Theophanes the Greek painted Spassky Cathedral in the summer of 1378 should be reminded that he was in Novgorod not only formed, but also very well known, many had seen the master. The date of his birth is traditionally attributed to the first half of the XIV century. So, the creation of mosaics and frescoes of the famous monastery of Chora in Constantinople, Thessaloniki and Mystras comes at a time of its formation as an artist. Before coming to Novgorod, Theophanes spent some time in the Cafe (now Feodosia), one of the largest Genoese colonies on the northern coast of the Black Sea. There, he painted a small church and for reasons unknown to us left Cafu for Novgorod. Works of Theophanes in the center of Byzantium has been preserved, and the frescoes in Feodosia were in poor condition. Therefore Novgorod paintings can be considered the only extant piece of monumental paintings of famous masters.
At the time of arrival of Theophanes in Novgorod were already well acquainted with Byzantine art. Here Theophanes the Greek was in a very distinctive artistic environment, where the mixed highly learned Greek art (for example, some paintings of St. Sophia Cathedral), and somewhat naive, but compelling and passionate local tradition (Church of Our Savior on the frescoes Neredice).
On that, what was the whole idea of an ensemble of paintings of the Theophanes, we can judge only two surviving fragments - and the dome frescoes Trinity Chapel. This interests us chapel is very small, narrow and is located on the second floor of the temple. Therefore there fit only two multi-figured composition - the Old Testament Trinity and Our Lady of the Sign. A small elongated piers occupied by figures Stylites and the righteous, who are facing the two mentioned images. Thus in the interpretation of Theophanes Trinity acquires color vision, appearing before the protagonists.
Icon of Andrei Rublev was part of the iconostasis. In science there are different opinions about the church for what it was created, and what took place in the iconostasis. She could be in the altar, an icon of the temple of local number, and could be the central icon of the deesis. But be that as it may, the images of prophets and saints are unlikely to directly side by side with the characters Rublev Trinity, thus in the iconostasis of Rublev's the story could not be seen in a teacher-nazidatellnom context, like Theophanes.
Composition image in the Church of Our Savior on Ilyina constructed on the basis of the form wall opening. Trinity occupies half of a semi-circular section of the wall, sharply curved line of the left part of the composition defined by the arch of the firmament and the right part is composed of vysyaschihsya stacked bodies, which form an arc, to mirror the line of the left arch. In the semicircular wall inscribed semicircular pictorial compositions, eventually turns out a form, which resembles a cell triforiya a Gothic church, where one large arch is divided into two small.

Rublev's Icon is written on a rectangular board, on the proportions close to a square. Thus the idea of stability is present in the composition initially, due to the format. The heads of angels form a semicircle, seemingly reminiscent semicircular wings in the shape of Theophanes. Substantial difference in how a semicircular ends. In Novgorod fresco, we almost do not notice the provisions of the feet of seated angels. All our attention is given to the wingspan and Sarah figure forming the foundations of the composite arch. In Rublev's icon of the golden wings of angels almost merge with the background, and the viewer's attention focuses on the position of hands, closes, and not razvodiastchy half-circle motion. Rublev stresses coincides form of color, highlighting the angels purple sleeves and azure. Continue this movement in the position of the legs, feet, deployed to each other, and, finally, half circle almost joined the foot.
Composite form an arch defines inequality participants scene Feofan. One of the characters inevitably be exalted above the others. And Theophanes provides one of the angels as the main character. Face of an angel of central compositional takes place capstone of the arch, and the wings, covering satellites, form a set. The figures of angels and Sarah on the right and unpreserved figures of Abraham and the angel on the left likened high foundations of the arch. Very arched form, uniting participants scenes, not so much endowed with firmness and strength, how many features of Gothic sophistication. Drawing attention to the thin gaps between the feathers and capes, wings and a halo, can be likened to the track Theophanes jagged binding of the altar, where a circular rim instead of stones enclosed faces.
The shape of an arched arrangement chosen by Theophanes closer lancet than semicircular shape. In smooth arc inscribed wings narrow, even as it seems, when reduced acute arch haloes of all participants of the scene. In order to get exactly this form, the painter has the faces of the Old Testament characters and angels strictly under each other, and the figure of Sarah's permit issued to the side, only up to the border, which considers the entire composition of an angel wing. It seems that the other symmetrically situated figure of Abraham. The quintessence of composite solutions becomes arcs, located in the center of the foot of the table. (Note that the ruble places in this place horizontally elongated slot.) So Theophanes achieves conciseness, vertically, sort of stolpoobraznosti whole scene reminiscent of stared at her outstretched figures Stylites.
Treasure based composite solutions range, Rublev sensation reaches wholeness, the identity of the characters to each other. And if the fresco Theophanes the central figure and the face of an angel, constituting the axis of symmetry, located frontally, highlighting its role of executors, in Rublev's icon of the central angel is depicted as well as the other - in three quarters. He bowed his head as if listening to his interlocutor, and this change heeded underlined slope of oak in the background.
It is no accident Rublev excludes from its conception of Abraham and Sarah. In the fresco Theophanes their presence underlined the subordination of earthly heaven. Byzantine Master should be in the text of the Old Testament, where the story of the coming to Abraham and Sarah tells us about three strangers meet on earth and in heaven. In Rublev's icon appears in front of us, rather, not the Old Testament story, and the image of the Trinity, instead of embodying the idea of hierarchy of the divine unity.
Can not say that the Byzantine artist avoids portray rounded forms. But within the circles of his compositions are an intricate frame. Face Sarah envelop fold drop-down cape, curved arms, covered with cloth, surrounded by its spherical offering to the table, and around the faces of angels hover tape supporting hairstyles. Each round shape Theophanes around fast, swift stroke.
Another favorite of form - the node, the ends of which are scattered in different directions. Thus, around the central and left-hand angels twine tight folds of his cloak, and on the shoulder of Sarah crossed the line draperies. Twisted and hetero-directed movement occurs in every point of contact forms. Worth seeing at least a piece of the right angel - where it crosses the hand edge of the table at different angles are connected through the wing and draperies. Each piece, which intersect in any form, is solved in the form mnogolepestkovoy composition, and the movement around the center of contact is most important.
Thus, compositional scheme Theophanes complicated, it can be likened to no longer just the arch, but the arch, decorated with fluttering sling.
Andrei Rublev rather than diversify the basic compositional form, and repeats it - semicircular cutouts flank the wings of the head, the mountain inclines, like the neck, arms, not bent, gently lay down on his knees. Especially seen the difference when comparing the figures of angels on the left. If the frescoes of Theophanes the folds of garments covering the hand of an angel on all sides, as she bends his arm, as if resisting external movement, then in the folds of his cloak Rublev's icon of streams under the angel's hand resting on her knee.
Interestingly, and how different masters portray the meal itself. Theophanes the Greek emphasis on the hospitality of Abraham and Sarah. Angels in his fresco sit around the set table in the center of which stands a heavy bowl with the head of slaughtered sheep lying around round loaves and had cut narrow slices at the table's edge - the knife. All items Theophanes writes sharp, crescent-shaped lines on the table and creating a sense of restless movement. Highlights flash and on the knife, and the bowl, and slice, bread seemed to be rolling, and the bowl bends.
Andrei Rublev, the deletion of its composition Abraham and Sarah, and overlooks the meal itself. The icon on the desktop is only a bowl, its shape resembles not a dish, but rather the cup for communion. The void around the bowl makes it the semantic center of the entire composition. Angels only decree for her, not daring to touch. Thus the cup with the head of a lamb in Rublev's icon no longer the subject and becomes a symbol of reflection on the victim. It is no accident outline of this bowl is repeated once more - the same form has the space between the angels, widening from knee to shoulder sit.
Pay attention to the fact that Andrei Rublev wrote his "Trinity" is not just after feofanovskoy. He knows the art of the Byzantine masters, and knows his way to work and himself. Recall that in 1405 they are working together adornment of the Annunciation Cathedral of Moscow Kremlin. Chronicle speaks of this as follows: "In the summer of 6913 ... Toe in the spring pochasha podpisyvati Church of the Annunciation in the holy stone of Prince of Great yard, not the one, Who now stands, and wizards byahu Theophanes Ikonnikov Grchin yes Prohor elder from Gorodets, but novice Andrei Rublev, but the same summer and konchasha S ". It is important that in the above text Andrei Rublev named the third, after Theophanes the Greek and Prokhorov Gorodets. Consequently, at this time in the Artel he was a junior master, although already famous enough to be mentioned personally.

Consequently, between these two images of the Trinity really is an intimate connection, and sit down to work on the icon of Andrei Rublev, already a mature master, conducted an internal dialogue with its predecessor, and partly a teacher. And indeed, much in the compositions agreed in principle in different ways. Theophanes wrote the Old Testament story, without departing from the text of the Bible. Rublev embodies the image of the divine trinity, the favorite among Sergei Radonezhsky. The world depicted by the Byzantine master, covered by emotion, earthly and heavenly encounter sets in motion all matter, it is understood as a poignant revelation is experienced on the verge of spiritual possibilities of man. Rublev, in contrast, gives us the divine world as wise intuition, clarity, and reticence.