The article deals with the iconography of the Easter holiday in Russia, specifically the image of “The Resurrection with the Descent into Hell”, common to the Russian art of the 17th—18th centuries. This image arises as a result of copying Western European engravings by Russian icon painters. The engravings illustrate the Apostles’ Creed — its fifth formula, which is different from the Orthodox one. In the Orthodox Creed, the fifth formula is called the Resurrection on the Third Day, in the Apostolic one — the Descent into Hell and the Resurrection. The Apostolic Creed is included in the Protestant Bibles, which turn out to be a source of new plots and compositions for Russian painters.In the process of its existence in Russian art, the new image of “The Resurrection with the Descent into Hell” is filled with additional plots, but most importantly, its main compositional scheme changes.The two main plots that make it up — the Descent into Hell and the Resurrection — are located on the icon field in different ways, depending on the interpretation of the painters or in strict accordance with the engraving model. Based on the location of the plots that make up the icon, there are distinguished compositional variants with either sequential or vertical arrangement of the plots. Within the first variant, there may be some subgroups: “The Descent into Hell” (whose topos is the underworld) is located below “The Resurrection” (whose topos is earthly space). We see that the iconographers correlate “The Descent into Hell” with the image of “Anastasis” (the Orthodox icon of the Resurrection). This follows from the way the location of the plots changed, when on older monuments — in contradiction with the composition of the engravings — “The Resurrection” had been located below.The most famous in Russian art is the vertical compositional version. The two plots are located strictly above each other, forming the central axis of the entire iconographic work, around which other storylines are added. In accordance with the Western European engravings, “The Resurrection” is located here in the upper register. These various modifications must be taken into consideration in order to understand both the genesis and the main content of the new iconography.

English Abstract: The talk was devoted to the queen of flowers - the rose, universally accepted as the most beautiful flower on the planet and cherished by Britons as their local symbol. To begin with, a definition of an elegy was proposed, supported by the quotes of famous modern literary critics. Then, a glimpse through botanical lenses was ensued with images of English historical relevance. Last but not least, an excursus into Shakespearian poetry uplifted the spirits of the audience. A jewel on the crown was the list of the antique books of different provenances.

В статье исследуются изображения духового музыкального инструмента, в который трубят ангелы; подобные изображения появляются в христианском искусстве с XI века. Это труба характерной формы, слегка изогнутая, с очень небольшим раструбом, она может быть как сравнительно небольшой, так и довольно значительного размера, бывает украшена резьбой или же инкрустацией. Сопоставление изображений позволяет сделать вывод, что перед нами шофар — особый библейский инструмент, труба, изготовленная из рога парнокопытных животных (диких и домашних баранов, козлов, антилоп). Шофары описаны в видениях ветхозаветных пророков и имеют огромное значение в библейской культуре. В христианском искусстве Западной Европы и Византии с XI столетия появляются произведения — фрески, барельефы, мозаики, иконы, миниатюры, — в которых шофары изображаются весьма правдоподобно. После XV века в западноевропейском искусстве значение шофара перестает осознаваться, вместо них начинают изображаться просто медные трубы, с характерным широким раструбом и бликами на металле. Понимание значения шофара объясняет роль духовых инструментов в иконографии христианских сюжетов, а также появление в искусстве эпохи Возрождения образов музицирующих ангелов. The article investigates a special music instrument of angels. This image is first reflected in the Christian art of the XI–XV centuries and is depicted as a Biblical instrument called a shofar, a pipe made from a ram’s horn. The pipe has a distinctive shape, slightly curved; with a small bell-mouth. The instrument varies in size and can be decorated with carvings or incrustations. Shofar is an instrument that was used only for ritual purposes and, being of great importance in the Biblical culture, is described in the visions of the Old Testament prophets. Besides the End of Time, shofar is also symbolically connected with the beginning of the Jubilee year, the holy time, proclaimed by the sounds of shofar. In Christian Art of Western Europe, beginning from XI century, one can see frescoes, mosaic, icons, miniatures, bas-relieves that depict shofar quite credibly. In the miniatures of the Western European manuscripts, one can often see two angels positioned differently: one blowing his horn over the condemned sinners, while the other — over the resurrecting righteous men. It would be right to state that the popularity of shofar in the Western European art fades away after XV century, it being replaced by simple copper pipes with wide openings and metallic glitter. Understanding of the symbolical meaning of the shofar, however, sheds some light onto the significance of these instruments in the scenes of the end of the world.

The article deals with the study of the development of the new iconography "Resurrection with the Descent into Hell", which appeared in Russian art in the 16th century. Variants of new iconography are considered on the examples of certain monuments. Iconographic types are distinguished by the arrangement of the two main plots, sequential or vertical. At the same time, in the first iconographic type, it is possible to see either a literal adherence to the Dutch engraving, or a rethinking: the placement of the image "Resurrection" below, under the main stage.The influence of the Old Believers' work "The Passion of Christ" on the iconography "Resurrection with the Descent into Hell" is investigated. This influence is evident not only in the new storylines that become commonplace for the new image. This can be seen both in the text on the icon and in the stamps of monuments. Examples of citing the text are given. Certain iconographic features associated with this influence are noted.

Investigates the breach of tradition in Easter iconography, which happened in 18th century Russia. The author examines a new type of iconography that appeared in Russia at that time and reveals its clear linkage with the engravings of the Protestant Piscator Bible and the series of illustrations to the Apostles’ Creed.

A variety of streak/framing/synchroscan image tubes are now under design and manufacturing in the Department of Photoelectronics, General Physics Institute. Among them are: a series of the well-known PV001 image tubes introduced into wide practice since 1978, a set of more advanced PIF001 tubes originally designed in 1979, specially developed femtosecond streak tubes of BSV-type, which were initially proposed in 1987, and finally a number of PF-type tubes placed in service last year. The whole set of these image tubes may cover the spectral range from 115 nm up to 1.55 micrometers , providing maximum sensitivity of 0.5 (mu) A/W at 1.55 micrometers (S1/IR) and up to 3 mA/W at 900 nm (S25/ER). Various input photocathode windows may be used: fiber-optics or borosilicate substrates which blue transparency starts at 350 nm. UV-glass windows (> 200 nm), MgF2 input window (> 115 nm). All tubes with photocathode- accelerating mesh geometry have photocathode area of 6 mm in diameter, while the tubes in non-mesh configuration (PV and PF0 have a rectangular photocathode area of not less than 4 mm by 18 mm. The described tubes may be supplied with any type of phosphor screen (red, orange, blue, green) deposited onto fiber-optics faceplate.