists of the following individual canons united together:

1. On Monday, the canon of compunction to the Lord Jesus Christ from the Ochtoechos, the canon to the bodiless hosts, and the canon from the Menaion to the saint of the day.

2. On Tuesday, the penitential canon to the Lord Jesus Christ, the canon to the holy great prophet John the Forerunner, and the canon from the Menaion to the saint of the day.

3. On Wednesday, the canon to the Precious and Life-giving Cross, the canon to the Most Holy Theotokos, and the canon from the Menaion to the saint of the day.

4. On Thursday, the canon to the holy Apostles, the canon to St. Nicholas the Wonderworker, and the canon from the Menaion to the saint of the day.

5. On Friday, the canon to the Precious and Life-giving Cross of the Lord, the canon to the Most Holy Theotokos, and the canon from the Menaion to the saint of the day.

The service on Saturday has its own particular ustav: one when "God is the Lord" is sung at Matins on Saturday, and another when "Alleluia" is sung. The canons on a Saturday when "God is the Lord" is sung are usually sung in the following manner:

If the temple is dedicated to Christ or to the Theotokos:

1. The canon of the temple of Christ or of the Theotokos, with six troparia including its irmos;

2. the canon to the saint from the Menaion, with four; and

3. the canon to the martyrs from the Ochtoechos, with four.

If the temple be dedicated to a saint:

1. The canon to the saint from the Menaion, which always leads on Saturday, with six troparia including its irmos;

2. the canon to the saint of the temple, with four; and

3. the first canon from the Ochtoechos, to the martyrs, with four (the second canon, for the departed, is sung at Compline).

In the Typicon there is a special eleventh chapter, "Concerning the canons at Matins for the whole week," in which is indicated how to combine canons from the Ochtoechos with the Menaion. For each ode no more than fourteen, and sometimes twelve, troparia from all the canons together are appointed.

When a six-stichera saint does not occur on weekdays (but not on Saturdays), both canons from the Ochtoechos are sung, without any omissions of their troparia: the first canon from the Ochtoechos is sung with six, the second with four, and the canon to the saint from the Menaion with four. If a six-stichera saint or a saint with a doxology occurs, two troparia are omitted in the canons of the Ochtoechos, usually the martyrica, when there are any. If two saints occur on Monday, Tuesday, or Thursday, the second canon of the Ochtoechos is not sung at all; on Wednesday and Friday both canons from the Ochtoechos are sung without the martyrica. On the days of the forefeast, afterfeast, or leave-taking of a feast, the canons of the Ochtoechos are entirely omitted, and in their stead the canons of the forefeast or the feast are sung, or, during the period from Thomas Sunday until the Sunday of All Saints, the canons of the Pentecostarion.

On Saturday the canon of the temple of a saint is not sung, if there be a commemoration of two saints. We then sing canons to the first saint, with six including its irmos; to the second saint, with four; and to the martyrs, from the Ochtoechos, with four. The canon of the temple saint is likewise not sung when there is a commemoration of a saint with a doxology, polyeleos, or vigil: then, in place of the canon to the temple saint, the canon to the Theotokos is sung. However, in these instances, the canon of a temple dedicated to the Lord or to the Most Holy Theotokos is not omitted.

At daily Matins, unlike on feasts, not every ode of the canon is concluded by a katavasia; rather, instead of katavasii, the third, sixth, eighth, and ninth odes are closed by the singing of the irmos of the last of the canons which are appointed to be sung on the given day.

The third ode of the canon and the small litany are followed by the sedalion from the Menaion, Glory, both now, and its theotokion. The sixth ode and the litany are followed by the kontakion and ikos, if there be such; if not, the kontakion is taken from the general Menaion. After the eigtht ode, "The Theotokos and the Mother of the Light let us magnify in song" is exclaimed, and "More Honorable" is sung, except for those days when the singing thereof is suspended by ustav.

After the ninth ode at daily Matins, "It is Truly Meet" is usually sung, and a prostration is made to the ground (except on Saturday), after which follows the small litany. Then follows the photagogicon, the ustav for which is found in Chapter 16 of the Typicon. At daily Matins the photagogicon of the Ochtoechos is read according to the day of the week; then Glory, both now, and its theotokion. If there is a photagogicon to the saint in the Menaion, it is read at "Glory" following the daily photagogicon of the Ochotechos; then "Both now" is read, and the theotokion of the former, or, if it be Wednesday or Friday, then the stavrotheotokion from the Ochtoechos. On Saturday, however, first the photagogicon of the Menaion is read, then "Glory," the photagogicon of the Ochtoechos, "Both now," and its theotokion. On days of a forefeast or an afterfeast, the photagogicon of the saint is read, then "Glory, both now," and the photagogicon of the forefeast or afterfeast. "The Daily Photagogica for the Whole Week" are located at the end of the Ochtoechos.

After the photagogica follows the reading of the Psalms of Praise: "Praise the Lord from the heavens" — Psalm 148 —, "Sing unto the Lord" — Psalm 149 —, and "Praise ye God" — Psalm 150. At daily Matins, for the most part, there are no stichera at the praises. At the end of the reading of the psalms the priest exclaims: "To Thee glory is due, O Lord our God, and to Thee do we send up glory: to the Father, and to the Son, and to the Holy Spirit, now and ever, and unto the ages of ages." The reader says, "Amen." The priest then pronounces, "Glory to Thee Who hast shown us the light," and the doxology beginning with the words "Glory to God in the highest…" is read, which differs somewhat from the "Great Doxology" which is sung at festal Matins. Then, following the doxology, the Supplicatory Litany, "Let us complete our morning prayer unto the Lord," is pronounced with the usual exclamation following it, as at festal Matins, after which the stichera at the aposticha are sung with the refrains indicated in the Horologion (which are the same for every day). These stichera, in which the martyrs or the sufferings of the Lord upon the Cross are usually glorified, are found for each day in the Ochtoechos in place. They finish with "Glory, both now," and the theotokion or stavrotheotokion. Then, "It is good to give praise unto the Lord" and the Trisagion through "Our Father" are read. Following the exclamation the troparion is sung; then Glory, both now, and the theotokion (or the troparion of the forefeast or feast) or stavrotheotokion. Then the augmented litany is said — "Have mercy on us, O God, according to Thy great mercy" —, with its usual exclamation: "For a merciful God art Thou…" Then the exclamation: "Wisdom!" The choir: "Father, bless!" The priest: "He that is is blessed, Christ our God…" The choir: "Amen. Establish, O God, the holy Orthodox faith…" Then, without the Matins dismissal, the First Hour is immediately read, at the end of which the great dismissal is pronounced.

XII. The Hours and the Typica.

Numbered among the daily services are also the First, Third, Sixth, and Ninth Hours, performed by ustav, of which the First Hour, which is always combined with Matins, and the Ninth Hour, which nearly always precedes Vespers, we have already discussed. Each of these "Hours" is performed in memory of certain events which are salvific for us.

This is discussed in detail in the "Instructional Information" located at the end of the Service Book. The First Hour, which corresponds by our reckoning to the seventh hour of the morning, recalls how the Lord Jesus Christ was led into the praetor from Caiaphas to Pilate, "like an evil-doer, the Benefactor bound, and how there the Judge of all the world was slandered by the lawless high priests and elders of the Jews, and by an unjust judge was condemned." The First Hour, Prof. M. Skaballanovich believes, was established in Palestinian monasteries in the fourth century.

During the performance of the Third Hour, which corresponds to the ninth hour of the morning by our reckoning, we recall how the Savior was judged by Pilate, there enduring countless mockeries, blows, beatings, and being crowned with a crown of thorns. Together with this, that which took place at this hour, as witnessed to in the Book of Acts, is also recalled: the great descent of the Holy Spirit upon the Apostles. In accordance with this, corresponding psalms were selected: Psalm 16: "Hearken, O Lord, unto my righteousness…;" Psalm 24: "Unto Thee, O Lord, have I lifted up my soul…;" and Psalm 50: "Have mercy on me, O God, according to Thy great mercy…" In them, together with the prayer that the Lord might teach us to walk in His footsteps, the path of suffering of the earthly life of the Savior amidst enemies, His crying out in prayer, and the guilt of men before God and repentance of sins are depicted, along with a prayer for the sending down to us of the Holy Spirit. In ancient Horologia, beginning with the well-known Horologion of the Sinai library from the eighth century, troparia are indicated together with the psalms we have today (see the "Typicon with Commentary," p. 9, M. Skaballanovich, third edition, Kiev, 1915).

At the performance of the Sixth Hour, which corresponds to the twelfth hour of the day by our reckoning, we recall the things which took place at that hour: the crucifixion of the Lord on the Cross between two thieves, the mockery of the soldiers and of those who passed by the suffering Lord, and the darkness which then covered the earth. The psalms are appointed accordingly: psalms 53: "O God, in Thy name save me…;" 54: "Give era, O God, unto my prayer…;" and 90: "He that dwelleth in the help of the Most High…" In them prayer is offered up unto the Lord with hope in His aid, and the betrayal of Judas, the hatred of the Jews who sought the death of the Lord, and the sufferings of the Savior, both spiritual and bodily, are prophetically depicted; the darkness which covered the earth from the sixth until the ninth hour is depicted; then the gladness of men who turn to God for help is portrayed. In ancient handwritten Horologia the psalms of the Sixth Hour are the same as they are today, as indicated above regarding the Third Hour.

At the performance of the Ninth Hour we recall the death of the Savior on the Cross, the earthquake, the arising of the dead from the graves, and the piercing of the side of the Lord with a spear. Correspondingly, the following psalms are read: 83, "How beloved are Thy dwellings…;" 84, "Thou hast been gracious, O Lord, unto Thy land…;" and 85, "Bow down Thine ear, O Lord, and hearken unto me…" In them the dwellings of the Lord of hosts and a burning desire to enter into them are depicted; the prophecy of the Lord’s redemption of men is expounded; and the Lord’s descent into Hades is portrayed. The history of the origins of the Ninth hour is the same as that of the First, Third, and Sixth Hours; it is ascribed by a series of church writers to the third century and the years that followed, which may also be observed in surviving literary monuments.

All four of these hours are compiled according to one and the same scheme: first there are three psalms, which conclude with a thrice-repeated "Alleluia, alleluia, alleluia, glory to Thee, O God;" then the troparion of the Hour, which is used only during Great Lent: in its stead the troparion of the feast or of the saint of the day is usually read. Then, at "both now," the theotokion of the hours, the Trisagion through "Our Father," and special troparia, which are likewise read only during Great Lent, usually being replaced by the kontakion of the feast or of the saint of the day. Then, "Lord, have mercy" forty times, and the closing prayer common to all the Hours, Compline, and the Midnight Office: "Thou Who at all times and at every hour…" Then again the thrice-repeated "Lord, have mercy," "More honorable than the Cherubim…," "In the name of the Lord, father, bless," and the exclamation of the priest: "O God, be gracious unto us…," or, "Through the prayers of our holy fathers…" At the conclusion of every hour a special closing prayer, peculiar to the given hour, is read. The First Hour is almost always combined with Matins; the Third and Sixth Hours, combined together, are read before Liturgy; and the Ninth Hour, with which the day ends, is read before Vespers.

There is another order for the reading of the Hours which also occurs at times. Three times a year the reading of the so-called Royal Hours takes place: on Great Friday, on the Eve of the Nativity of Christ, and on the Eve of Theophany (or on the Friday before these feasts, if the eve falls on a Saturday or a Sunday). The Royal Hours are peculiar in that two of the three psalms of each are special and of prophetic content; special forefestal stichera are sung following the theotokion at every hour; a prokeimenon is pronounced; Old Testament readings, the Apostle, and the Gospel are read; and all the Hours, the First, Third, Sixth, and Ninth, are read one after the other, creating a single service together with the Typica that follows.

During Great Lent, and in all cases when Vespers is combined with Liturgy, the Third, Sixth, and Ninth Hours follow one after the other, after which the Typica is read (see below).

Every Hour is followed by a special order which, in a way, comprises its continuation, and is called the "Inter-hour" or "After-hour." Each inter-hour, like each Hour, consists of the reading of the opening prayers, three psalms, the Trisagion through "Our Father," troparia, "Lord, have mercy," forty times, "More honorable than the Cherubim…," the exclamation of the priest, and the closing prayer: only the prayer "Thou Who at all times" is absent. The prayers of the inter-hour are found in the Supplemented Psalter and the Priestly Prayer Book. By ustav the inter-hour is performed only on weekdays. The inter-hour is suspended during the period of the celebration of the Nativity of Christ and Theophany from December 20 through January 14, during Meetfare and Cheesefare weeks, throughout all of Holy and Bright weeks, and during the week following the feast of Pentecost. In present times, nearly everywhere the inter-hour has fallen out of usage.

On days when, by ustav, the Liturgy is combined with Vespers, as well as on days when the Liturgy, for one reason or another, is not performed at all, a special order occurs which bears the name of "Typica," or "Obyednitsi." If the order of the Typica occurs instead of Liturgy outside of a fast, it is performed immediately after the service of the Sixth Hour; during a fast, however, the order of the Typica is performed after the Ninth Hour.

The Typica begins with two psalms, usually included in the structure of the first part of the Liturgy: Psalm 102, "Bless the Lord, O my soul…," and Psalm 145, "Praise the Lord, O my soul…" Then, as at the liturgy, a hymn is sung which glorifies the incarnate Lord: "O Only-begotten Son and Word of God…," then the Commandments of Beatitude, after which, if the Typica be performed in place of the Liturgy, the Apostle and the Gospel are read. Then, after the thrice-repeated "Remember us, O Lord…," the Angelic doxology is offered up to the Triune God: "Holy, holy, holy;" the Symbol of Faith is read (though it is omitted if the full Liturgy is to follow), and the prayer, "Remit, pardon…" Then, "Our Father," the kontakion by ustav, "Lord, have mercy" forty times, "Glory, both now," "More honorable than the Cherubim…," the exclamation of the priest, the prayer, "O All-holy Trinity…," and the dismissal, if the Liturgy is to follow. If there is to be no Liturgy, then follow "Blessed be the name of the Lord…," the reading of Psalm 33, "I will bless the Lord at all times…," "It is truly meet…," and the dismissal.

During Great Lent the two psalms 102 and 145 and "O Only-begotten Son" are omitted, and the Typica begins immediately with the singing of the Commandments of Beatitude; after each commandment of Beatitude is sung the refrain: "Remember us, O Lord, when Thou comest into Thy kingdom."

XIII. The Cycle of Daily Worship.

In the cycle of daily worship, the following nine services are included: 1) the Ninth Hour, 2) Vespers, 3) Small Compline (or, during Great Lent, Great Compline), 4) the Midnight Office, 5) Matins, 6) the First Hour, 7) the Third Hour, 8) the Sixth Hour, and 9) the Divine Liturgy, which is sometimes replaced with the Typica. On the eves of great feasts the All-night Vigil takes place, which consists of Vespers, Matins, and the First Hour, or, as we shall see, of Great Compline and Matins.

XIV. The Saturday Service.

The Saturday service has its own peculiarities which distinguish it from the services of the other days of the week. The ustav of the Saturday service is described i