Galician Volyn Chronicle. The image of the Russian land in the Galician-Volyn chronicle The Tale of the Devastation of Kyiv by Batu

The Galicia-Volyn chronicle was created in the 13th century. and has come down to us as part of the Ipatiev Chronicle of the 15th century. In the center of the story is the figure of Grand Duke Daniel Romanovich of Galicia - both an epic and romantic image of an ancient Russian prince, courageous, wise, warlike and just. (See the section Galicia-Volyn Chronicle)

The Galicia-Volyn chronicle was created in the 13th century. and has come down to us as part of the Ipatiev Chronicle of the 15th century; this is a valuable historical source containing information on the history of South Rus', Lithuania and partly Hungary and Poland, covering a whole century - the century of the highest prosperity of the Galicia-Volyn principality. In the center of the story is the figure of Grand Duke Daniel Romanovich of Galicia - both an epic and romantic image of an ancient Russian prince, courageous, wise, warlike and just. Daniil Romanovich is overshadowed by the halo of a national hero, defender of the fatherland, winner of numerous enemies; and at the same time, he is a wise diplomat, a person who is not devoid of aesthetic interests, always striving not only to strengthen, but also to beautify his native country. The entire chronicle consists of descriptions of battles, "action-packed" political intrigues, and this is interspersed with reports of private family ((565)) affairs, people's likes and dislikes, love for their native places and a restless thirst for activity for the glory of the fatherland. A constant tragic note sounds, starting from the middle of the work, the theme of the Tatar invasion, ruin and death.

The Galicia-Volyn Chronicle is a very complex work, which is also determined by the history of the creation of the monument. The chronicle consists of many components, sometimes not very successfully combined into one whole. In addition, it was redesigned and supplemented four times. The four vaulters (compilers of vaults) had different views on events, they had different “main characters”, and they failed (or rather, they did not want to) avoid partiality in the characteristics of certain characters who made history at the time described. However, the theme of the heroic upsurge and the emotional richness of all parts are the unifying element in the monument.

As was customary at that time, the Galician-Volyn princes had their own court chronicle and their own chronicler. However, this chronicle was compiled not by year, but at a time - the compiler collected together all the materials from which he could make his description: chronicle news from other sources, military stories (stories about battles and campaigns written or told by eyewitnesses of events), documents from the prince's archive , reports of military and diplomatic figures. All this is supplemented by the compiler's own stories, as well as quotations from books (from the Bible, translated chronicles, etc.), showing the compiler's broad education, as well as the range of literature that the Galician-Volyn scribe had at his disposal.

The first part of the Galicia-Volyn chronicle is the annalistic code of 1246, compiled by Metropolitan Kirill. In 1246, Metropolitan Kirill parted forever with Daniil Romanovich, and he was replaced as the compiler of the chronicle by Bishop John of Kholm, who brought the narrative to 1264, the year of the death of Daniil Romanovich. The collection of 1246 includes news from the Kyiv Chronicle, in particular, "The Tale of the Invasion of Batu", which is located at the junction of the vaults of Cyril and John.

The Chronicle of John covers 1247-1264 and was written in the Hill. However, traces of a thorough revision of it, carried out, apparently, in Vladimir, by the compiler of the next part of the Galicia-Volyn Chronicle, the collection of Vasilko Danilovich, are felt in it. And this is easy to follow by observing how this edition of the chronicle text tells about Lev Danilovich, the eldest son of Daniil Romanovich. Bishop John treats Daniel Romanovich and his son Leo with great reverence. He mentioned Leo already in the narrative of the campaigns of Daniil Romanovich in the vault of 1246. However, in the descriptions of the events of 1263-1269. (during the reign of Schwarn) there are no favorable reports about Leo at all. Apparently, they were thrown out by the Vladimir editor, like many other events that have nothing to do with Vasilko and Vladimir. The tales of the Czech and Yatvingian campaigns again give Leo their proper place - perhaps they were written according to his stories. Bishop John himself ((566)) was a participant in the visit of Prince Vasilko to Burundai in 1261. All this legend is written in a rather official tone, but the words “Vladyka standing in terrible greatness” show us the author of this message, who finds it difficult to forget the fear he experienced at the sight of the wrath of the conqueror.

The boundary between the vault of John and the next vault - Vasilko Danilovich - is blurred. V. T. Pashuto considers the Ternavsky congress of 1262 to be the beginning of Vasilko’s arch. It is possible that it began a little earlier - in 1261 - with a message about the wedding of Olga Vasilkovna. Before this text in the Ipatiev Chronicle there is a cinnabar line “for the same past summer”, which serves as a screen saver-separator.

The chronicler Vasilka covers the period from 1263 (conditionally) to 1271 - the year of Vasilko's death. The tendentiousness of this part of the chronicle is even more noticeable - the exaggeration of the role of Prince Vasilko in the ongoing events is done by keeping silent about the events in which he did not participate. This chronicle is very short, it contains parts of the weather records of events, and an essential addition to it are stories about Lithuanian events, borrowed from the Lithuanian chronicle.

The chronicler of Vladimir Vasilkovich (from 1272 to 1289) begins with the words: “His son Volodimer began to reign in him.” Its author is Bishop Eusignius. The nature of the narrative here is different, and this is determined by the personality of Prince Vladimir and the general position of his principality. The Volyn land was separated from both the Tatars and the Hungarians by the Principality of Galicia. Vladimir Vasilkovich could afford, citing illness, not to communicate with the Tatars (and condemn Leo for his contacts) and not be interested in military affairs. The main military messages of his collection are excerpts from the Lithuanian Chronicle, a story about the Telebuga campaign and the campaign of the Russian princes "unwittingly Tatar" against Poland. Since 1289, the chronicler's attention has been focused on the illness and death of Prince Vladimir Vasilkovich. With diary accuracy, the author, an eyewitness to every day of his life, describes everything that happened - who came to him, what they talked about, what the prince thought about, what he was worried about, how he suffered.

Having finished the story about the last days of Prince Vladimir, the chronicler, following the literary etiquette, wrote a literary, artificial praise to Prince Vladimir. There is already very little from a living person in it - praises borrowed from traditional writing (for mercy, poverty, meekness, etc.), a detailed description of everything that he did for the churches of his principality (similar to an inventory) and a lengthy quote from " Words about Law and Grace, adapted to its hero. V. T. Pashuto believes that Bishop Evsigny had the idea of canonizing Prince Vladimir - from that moment he changed the style of his work, began to write in the language of traditional writing, familiar to perception in the sphere of the church, and ended everything with a message about the incorruptibility of the body of Vladimir Vasilkovich ( etiquette hagiographic motif).

From 1289 to 1291 - a small piece of chronicle, which can be called the Chronicler of Prince Mstislav Danilovich. Here the character of the chronicle changes again. The author focuses on military events, sedition of the boyars, ((567)) intrigues of Lev and Yuri. At the end of a few weather records. Apparently, the end of this vault has not been preserved.

The reader should remember the following: although in the Galicia-Volyn chronicle the narration is conducted, as it were, by years, these years are not accurately indicated (with an error of up to five years). It was not by chance that the chronicler introduced into his narrative an argument about chronology (see p. 324 and comments on p. 591) - he really worked like that, describing events in their entirety, and not weatherwise, that is, looking ahead and going back. The chronological grid is arranged later. The Galicia-Volyn Chronicle begins immediately after the Kyiv Chronicle, which ended in 1200, so the chronicler puts 1201 as his first date, considering it the year of the death of Roman Mstislavich (in fact, Roman died in 1205). We use the dates of the annals to indicate the place of this or that story in the text of the annals, and not to determine the time of an event - historians must check all these dates from other sources.

The Galicia-Volyn chronicle is printed according to its oldest list - according to the Ipatiev manuscript of the 15th century. (BAN. 16.4.4). In cases where there is a corruption of the text or an obvious scribe's error, corrections are made according to other lists of the Galicia-Volyn Chronicle - Pogodinsky (P) and Khlebnikov (X), in these cases the corrected place is given in italics. Throughout the list there are more recent corrections that are not taken into account, unless such a correction is important and confirmed by other lists.

In preparing the text and commentary, the following sources were used: 1) The Complete Collection of Russian Chronicles, published by the Archaeographic Commission, vol. 2. Ipatiev Chronicle. SPb., 1908. - Reissue. M., 1962. Index to the first eight volumes. Dep. 1. Index of faces. SPb., 1898; Dep. 2. Geographical index. SPb., 1907, - further abbreviated: PSRL. 2) V. T. Pashut o. Essays on the history of Galicia-Volyn Rus. M., 1950, - further: P a sh u t o. 3) A. V. Longinov. Family relations of Russian princes with the Hungarian royal house. - Proceedings of the Vilna Preliminary Committee for the Arrangement of the IX Archaeological Congress in Vilna. Vilna, 1893, - further: Longinov. 4) A. A. Rappoport. Essays on the history of military architecture of northeastern and northwestern Rus' in the X-XV centuries. M.-L., 1961. 5) A. N. Kirpichnikov. Military affairs in Rus' in the XIII-XV centuries. L., 1976.

MONUMENTS OF LITERATURE OF ANCIENT Rus', XIII CENTURY: [collection of texts] / compilation and general edition by L.A. Dmitrieva, D.S. Likhachev.

Text preparation, translation and commentary by O.P. Likhacheva

Galicia-Volyn Chronicle- chronicle of the XIII century, dedicated to the history of Galicia and Volhynia. Preserved in the Ipatiev Chronicle. Covers the events of 1201-1291. It is considered the main source on the history of the Galicia-Volyn principality.

At first, the chronicle consisted of separate historical stories. Chronology was introduced only during the creation of a general summary. According to the content and linguistic and stylistic features, the Galicia-Volyn Chronicle is divided into two parts:

Galician chronicle(1201-1261), compiled in Galicia, which is based on the annals of the times of Prince Daniel Romanovich of Galicia;
Volyn Chronicle(1262-1291), compiled in Volyn, where events in the Volyn lands during the reign of Vasilko Romanovich and his son Vladimir are more displayed.

The unknown authors of the Galicia-Volyn Chronicle (possibly combatants) were the ideological spokesmen for the interests of those social forces on which the princely power relied in the struggle against the big boyars. The main text of the chronicle is permeated with the idea of the unity of Rus', its defense from external enemies.

A significant place in the Galicia-Volyn chronicle is occupied by the history of the culture of the Galicia-Volyn principality. The Galicia-Volyn chronicle differs from the previous ancient Russian chronicles in the almost complete absence of church topics.

News chronology

First of all, it is necessary to understand that the very word "chronicle" in relation to the monument in question is completely conditional (it is a tribute to the scientific tradition). Initially, the "Galician-Volyn Chronicle" was a free historical narrative compiled at the end of the 13th century without a continuous chronological grid of years. It is in this form that we find the text of the monument in one of the two oldest copies - in Khlebnikov (60s of the 16th century), which represents to us the South Russian (Ukrainian) tradition. In the Ipatiev list, compiled around 1428 in a completely different region (Shakhmatov found “Pskovisms” in the text), a special edition of the monument is presented - chronologized; its appearance probably coincides with the time of writing the Ipatiev list itself. The goal was to remake the free historical narrative into a traditional "chronicle". A comparison of the texts of the two oldest lists shows that the chronologist scribe, the compiler of the Ipatiev list, quite consistently threw out phrases indicating the correlation of events in time: “later”, “that same summer”, “at the same time”, “winter former”, “according to the same time past”, “according to the same past summer”, “against this”, “because of this past non-popular day”, etc., which were replaced by more or less arbitrarily affixed dates.

Since the dates of the Ipatiev list are entered into the text around 1428, it is quite clear that the chronology of the Galicia-Volyn Chronicle (or, better, its list of Ipatiev) must inevitably contain numerous errors. Karamzin, the discoverer of both lists (Ipatiev and Khlebnikov), even believed that the dates of the first were erroneous "in all known cases", but this turned out to be an exaggeration: the chronologist managed to correctly establish a number of key dates. The starting point in his "chronicle" version was the year in which Roman Mstislavich Galitsky captured Kyiv - 6709 (in the Laurentian and Radzivilov Chronicles under 6710 the Ultramart year). The chronologist singled out this starting point of the narrative, inserting a cinnabar title from himself into the source text: “IN THE SUMMER 6709 THE BEGINNING OF THE PRINCIPLE. THE GREAT PRINCE. ROMAN. WHAT THE POWERS OF THE FORMER ALL RUSSIAN. EARTH. PRINCE GALICKY". Only after this title, which is a product of innovation, does the original text of the Galicia-Volyn Chronicle begin with the words: “After the death of Grand Duke Roman ...”. It is important that there is no special news about the death of Roman here at all: it is only indicated that the action of the further story unfolds after the death of Grand Duke Roman, who from 6709 held “the entire Russian land” under his rule. However, many historians, ignoring the origin of the imaginary "annalistic article of 6709", categorically assert that the death of Roman in the "Galician-Volyn Chronicle" is dated 6709 instead of the due 6713 (1205), and "convict" the Old Russian scribe of a gross chronological error.

On the whole, the late and secondary chronological grid of the "Galician-Volyn Chronicle" is an amazing combination of gross "mistakes" with single precisely established dates. The following facts usually arouse the greatest interest. The first reign of Mstislav Mstislavich Udatny in Galich is dated 6720, although it should have happened later. Below, the "chronicler" inserted into the text five practically empty annual articles (6722, 6724, 6726, 6728, 6730), limiting himself to the words "there was silence" and "there was nothing." Some researchers believe that in this way the "chronicler" returns to a more accurate chronology. The battle on the Kalka is dated 6732 - probably Ultramart, as in the Novgorod First Chronicle. Below, the chronologist “misses” the year 6744 and dates the Batu invasion to 6745 (1237/8), as in the annals of North-Eastern Rus'. The capture of Kyiv is dated 6748 (1240/1), which corresponds to other sources. The Battle of Yaroslav is attributed to 6757 (dated August 17, 1245); Daniel of Galicia's trip to the Horde - by 6758 (in fact, it began in the late autumn of 1245); the death of Konrad of Mazovia - by 6759 (in Polish sources - August 31, 1247); the death of Daniel of Galicia - by 6772 (according to a Polish source, 1266); the death of the Krakow prince Boleslav the Shameful is correctly indicated under 6787 (1279); the death of Leshko the Black - under 6794 (1288 according to Polish sources); the campaign of Nogai, Telebuga and Russian princes to Poland is described under 6795 (1287), although it continued in 1288, and here the death of Prince Leshko is mentioned again. The capture of Krakow by Prince Indrich and the internecine war with the participation of Russian princes is described under the years 6798-6799 (1290-1291), although the events took place a year earlier. The chronologist dated the final article of the chronicle to the “round” year 6800 (probably for purely aesthetic reasons).

Text and translations

Galician-Volyn chronicle with grammatical analysis and the possibility of token search in the text
Galicia-Volyn Chronicle. Ipatiev list
Galicia-Volyn Chronicle. Ostroh (Khlebnikov) list
Galicia-Volyn Chronicle. / Translation into modern Russian and commentary by O.P. Likhacheva. // Library of Literature of Ancient Rus'. In 20 vols. T. 5. St. Petersburg, 1997. S. 184-357, 482-515. (originally in the edition: Monuments of Literature of Ancient Rus'. XIII century. M., 1981. S.236-425)
Galicia-Volyn Chronicle. Translation by L. Makhnovets into Ukrainian.

The most closely connected with the traditions of the literature of Kievan Rus is the Galician-Volyn Chronicle, which is part of the Ipatiev Chronicle and follows there immediately after the Kievan Chronicle. The Galician-Volyn Chronicle is divided into two parts: the first (until 1260) is devoted to describing the life and deeds of Daniil of Galicia and the history of the Galician principality, the second tells about the fate of the Vladimir-Volyn principality and its princes (Daniil's brother Vasilko Romanovich and Vasilko's son Vladimir), covering the period from 1261 to 1290. Both the first and second parts of the Galician-Volyn chronicle are independent texts that differ from each other in ideological orientation and style.
The first part of the Galician-Volyn Chronicle is usually called the Chronicler of Daniel of Galicia. The author of the Chronicler focuses on the Galician prince Daniil Romanovich, to whom he treats with great love and respect. The author of the Chronicler does not skimp on the praise of his hero. The Chronicler ends with a brief report on the death of the prince and a very restrained praise of him. Such a discrepancy between the end of the work and the rest of the narrative in it about Daniil Galitsky gives grounds to the researcher of this monument L.V. Cherepnin to assert that “The chronicler of Daniil Galitsky was compiled during the life of this prince and that brief reports about his last years and death do not belong to Galician, but Vladimir Volyn Chronicle. L. V. Cherepnin comes to the conclusion that the “Chronicler of Daniel of Galicia” as a single integral work was compiled at the episcopal chair in the mountains. Holme in 1256–1257 The main idea of this chronicle, dedicated to the Galician prince Daniil, is the struggle of the prince against the rebellious boyars, the denunciation of boyar sedition. The second central theme of the "Chronicler Daniel of Galicia" is the theme of the glory of Russian weapons and the Russian land.
The Volyn Chronicle, according to IP Eremin, “from beginning to end is the work of one and the same author... Both the content of the chronicle and its entire literary system testify to one hand.” The Volyn Chronicle was most likely compiled in the 90s. XIII century, the interests of the Volyn principality come to the fore here. The Volyn Chronicle has a more pronounced local character than the Chronicler of Daniel of Galicia. In its style, it is closer to the traditions of the Kievan annals of the 12th century. and is distinguished by a greater simplicity of style than the Chronicler of Daniel of Galicia.
L. V. Cherepnin, analyzing the composition of the Chronicler Daniel of Galicia, identified a number of sources that formed its basis. Among these sources were; a Galician story about the fate of young Daniel and Vasilko Romanovich, “The Legend of the Battle of Kalka”, written by a participant in the battle, a story about Daniel’s struggle with the feudal boyars, “The Legend of the Battle of Batu”, a story about Daniel’s trip to the Horde to bow to Batu, a cycle of military stories about the fight against the Yotvingians, local chronicles, official documents, monuments of translated literature. In the Chronicler, all these sources formed an integral single narrative, united both by the main ideas of the work and by stylistic unity.
The author of the "Chronicler Daniel of Galicia" devotes a significant part of his narrative to the ups and downs of Daniel's struggle with the Galician boyars, with the Polish and Hungarian feudal lords for the Galician princely table. Starting to tell about these events, he gives them the following characterization: "Let's begin to say brazen rati, and great labors, and frequent wars, and many seditions, and frequent uprisings, and many rebellions." But he is interested and concerned not only with the events connected with the history of the Galician principality, he thinks and mourns about the fate of the entire Russian land. Therefore, among his stories we find a detailed description of the battle on Kalka, the invasion of Batu in 1237-1240. Talking about the Battle of Kalka, the author of the chronicle pays much attention to the heroism and courage of Daniel, but he also pays tribute to other participants in the battle and bitterly exclaims about the misfortune that befell all Russian princes. Pain and resentment for the enslaved Russian land are especially acute in the story of Daniel's going to bow to Batu in the Horde. The contrast with which Daniel appears here to the reader in comparison with the episodes in which he acts as a courageous and courageous warrior (“be bold and brave, from head to foot he has no vice”, stb. 744–745) gives this story a special power and significance. On the way to the Horde, Daniel visits the Vydubitsky Monastery and asks the brethren to pray for him. During his long journey to the Horde, he sees with his own eyes the troubles and oppression that the Russian people endure from the Horde. From this, he “began to bolmi [even more] grieve in soul” (stb. 806). When Daniel appeared before Batu, then Batu, saying: “Daniel, why haven’t you come for a long time? And now, if you have come, otherwise it’s good, ”the prince asks if he drinks“ black milk, our drink, mares kumuz [koumiss] ”? Daniel replies: “Until now I have not drunk, but now you command me to drink” (stb. 807). Later, Daniel, in the form of a special honor, was offered a "chum" (ladle) of wine. Having said this, the chronicler exclaims: “On the evil of evil the honor of the Tatars” (stb. 807) and so develops this sorrowful thought: to sit on one knee and be called a slave, and to want tribute, not to have a belly, and thunderstorms to come. O evil Tatar honor! His father was Caesar in the Russian lands, who conquered the Polovtsian land and fought all over other countries. The son of that one did not receive honor, then who else can receive? There is no end to their malice and flattery” (St. 807–808). Reporting on the return of Daniel from the Horde, the narrator gives an expressive description of the feelings that gripped the sons of Daniel and his brother: “And weep for his bid, and great joy for his health” (St. 808).
"The chronicler of Daniel of Galicia" is distinguished by a special colorful description of the battles, a kind of knightly flavor. The author's love for military subjects, for battle scenes is manifested in the thoroughness with which he describes military attire, armor, weapons, in the way he depicts the general appearance of the troops, their movement. Here, for example, is one of these sketches: “And howl to all the ridden and armed pawns of Isostan. Shield them like a dawn, but their helmets like the rising sun, but with a spear of them trembling in their hands, like shaking many, archers walking and holding their rozantsi in their hands and putting their own arrows against the military. Danilov is sitting on a horse and howling” (stb. 813). With boundless love, the author describes horses, horse attire. The horse is a faithful assistant to the prince in his military exploits. Only a person himself closely connected with military affairs could write like that.
These features of the "Chronicler Daniel of Galicia" make us see in the author of this work a warrior from the closest circle of the prince. He was a man of high book culture, familiar with the works of translated literature, who loved to show off his literary art. Hence the abundance in the text of complex grammatical forms, stylistic embellishments, detailed comparisons, rhetorical exclamations. At the same time, the author of the “Chronicler Daniel of Galicia” widely uses brief aphoristic sayings that sound like sayings: “Yes, it’s better to heal with a bone on your own land, rather than live on someone else’s glorious life” (stb. 716), “One stone to beat many mountaineers” (stb. 736), “There is no war without the fallen dead” (stb. 822), etc.
The "Chronicler Daniel of Galicia" is also characterized by the use of plots and images of legendary oral traditions, including those of the Polovtsian epic. Among the latter is the famous story of this chronicle about the Polovtsian Khan Otrok, who fled "to Obez, beyond the Iron Gate", whom, after the death of Vladimir Monomakh, the envoy of Khan Syrchan "gudets" (a musician playing a stringed instrument - whistle) Or was able to persuade him to return to his homeland, letting him smell the grass of his native fields "emshan" (in other lists - "evshan") - wormwood. Neither Orya's persuasions, nor the Polovtsian songs could influence Otrok's decision not to return to his native steppes. However, when Or gave Otrok a bunch of wormwood, he, breathing in the smell of his native steppes, wept and said: “Yes, it’s better to heal with a bone on your land, rather than be glorious on someone else’s” (this plot was used in the famous poem by A. Maikov “ Emshan").
The "Chronicler of Daniel of Galicia" adopted and continued the traditions of the South Russian annals that preceded him, but this chronicle was distinguished by a number of original features inherent only to it. D.S. Likhachev classifies the “Chronicler of Daniel of Galicia” as a special genre of ancient Russian literary works - princely biographies.
Unlike other chronicles, the “Chronicler of Daniel of Galicia” did not have a weather grid characteristic of chronicles: it is an integral historical narrative. In the text of the Chronicler that has come down to us, there is a weather grid, but, as M.S. Grushevsky first established, the dates (arbitrary and, as a rule, erroneous) were put down later, most likely by the compiler of the Ipatiev list of the Ipatiev Chronicle.
In the Volyn Chronicle, the greatest attention is paid to the Volyn prince Vladimir Vasilkovich. In literary terms, the description of the last days of the life and death of Vladimir Vasilkovich is especially noteworthy. This description makes a strong impression on the reader with both its factual details and well-found literary narrative details. Here is one of those episodes. Between Vladimir Vasilkovich and his brother Mstislav there is an agreement according to which the possessions of Vladimir Vasilkovich after his death (he had no children) should pass to Mstislav. But there are other contenders for these properties. One of them, the son of Vladimir Vasilkovich's cousin, Prince Yuri Lvovich, asks to give him Berestye (modern Brest). Having refused this request to the ambassador Yuri Lvovich, Vladimir decides to warn Mstislav about the claims of Yuri Lvovich. He sends his faithful servant Ratsha to him. Weak and sick, lying on his deathbed, Vladimir Vasilkovich, “take the straw in your hand from your bed,” orders his envoy to hand over this tuft of straw to Mstislav and tell him: “My brother, that straw gave me, don’t give it to my stomach no one!” (stb. 912).
The description of the last days of the life of Prince Vladimir Vasilkovich ends with praise for him, which emphasizes the high education of the prince, his human dignity: he is not lying, he hates tatba, but he does not drink from his age, but he has love for them all ”(stb. 921).
In science, there are various hypotheses about the possible author of the Volyn Chronicle, but the statement on this issue by I.P. Eremin seems to be the most correct: “On the author of the Volyn Chronicle, one can confidently say only that he was an ardent supporter of Prince Vladimir Vasilkovich, was aware of all events of his reign and knew him personally that he was a well-read person, who had mastered the practice and traditions of the annals well - apparently, a local monk or priest.

The so-called Galicia-Volyn Chronicle was included as the third component in the Ipatiev Code and covers the period from 1201 to 1292, although the events described under the first date, according to other sources, refer to 1205, so the dates should be shifted. The chronological inaccuracy arose due to the fact that the protograph of the Ipatiev list, apparently, did not have a weather grid. The chronicler himself admitted that the events at first were not recorded according to the years, promising in the article of 1254 to enter the dates later according to different chronologies. This attitude was probably due to the fact that the author oriented the narrative to the presentation of the main events in the life of the main character, the Galician prince Daniil Romanovich, as a result of which the part of the chronicle dedicated to him has the name “The Chronicler of Daniil of Galicia” in science and belongs to the type of princely chroniclers.

Most researchers agree that this part of the Galicia-Volyn Chronicle is limited to 1260, the second part begins with the story of 1261 - the Volyn Chronicle, written by another author and dedicated to Daniel's brother Vasilko Romanovich and his sons. The second part of the chronicle is much less interesting in terms of literature, its author (or authors, there is no complete unity of points of view on this in science) was directly guided by the traditions of the literature of the previous, Kyiv period, both chronicle and oratorical. For example, in a commendable word to Prince Vladimir Vasilkovich, the text of praise to Prince Vladimir Svyatoslavich from the “Sermon on Law and Grace” is used. Thus, the genre variety of the chronicle can be defined as a local princely chronicler. The attention to diplomatic negotiations is related to the Galician chronicle of Kyiv.

The legend of evshan grass

The story of the Galician Chronicle begins with praise to Prince Roman, Daniel's father, who took an active part in the fight against the Polovtsy. Describing the prince, the author resorts to a number of comparisons with animals, including those unusual for Rus'. This comparison is reminiscent of the characteristics of the princes in the Tale of Igor's Campaign, where they are called falcons, and Vsevolod is called a tour. The praise of Roman is accompanied by a legend about the Polovtsian princes-brothers Otrok and Syrchan and about the grass of evshan, according to researchers, dating back to Polovtsian folklore. But it is used by the author as a kind of emotional key to the story of the Galician prince.

In the center of the legend is the heroic image of the ancestor of Roman and Daniel - Vladimir Monomakh, the winner of the Polovtsians, the result of whose activity is defined in the annals by a metaphor used in the Tale of Igor's Campaign - "Dong drank with a golden helmet." The glory of this ancestor was "jealous" of Prince Roman, fighting with the steppe nomads. But the main idea of the legend is connected not with this hero, but with the Polovtsian Khan Syrchan, who was expelled "into the deprivation", who did not want to return to the call of his brother, who informed him of the death of Monomakh, was not touched by the tunes of his native songs, but smelling the smell of evshan grass, "crying rche, "that it is better to die on one's own land than "to be glorious in someone else's land," and set off for his homeland.

The idea of the native land as the highest value of human life is central to the entire narrative of the Galician chronicler. The legend is also interesting because it has features that make it related to the "Tale of Igor's Campaign". These are not only individual stylistic elements, some of which have already been noted above, but also the glorification of the defenders of Rus', including those of former times. The era of Vladimir Monomakh serves as the time of historical memories in both monuments. Finally, the principles of rhythmic organization are identical in both works, which was established in the work of V.I. Stelletsky.

The Tale of the Battle of Yaroslav

The narrative beginning inherent in the introduction to the chronicle is clearly manifested in the subsequent text, as a result of which the Galician chronicler uses the form of a weather record very little. Most chronicle articles include fragments of a plot character. The leading place is occupied by military stories, most of which belong to the event type. A vivid example of such a story is the story of the battle at Yaroslav between Rostislav with the Hungarians and Poles, on the one hand, and Daniil, Vasilko and Lev, on the other. As in other fragments, the author draws attention to how relations between princes and coalitions developed in the battle. The first part of the story also includes a story about the preparation of the siege of the city by Rostislav and the duel he arranged with Vorsh, which, according to the chronicler, served as an unkind omen for the prince, since the horse fell under him. The following tells about the actions of Daniel and Vasilko, who gathered an army, over which a cloud of eagles and crows appeared on the way to the battlefield, which the author considers as a sign favorable for the Galician princes. The alignment of forces is described in detail, and along the way, the author characterizes Daniel and Vasilko as brave warriors.

The course of the battle is described in detail: first, the voivode Andrey entered the battle with small forces, Daniil sent warriors to help him, the Poles rushed to Vasilka's regiment, and Rostislav to Daniil's regiment. At the same time, the governor Filniy said that the Russian regiments could not fight for a long time, they just had to endure their first onslaught. But his prediction did not come true. The author spoke about Daniel's duel with the Hungarian going to the aid of Filnius (and about the braggart himself, "The young lion, break your spear"), then about the flight of the Poles from Vasilka's regiment. The third part of the story is devoted to describing the results of the battle: the prisoners taken, the booty, the return of Daniil to the city of Kholm founded by him and the flight of Rostislav are mentioned.

Each of the characters in the work is endowed with individual features. Enemies are given traits of boastfulness and short-sightedness. The image of the narrator is recreated, as in most military stories, through separate lines. The story is written in a lively colloquial language, the replicas of the characters are widely used, they are especially expressive in the mouths of enemies who boast of their strength and hope for a victory that they fail to win. In the description of the battle, a few military formulas are used, vividly depicting the picture of the battle. But in most cases, the author gives a detailed account of the events, without resorting to formulas, even in cases where they would be quite appropriate.

The Tale of the Devastation of Kyiv by Batu

The inclination towards vivid descriptions of events, military heroism is also noticeable in the story about the capture of Kyiv by Batu. At the moment when the Tatar-Mongols came to Kyiv, there was no prince there, and Dmitr, appointed by Daniil Galitsky, was the governor. Perhaps because the main character of the chronicler did not participate in the events, the author of this monument does not pay much attention to the heroes of the narrative, focusing on the picturesque depiction of events.

The first part of the story tells about the arrival of Batu to the city and the establishment of a siege. The author emphasizes the large number and strength of the troops. The used hyperbole echoes the formula describing the noise during the battle, but takes on a completely different character. Further, the author reports that from the captive Tovrul, the besieged learned which Tatar governors came with the army. The enumeration of their names, just like the previous fragment, should emphasize the power of Batu's army.

The central part tells about the course of the battle, first about the attack on the city, then about the battle on the walls, in the description of which vivid images appear, which were transformed into formulas in later monuments. Further, the author tells about the attempt of the townspeople to build new fortifications near the church and their destruction. The third part is very brief and tells about the capture of the city and the capture of Dmitry.

The image of the voivode Dmitr is drawn only by two author's remarks: during the battle it is mentioned that he was wounded, and at the end of the story it is said that he "had gotten rid of the ulcer and did not kill his courage for his sake." Such restraint in the depiction of the Galician voivode is possibly due to the fact that the narrator himself was not a participant in these events and could not more specifically describe the actions of the hero. The same reason should probably explain the absence of a direct author's assessment. Only constant references to the strength and power of the enemy help the chronicler express his sympathy for the besieged. This semantic feature found its expression in the style of the story. Not prone to repetition, the author, characterizing the strength of Batu, resorts to synonymous phrases. They emotionally emphasize the author's thought. The artistic means in the story are not numerous and are mainly associated with the picture of the battle.

Thus, the military stories in the Galician chronicle are distinguished by the detail and vividness of the depiction of events, attention to the heroes, especially the main character, Prince Daniel, and a penchant for picturesque depiction of battles.

Architectural descriptions of the chronicle

Prince Daniel is described by the author of the chronicle not only as a warrior, commander and diplomat, which was common for this genre, but also as a city planner. Particularly great attention is paid by the chronicler to the construction of the city of Holm, since its buildings were destroyed during a strong fire, and the author wanted to convey to the reader an idea of the beauty and splendor of this brainchild of the prince. The city was created on the site that Daniel fell in love with during the hunt. The narrator describes in detail the construction of the main temples of the city, listing the materials used, paying attention to the color design of buildings, architectural features, and icons. Color epithets in terms of frequency of use can only be compared with the "Tale of Igor's Campaign". The architectural descriptions of the Galician chronicle are unique in the literature of the era of feudal fragmentation and testify to the creative individuality and literary skill of its author.

The problem of the authorship of the Galician Chronicle

The question of the authorship of the Galician Chronicle is still controversial. It is not even clear whether the work was created by one chronicler or by several. Metropolitan Kirill, who spent a long time in the Principality of Galicia, or a person from his inner circle, is most often cited as the alleged author. However, it is very difficult to prove this point of view. An attempt to restore the appearance of the chronicler according to the text of the work itself was made, for example, in the work of A.A. Pautkin. The chronicler seems to be an educated scribe, relying both on a significant tradition of Russian and translated monuments ("The Tale of Bygone Years", Greek chronicles, including the Chronicle of John Malala, "Alexandria" and "The History of the Jewish War" by Josephus Flavius, biblical texts), and on folk tradition. This is undoubtedly an adherent of Prince Daniel, whose life he described with obvious sympathy and biographical details; possibly a member of his campaigns.

The personality of the author of the Galician chronicle determines the characteristics of the main stylistic features of the work, which belongs to the type of princely chronicler. Unlike other types of chronicles, Galician has one central character, so its narrative is more consistent and motivated; the author's attitude towards the characters is more clearly expressed. The style of the works is bookish, but using elements of colloquial speech and oral folk tradition. It is distinguished by refined rhetoric, moderate and unobtrusive, which is created by a few cases of using synonyms, tautologies, figurative and expressive means, mainly in military and architectural descriptions. The last type of descriptions is an exclusive attribute of this particular monument and is characterized by vivid emotionality and picturesqueness.

Old Russian chronicles are the property of both civil and literary history, evidence of the high level of development of the narrative art of the Middle Ages. Back in 1852, the researcher of the Novgorod chronicle D. Prozorovsky wrote about this: “Our chronicles constitute precious material for the history of Russian literature: this is undeniable. One can even say more specifically: the annals belong to the history of belles-lettres, because they contain not only bare facts, but often there are truly animated lines, distinguished by the strength and brevity of expressions, the depth and clarity of thought, the simplicity and cordiality of feeling - qualities that are still considered the best merits of verbal works. Such a work was created in the XIII century. in the southwest of Rus'. According to the place of writing, this amazing work is called Galicia-Volyn Chronicle.

This monument has come down to us as part of the Ipatiev Code (beginning of the 15th century), along with the Tale of Bygone Years and the Kyiv Chronicle. It covers the events of the 13th century. (from the very beginning of the century until 1292) and is located in the final part of a large vault. The Galician-Volyn chronicle is also read in later lists, close in composition to the Ipatiev one. Researchers unanimously recognize the high artistic merit of the chronicle. So, K.N. Bestuzhev-Ryumin spoke of the "considerable success in the art of writing" that the scribes of this region had achieved. A.S. Orlov called the Galician Chronicle "the most poetic". A D.S. Likhachev noted that "the chronicler consciously sets himself artistic tasks, introduces an element of emotionality into his story."

As it is clear from the name accepted in the scientific literature, the monument consists of two parts, written in the principalities of the same name. The boundary between the two chronicles is invisible to the uninitiated reader. It is determined on the basis of changes in the manner of presentation and political sympathies of ancient Russian scribes. It is believed that the Volyn narrative opens with information placed under 1261.

The Galicia-Volyn principality, united by Daniel Romanovich, occupied vast areas east of the Carpathian Mountains. In those days, the Carpathians were called Ugrian (that is, Hungarian) mountains. The geographical position, proximity to Western Europe determined the features of the cultural and historical development of these lands. Many princes who ruled here influenced not only Russian affairs, but also the life of neighboring European states. During the period of fragmentation, the owners of these lands pursued an independent policy, sometimes at odds with the aspirations of the Kievan princes. In this regard, it is very significant how the nameless author of "The Lay of Igor's Campaign" characterized the strategic position of the Galician principality in his appeal to the powerful Yaroslav Osmomysl: "Open the gates to Kyiv."

Depending on the actions of local princes, the enemy from the west could pass to Kyiv, or could be stopped in the Carpathians. But the rulers of this region had not only military advantages. They could dictate their will, using economic levers. Through the city of Galich, from which the name of the principality originated, trade routes to central and western Europe ran. From these places, and above all from Przemysl, Kyiv received many goods, including salt.

The history of the region was quite dramatic. Southwestern Rus' had to endure numerous wars, invasions of nomads, Hungarian and Polish knights. Relations with Lithuania were difficult in the north. Not bypassed the Galicia-Volyn lands and the Tatar ruin. True, here the wave of invasion has already somewhat lost its former crushing force.

But the owners of these lands had to face not only foreign enemies. Unlike other territories of Ancient Rus', the boyars had great influence here. The princes were forced to wage a fierce struggle with this class. The descendant of Monomakh Daniil Romanovich (1202-1264) was especially successful in this. He continued the unifying policy of his father, the formidable Roman Mstislavich, who fell on the banks of the Vistula in a battle with the Poles in 1205. Even the enemies highly appreciated the valor of Roman. Evidence of this can be found in Polish and Byzantine chronicles (for example, in the Wielkopolska chronicle of the late 13th-early 14th century, in the chronicle of J. Dlugosh, dating back to the 15th century, or in the work of M. Belsky, who wrote in the 16th century. From the Byzantines follows mention the historian Nicetas Choniates).

It is no coincidence that the Galician Chronicle opens with poetic praise of Roman Mstislavich. The Prince-hero is compared in it with wild and terrible animals: be, like and tour. Perhaps the comparison of the Russian prince with a lion and a crocodile goes back to some Byzantine sources. The Latin tradition of Catholic neighbors cannot be completely discounted (after all, Roman's mother was the daughter of the Polish prince Boleslav Krivousty).

After the death of Roman, a difficult fate awaited his young sons Daniel and Vasilko, who entered into a long struggle for possession of their fatherland. At first, the princes were forced to wander with their mother through the cities of Rus', Hungary and Poland. At this time, Mstislav Udaloy, Daniel's future father-in-law, played a prominent role in the affairs of southwestern Rus'. The brothers faced many trials. Eighteen-year-old Daniel had to participate in the tragic battle on the Kalka (1223). Only by the end of the 30s of the XIII century. the efforts of the brothers were crowned with success.

Daniil began to rule the Galician principality, and Vasilko settled in Volodymyr Volynsky. Interestingly, Daniil Romanovich was the only king in the history of Ancient Rus' who received the crown from the Pope, who thus sought to persuade the Russian ruler to accept Catholicism. Here is how N.M. Karamzin defined the character of Daniil Romanovich: “Glorious military and state virtues, and even more excellent mercy, from which neither betrayal nor the most vile ingratitude of the rebellious boyars could avert him: - a rare virtue in times of cruel and so stormy." This outstanding warrior prince became the hero of the Galician historical narrative.

The culture of Galicia-Volyn Rus combined various components, because here the traditions of different peoples and confessions intersected and closely interacted. Unfortunately, too few texts created in this border region have survived to this day. In fact, only the Galicia-Volyn chronicle represents the original literature of this region of Rus'. Other works created here are lost. And the chronicle itself has come down to us in an incomplete form. True, individual southwestern inclusions are found in previous Kievan vaults (including the Tale of Bygone Years and, to a greater extent, in the Kievan Chronicle of 1198).

The limited information about original literature is to some extent made up for by facts from the life of medieval books in general. Here, in the south-west of Rus', manuscripts were created or discovered that speak of the development of the book business. These are spiritual texts and translated works. 16 Galician-Volynian manuscripts of the pre-Mongol period are known. The oldest among them are the Tetra Gospels (“Galician”, 1144), the Aprakos Gospel (“Dobrilovo”, 1164), the Vygoleksinsky collection (end of the 12th century), which includes translated lives of Nifont and Fyodor Studit. One of the later manuscripts, the Gospel (1266-1301), contains a postscript by presbyter George, in which the scribe mentioned the descendants of Daniel of Galicia, the son of Lev Danilovich and the grandson of Yuri.

The Galician chronicle itself, following the historian L.V. Cherepnin, is often called “the chronicler of Daniel of Galicia”. Why is the term “chronicler” used in relation to this work (not to be confused with the creator of the text itself)? Here is what D.S. Likhachev wrote about this: “The chronicle covers more or less the entire Russian history from its beginning to some limits approaching the time of its compilation, while the chronicler is usually devoted to some part of Russian history : the history of the principality, monastery, city, one or another princely family. This is exactly how the story about the events that Daniil Romanovich happened to become a participant is built.

Medievalists have long noticed one essential feature of the Galician chronicle, which distinguishes it from the array of monuments of Russian chronicle writing. The narrative here is distinguished by internal unity, it is practically devoid of dry fragmentary notes. It was found that the chronicle initially lacked the usual weather pattern (“In the summer…”). M. Grushevsky was the first to point out this feature at the beginning of the 20th century. Even the chronological breakdown of the text by later compilers, who, apparently, experienced difficulties when working with a “continuous”, undated manuscript, did not break the connection between its parts. What, besides the commonality of style, is the reason for this unity of the “chronicler” Daniil Romanovich?

The traditional chronicle narration is entirely subordinated to the direct unidirectional and uninterrupted course of time. The Galician author builds his story about the reign of Danila in a different way. He can “sometimes write forward, sometimes step into the back, which the wise understand” (either to run ahead, then to return by memory to the past). Thanks to this, the fragmentation inherent in chronicles is smoothed out, and a certain connection between events and messages about them arises. The scribe arranges historical material not only in the usual chronicle sequence. By grouping the necessary information, he feels freer than his predecessors and contemporaries. The chronicler can mention what is destined to happen many years later, briefly dwell on some phenomenon, promising to describe it in detail in the future ("we'll write it down later"). Such ease in dealing with facts, the author's ability to "look into the future", gives reason to think that the compilation of the "chronicler", the processing of sources, their systematization, the writing of new fragments was carried out already at the time when Daniel realized his plans, reached the apogee of power in the middle of the thirteenth century.

The period of time covered by the Galician narrative is equal to the approximate duration of a human life. Apparently, the presentation of the history of the Galicia-Volyn principality should have been brought up to the death of Vasilko Romanovich (1269) or, in any case, until the death of Daniil Romanovich (1264). The continuation of the “chronicler” after 1264 seems possible, because Vasilko has received much attention: the prince-brothers are inseparable, jointly solving the most complex political problems. At present, it is difficult to unequivocally answer the question: has the end of the monument been lost, or has something prevented the continuation of its compilation?

It is safe to say that the biographical principle of narrative construction has become the leading one. The history of the principality and the life history of the ruler seem to have merged. And Daniel's life was spent in endless campaigns and battles. So, he turned out to be one of the few who survived the tragic battle of Kalka in 1223. That is why the biographer of the Galician prince prefers the heroic theme, everything in his work is imbued with the spirit of secular, retinue ideas.

By the XIII century. Old Russian chroniclers developed certain ways of depicting historical figures. The main attention was paid to the deeds of the prince, he was the main figure in the chronicle narrative. Special reasoning about the features of a ruler was given a special place and time. The qualities of a prince in themselves were almost always of interest to the chronicler only in connection with his death: as a rule, the message of death was followed by a listing of the merits of the deceased. In obituaries, the chronicler sometimes included information about the appearance of the prince.

In the Galician Chronicle, Daniil Romanovich is portrayed differently. Historical material is quite naturally grouped by the author in such a way as to show the activities of Daniel in as much detail as possible. In the traditional narrative, the enumeration of virtues became a kind of boundary, marking the natural change of rulers and the transfer of the author's attention to the actions of another person, it successfully fit into the general structure of the weather presentation of events. The biography of Daniel is alien to such a localization of the characteristic. It extends to the scale of the entire work and, as it were, is dispersed over many separate descriptions. Each of the specific episodes is only a confirmation of the unchanging qualities of Daniel, another vivid illustration of them.

Character traits of the Galician ruler (for example: “Be bold and brave, from the head to the foot of him there is no vice”) is very rarely described by the author, as a rule, they appear from a detailed account of events, while emotional- artistic start.

For the Galician scribe, the military qualities of the master become the most important. The feats of arms of the prince himself and his combatants are repeatedly characterized, Daniel's inspired appeals to the soldiers are transmitted. He is terrible to opponents not only as a commander, leader of squads, but also as a very skillful warrior. Therefore, not quite ordinary battle scenes appear in the biography. We are talking about the image of the prince in battle as a simple warrior.

Chroniclers have always noted the courage and determination of the prince in the leadership of the squads. The “non-military” actions of the hero, not related to the role of a military leader, were mentioned extremely rarely. The Galician Chronicle provides unique examples of the personal exploits of Daniel and his son Leo. Separate martial arts during battles are recorded more than once. These fragments not only offer information that the prince with regiments “went”, “fought”, “won”, but reflects the most acute moments of the struggle, individual episodes of the battle are shown as close as possible: “Danil, free his spear in military, break it with a spear and expose your sword, having ripened seven and seven (back and forth) and see the banner of Vasilkov (brother), standing and fighting well, ... having uncovered his sword, going to his brother to help many ulcers (that is, he struck many ) and others died by his sword. The chronicler looks at the behavior of the prince in battle from the point of view of a professional combatant, revealing the specificity of the methods of combat. This is the story of the hand-to-hand fight between Lev Danilovich and the Yotvingians: “Lion, who has killed his sulitz (spear) in his shield and cannot hide (shelter), Leo Stekyitya (the leader of the Yotvingians) kill the sword.”

The most vivid description of Daniel's personal feat can be called a fragment of the story about the Battle of Yaroslavl (1245), which is part of the Galician Chronicle. In this battle, the Russian regiments met with the squads of Rostislav of Chernigov and the Hungarian knights of the voivode Filnia. The prince showed great valor here: “Danil, seeing close scolding Rostislavl and Fil in the back regiment, standing with a banner ... left the regiment and, seeing Ugrin (that is, the Hungarian) coming to the aid of Fili, spear and (him) and loaded into the former I’ll be a little stupefied when I fall down ... packs (again) Danilo will soon come to him and destroy his regiment and tear his banner to the floor. It shows the heroic struggle for the banner, which was not only an important relic, but also a means of commanding troops. Vigilantes were guided by the prince's banner in the confusion of the battle, they were given signs-commands. Therefore, the capture or destruction of the "banners" of the enemy is an act that had not only a symbolic meaning.

Another type of image of the prince is entirely focused on the fact that the reader sees in him the leader of the squads. These are solemn descriptions, creating the impression of greatness and power. Under 1252, Daniel tells about a visit by Daniel to the Hungarian king, who at that time had German ambassadors. The Galician prince demonstrates his strength to his western neighbors. Their gaze was opened by squads moving in battle order: “... Besha bo horses in masks and in leather khoyare (clothing blankets), and people in yokes (armor), and without regiments his lordship is great from weapons shining; the ride itself is near the king, according to the custom of Ruska, and the horse under him is like a wonder, and a saddle from gold is burnt and arrows and a saber with gold is decorated with other tricks, as if marveling, the casing of Gretsky’s tin and lace is sewn with gold flats and boots of green khaz (leather ) sew in gold. A German who sees a lot and marvels a lot.

In this fragment of the text it is easy to notice a peculiar ceremonial portrait of the prince. The abundance of real everyday details serves to idealize Daniel. Equipment and clothing are of interest to the author as attributes of a powerful ruler. It is known that in ancient Russian historical literature the exploits of the squad were often transferred to the prince. This feature is also realized in the description of the procession of the army of Daniil Romanovich: the regiments shine, the figure of the prince also shines. The scribe admires the parade, proudly reports the surprise of the German ambassadors, caused by the wealth of equipment for the troops and the luxurious attire of Daniel. The situation of Daniel's appearance before foreigners is used by the chronicler for a specific purpose: to give the most vivid and impressive image of him. This is a kind of center of the prince's ideal characterization.

Descriptions of architectural objects can serve as another confirmation of the literary talent of the Galician chronicler, his ability to convey details and create colorful pictures. Chroniclers usually limited themselves to remarks of an emotional nature, expressing surprise at the grandeur and beauty of this or that building. The biographer of Daniil Romanovich sought to sing not only military exploits, the political wisdom of his master, but also his efforts to decorate his principality with majestic temples and new cities. Among them, the most famous is Lvov, named after the eldest son Daniel. The chronicler of the 13th century spoke especially vividly. about the tragic fate of the buildings of the small town of Kholm - the capital of the Galicia-Volyn principality.

Daniel's activity fell on the time of the Mongol-Tatar invasion. From their very foundation, the cities that were being built were threatened by a terrible destructive force. Therefore, the description of the Kholm structures, which has artistic integrity, acquired a dramatic sound, because the first mention of the Hill is contained in the annals next to the story of the defeat of the Russian squads on the Kalka in 1223. Although the conquerors did not manage to capture the fortified capital of Daniel, another misfortune befell the city: “ Get yourself a seat for sins, Kholmovi will catch fire from the woman of the lake. The fire, the glow of which was seen even by the inhabitants of Lviv, which is more than 100 km away by current measures, destroyed the works of skilled craftsmen.

It was misfortune that prompted the chronicler to tell in detail about what people had lost. Much has disappeared in the fire irretrievably. The death of the beautiful is the internal conflict of the story. The author did not describe the architecture of the Hill when he mentioned the founding of the city: "Then we will write about the creation of the city and the decoration of the church." He preferred a sad flashback. Starting his story, the chronicler speaks about the origin of the name of the city, its prehistory. Once, while hunting, Daniel saw "a red and forested place on a mountain, going around the field." He asked those who lived there: “What is the name of this place?” And he heard in response: "The hill has a name for it." The prince fell in love with this place, here he calls on skilled artisans from all lands, the district comes to life, and the Hill becomes a flourishing city. Fleeing from the Tatars saddlers, archers, quivers, blacksmiths, copper and silver craftsmen glorified the young city with their work. In general, the theme of art, consecrated by the "wisdom of the miraculous", is close to the Galician. He mentions “a certain sly man” who adorned the pillars of the Church of St. John Chrysostom with unprecedented sculptures and even directly names the “sly man Avdey”, who created magnificent patterns in the same temple.

Talking about cathedrals and other buildings, the chronicler often resorts to the epithet "red" (beautiful) and once - "beautiful" ("beautiful temple"). Beautiful are not only the buildings themselves, their decoration, but also the surrounding area, the garden laid out by the prince. The church of John Chrysostom, according to the chronicler, is “red and stucco”. Her Daniel "decorate the icons." The verb "decorate" and its forms appear many times in the description of the interior. In general, the words of a Galician surprise with novelty and freshness of impressions. Here the modern reader will find both color epithets and information about the material, size and composition of structures. The location of the temples, their decoration and even the origin of certain interior details will also be described here.

Azure, white, green and crimson are the colors used in Kholm's description. In the church of St. John Chrysostom, the doors are trimmed with “pebble white and green kholmsky stones”, and in the church of the Virgin Mary there is a bowl of “crimson marble”. But most often, of course, there is the epithet "golden". Despite the ambiguity of the symbolism of gold in medieval culture, the combination with other color designations gives this epithet a coloring meaning (for example, the top of the church is decorated with “golden stars on azure”). Detailing, often exquisite, speaks not only of the writing skills of the Galician, but also of his knowledge in the construction business, and economic issues. The chronicler gives information about the material from which this or that object is made, an architectural detail. This is a stone of various types, wood, glass, metals. So, the church floor, which is "not drained of copper and tin," glistens, "like a mirror." Another comparison is striking in its accuracy when describing buildings perishing in the fire: “And copper from the fire, like resin creeping.” Even the method of processing the described object is carefully characterized: products are “hewn” or “hewn”, “turned” from wood, “merged” from copper, etc.

In the architecture of the westernmost lands of Rus', features of the Romanesque style, developed in Europe in the 13th century, are sometimes noticeable. Talking about the decoration of the church of St. John, the chronicler points out: "Window 3 is decorated with Roman glass." That's what he calls stained glass windows. There was also another foreign miracle, sculpted "from a certain sly one": the vaults of the building rested "on four human heads." Isn't it the Atlanteans?

There were also sculptures in the Kholmsky buildings. The image of St. Demetrius stood, according to the chronicler, in the Church of the Holy Bezmezdnikov "before the side doors." The author specifies that it was "brought from afar". About another statue, John Chrysostom, it is said: "Create ... the blessed piskup Ivan, red from the tree, precise and gilded." The modern reader can understand that this is a sculpture of large forms, only thanks to information about the material and method of manufacture. It is known that three-dimensional plasticity did not find distribution in Ancient Rus', therefore the chronicler, like many ancient Russian writers, experienced certain terminological difficulties in this case.

The medieval author left us information by which we can judge the connections of the architecture of southwestern Rus' not only with European architecture, but also with the ancient and Byzantine tradition. At a distance of a field from the city, "there is a pillar ... a stone, and on it an eagle is a stone sculpted." This building, rare in Rus', resembles the columns that towered in the Byzantine capital. Of course, the Kholm column topped with an eagle - a symbol of power, military victory and strength, was inferior in grandeur and power to the Constantinopolitan models. Nevertheless, she had to impress contemporaries with her grace and height. No wonder the chronicler decided to indicate the exact dimensions of the column in cubits: “The height of the stone is ten lakota with heads and footboards 12 lakota.” Taking into account the different metric interpretation of this ancient unit (from 38 to 54 cm), it should be assumed that the gaze of the traveler was exposed to a structure five to six meters high.

Accurate digital dimensions, definitions such as “gradets mal”, “church led”, “vezha high” (that is, the tower) side by side in the description with information, thanks to which one can imagine the layout of the Kholm temples. For example, the building of the Church of John “sich was”: “Mosquitoes (vaults) 4, from each corner of the translation (arch) ... entering the altar, there are two pillars ... and on it a mosquito and scatter (dome)”. Church of the Holy Bezmezdnikov: "Have 4 pillars from the whole stone, hewn, holding the top." This brief information allows us to undertake at least a partial reconstruction of the monuments, which were four-pillar temples with apses.

Architectural monuments of southwestern Rus' of the XII-XIII centuries. almost never survived to this day. The ancient Kholm buildings have also been lost forever. The name of the former capital of Daniil Romanovich sounded in Polish over time (Chelm is now the city of the Lublin Voivodeship). The culture of the Carpathian region has been under the strong influence of Catholicism for many centuries. This led to the gradual disappearance of ancient Russian churches here. Often, only scarce archaeological data allow scientists to judge the features of the architecture of the Galicia-Volyn principality of the era of its heyday. Therefore, the story of the Galician chronicler is of particular importance, remaining the only written source of information about the construction activities of Daniil Romanovich.