What does the icon of Saint Juliana Lazarevskaya, Muromskaya pray for?

A handwritten icon of St. Juliana of Olshansk is made on a linden board with oak dowels, linen paper, chalk gesso, engraving on gesso, gold leaf, tempera, drying oil, varnish.

Icon painting workshop Radonezh. 2021 Sergiev Posad.

The icon depicts a full-length figure of Juliana of Olshanskaya. Over a light brown tunic, the saint is dressed in a white maforium and a red cloak. In her right hand the saint holds a cross, her left hand is turned towards the viewer with an open palm. The head of Saint Juliana is crowned with a royal crown, as a sign of her belonging to the princely family. An excellent addition to the design of the icon is a thin carved pattern (engraved on gesso), giving the icon an elegant, sophisticated and festive look.

Saint Juliana is revered as the first helper to Russian women in healing illnesses of the soul. Orthodox tradition ascribes to Saint Juliana virtues corresponding to her age, gender and rank: chastity, obedience to parents, favorable attitude towards inferiors, and especially Christian charity. Indeed, during her earthly life, the young girl discovered high Christian qualities, keeping God’s commandments, and reached the pinnacle of spiritual perfection.

Holy Righteous Virgin JULIANIA, Princess Olshanskaya

(+1550) Memory July 6(19)

After Kyiv annexed Lithuania, the city was ruled by the Olshansky family of princes. In the middle of the 16th century, one of them, Prince Yuri Dubrovitsky-Olshansky, lost his daughter Juliania. She died a virgin at the age of 16. Her father was a benefactor of the Kiev Pechersk Lavra and therefore the princess’s body was buried near the Great Lavra Church.

At the beginning of the 17th century, under Pechersk Archimandrite Elisha (1724), while digging a grave, a coffin with the incorrupt body of a girl was found. On the silver plate of the coffin there was an inscription: “Iuliania, Princess Olshanskaya, who died in the 16th year.” The princess lay in the coffin as if alive, in a white dress trimmed with gold, with many precious jewelry. Her body was transferred to the Great Lavra Church.

In the 17th century, Saint Juliana appeared to the Kyiv Metropolitan Peter Mohyla and reproached him for his lack of faith and neglect of her relics. After this, the Metropolitan ordered that the saint’s relics be placed in a precious shrine with the inscription: “By the will of the Creator of Heaven and Earth, Juliana, the helper and great intercessor in Heaven, lives throughout the years.

Here bones are a cure against all suffering... You decorate the heavenly villages with yourself, Juliania, like a beautiful flower.” At the reliquary of the relics of Saint Juliana, many miracles and grace-filled healings were performed.

There was a case when, having made his way into the church, a thief stole a precious ring from her relics, but as soon as he left the doors of the temple, he screamed in a terrible voice and fell dead.

One day the holy virgin Juliana appeared to the abbot of the Kyiv St. Michael’s Monastery and told him: “I am Juliania, whose relics lie in the Pechersk Church. You consider my relics to be nothing. For this reason, the Lord is sending you a sign so that you understand that the Lord God has counted me among the holy virgins who pleased Him.” Since then, the veneration of Saint Juliana has increased even more.

In 1718, the relics of the saint burned in a fire in the church. Their remains were placed in a new shrine and placed in the Near Caves of the Kiev Pechersk Lavra. The holy righteous virgin Juliana became the second of the holy wives of Rus' who were honored to be buried in the Lavra caves. On the icons, Saint Juliana is depicted in the Cathedral of the Holy Fathers of the Kiev Pechersk Lavra.

The life path of Saint Juliana of Olshansk is an affirmation of righteousness, mental health, spiritual integrity, i.e. chastity. She creates God's righteousness. Being a righteous virgin, she has the grace to help those living to preserve virginity and purity.

At this stage of the ascension of the holy women of Rus', a special gift of healing various mental and physical ailments is also confirmed. That is why there were so many cases of healing at the relics of Saint Juliana. But most of all, it helps in healing the mentally ill.

There are so many sick souls in our society now, so many unsettled, lost souls who have lost faith in God or do not know Him. The human soul grieves, suffers, and is troubled, because it thirsts for the truth of God, it thirsts for spiritual food, which it is deprived of. Women are especially susceptible to mental illness because they bear the brunt of the disorders and troubles of our days.

Saint Juliana is the first helper to Russian women in healing diseases of the soul.

She stands for them together with other saints of the Russian land before the Most Pure Mother of the Lord and together with Her before the Throne of the Holy Trinity.

Let us pray to the holy righteous virgin Juliana, Princess Olshanskaya, for her earthly sisters, the women of Russia, so that she will help heal their souls, help them find spiritual joy and consolation.

Like the immaculate bride of the Imperishable Bridegroom of Christ, the righteous virgin Juliana, with the bright light of good deeds you entered His Heavenly palace and there enjoyed eternal bliss with the saints. Pray in the same way, to whom you have loved and to whom you have betrothed your virginity, to save our souls.

Troparion, tone 2

Purified by virginity with kindnesses and crowned with flowers of chastity, God-blessed virgin Juliana, you appeared to the world in your incorruptible body, a source of healing and spiritual gifts giving to all who come to you, and now, like a warm light, kindled with grace by oil, you stand before the Throne of the Lord and your Heavenly Bridegroom, Pray to him, pure virgin, to deliver us from all evil, who honor your memory with faith and love.

Kontakion, tone 8

The Temple of God, animated, adorned with virgin purity, we know you, the holy righteous virgin, Princess Juliana, and we also celebrate with love the discovery of your holy relics, we pray to you, known intercessor for our desires: bring your prayers to the Lord for us and free us from all troubles through your intercession with The Throne of the Most High, let us call to you: Rejoice, holy virgin Juliana, beautiful bride of Christ.

Greatness

We magnify you, holy righteous virgin Juliana, and honor your holy memory, for you pray for us to Christ our God.

O holy righteous virgin Juliania, Princess Olshanskaya, helper of all who thirst for salvation and healing from illnesses of souls and bodies, bring prayers to our Lord Jesus Christ and His Most Pure Mother and Ever-Virgin Mary for all the peoples of Great, Little and White Russia.

Pray to our Savior, may all people turn to the Orthodox faith, may they strengthen mutual love and spiritual unity.

You, wise virgin, who has shown the great power of God’s grace in yourself and glorified in the doubt of the saints of Pechersk, strengthen the confessors of the Orthodox faith, give them firmness and courage, turn the lost to repentance and correction, save our entire country from famine, cowardice, flood, fire, internecine warfare and from all enemies visible and invisible.

Oh, holy lamb of God, who has the gift of healing many diseases and protecting us from the machinations of enemies, heal our spiritual passions and alleviate serious bodily illnesses, grant us joy in sorrows and deliver us from all troubles and misfortunes.

Look at all those who stand before you with your honest might and those who ask for your help with a contrite heart and a humble spirit, so that in all our lives we may bear spiritual fruits: love, goodness, mercy, faith, meekness, abstinence, may we be worthy of eternal life and may we sing through your love to the one who glorified you To the Lord Jesus Christ, to Him belongs all glory and honor, together with His Originless Father and with His Most Holy and Life-Giving Spirit, now and ever, and unto ages of ages. Amen.

Troparion, tone 2

Kontakion, tone 8

Greatness

We magnify you, holy righteous virgin Juliana, and honor your holy memory, for you pray for us to Christ our God.

Pray to our Savior, may all people turn to the Orthodox faith, may they strengthen mutual love and spiritual unity.

Oh, holy lamb of God, who has the gift of healing many diseases and protecting us from the machinations of enemies, heal our spiritual passions and alleviate serious bodily illnesses, grant us joy in sorrows and deliver us from all troubles and misfortunes.

JULIANIA

Right Juliania Lazarevskaya. Fragment of the icon “Murom Wonderworkers, with the Lives of the Holy Blessed Princes. Peter and king. Fevronia." 1699 (MIHM)

Right Juliania Lazarevskaya. Fragment of the icon “Murom Wonderworkers, with the Lives of the Holy Blessed Princes. Peter and king. Fevronia." 1699 (MIKHM) The image of I., apparently, was painted during the life of Kallistrat (Druzhina) Osorin, when the veneration of his righteous mother began in Murom. The icon is mentioned in the Life of I. in connection with one of the healings at her tomb: “The village of Lazarev... the wife of (cleric) Agathia’s right hand fell away... and blessed Ulyaneya appeared to her in a dream, saying: “Go to church... and venerate the icon of the righteous Ulyaneya.” ... to her image"; she will do this..." (Evgeny (Mertsalov). 1910. P. 7-9). The image was obviously in the c. Cathedral of the arch. Michael, elevated to mid. 10s XVII century above I.’s resting place, next to c. right Lazar in the village. Lazarev near Murom.

In the original text of the Life, probably, Kallistrat Osorin himself made certain additions and changes that made “the very image of the right. Juliania more iconographic or ascetic” (Ibid. pp. 10-11). When describing I.’s dormition, the author deliberately creates a visible verbal “icon”: “...and he will give peace and forgiveness to everyone, reclining, and crossing himself three times, wrapping his chotki around his hand, the last word of his speech is: “Glory to God, for everyone’s sake!” In Your hands, O Lord, I commend my spirit, Amen!” And she gives up her soul in the hand of God, Whom you love, and everyone saw a circle of gold around her head, as it is written on icons around the heads of saints” (The Tale of Ulyaniya of Murom. 1860. P. 67).

In the consolidated iconographic original of the 18th century, which belonged to G.D. Filimonov, an icon is described, a kind of portrait of St. the Osorin family, which could have been created in the 2nd half. XVII century (judging by the note about the “old icon” and the postscript about the living grandson of the righteous woman): “Holy Righteous Juliana of Murom on the Ilevna River; in the likeness of Elizabeth, on the head of the dress is green, the upper robe is cormorant, the underside is blue, the right hand is pressed, there is a ladder in the shuyts. And her husband Georgy was sitting on top, wearing a coat like Gregory the Theologian, a princely fur coat, cinnabar, green underwear, wearing a hat; and her daughter, the schema-monk Theodosius; there is writing on the old icon. And her son Dimitri, he now has a son Avramiy in the Starodub district” (Filimonov. Iconographic original. P. 43; see also: PE. T. 11. P. 21-22). Similar descriptions with some variations are found under January 2. in the originals XVIII century (BAN. Strict. No. 66. L. 69 vol.), 30s. XIX century (IRLI (PD). Peretz. No. 524. L. 107). In an 18th century manuscript. from the collection of S. T. Bolshakov I. is also compared with rights. Elizabeth (Bolshakov. Original icon painting. P. 62); in the original of the 20s. XIX century it is said: “Like Elizabeth, a cinnabar robe, green underneath, a cross in the right hand, a prayer service on the left” (RNB. Weather. No. 1931. L. 86 vol.). An important detail of I.’s iconography is the image of a lestovka in her hand, emphasizing the piety and constant prayer feat of the righteous woman, as described in the Life: “She ceaselessly, holding a rosary in her hands, saying the Jesus Prayer...” (The Tale of Ulyaniya of Murom. 1860. P. 65 ).

Information has been preserved about the icons of I., which could have been quite early and testified to the veneration of the righteous woman in the 2nd half. XVII century These include “the icon of the righteous that was in the iconostasis of the Lazarus Church (Cathedral of Arch. Michael - O.S.) at the northern gate. Juliana with a prayer to her" (Evgeny (Mertsalov). 1910. P. 15-16). The icon of I. is also mentioned, painted “on a tree together with Saints Peter and Fevronia, the Murom wonderworkers” (Ibid. p. 19). Currently time of the icon I. only with the faithful prince. Peter and King. Fevronia is unknown, but on the icons of the Cathedral of Murom Saints her image was traditionally placed next to them.

On the icon of “ancient Greek painting” from c. Cathedral of the arch. Mikhail I. was depicted together with 5 Murom miracle workers. A similar “ancient” icon was once in the Kazan (Nikolo-Mozhaisk) church in Murom (Ibid. pp. 20, 33. Note 2). Another image (25x28.5 cm), coming from c. The Dormition of the Virgin Mary in Murom was recorded (without dating) in the records of the Murom Museum of the 30-40s. XX century (not saved?). On it, I., together with the Murom miracle workers, stood in prayer to the Savior Not Made by Hands on the sides of a “small white temple” on a gold (above) and blue (below) background.

The icon with the marks of the life of I. was in the church of the Muska churchyard until the beginning. 30s XX century and was revered as miraculous (not preserved, described in detail in 1909). The service of prayers for I. did not stop here even during the period of the ban on prayers for I. and rights. George from 1801 to 1867-1868. The memory of the saint in the church in the churchyard was celebrated not on January 2, but on the 10th Sunday after Easter: “Before the religious procession on the same day, before the liturgy, they go to Lake Svyato - the place of the appearance of the miraculous icon, where they wash themselves with water and wash their children ... especially pilgrims prefer to pray before the icon of St. Juliana with her infants” (Ibid. pp. 25-26, 34). According to local folk legend, “this icon appeared long ago on Lake Svyate, 4-5 versts from the churchyard, from where it was brought to the temple.” It was placed in a special icon case behind the right choir, and was “up to 20 vershoks in height, and up to 12 vershoks in width” (88x52.8 cm). In 1932-1933, before the closure of the church in the churchyard, the icon miraculously “gone” to Lazarevo (Epanchin. 2002. pp. 40-41).

In the center of the icon I. was depicted full-length, praying (“with two fingers”) to the Savior. In 6 stamps (“on the right side of the face”, 2 in a row) it was presented: “... in the 1st, her marriage: crowns were laid on the heads of the couple and in the middle of them the priest performing the sacrament, in the 2nd - the home prayer of righteous Juliana before the image the Savior, in the 3rd - her reverent service to her husband; a nobleman is depicted sitting in a chair, his wife stands in front of him, and in the middle of them is a table on which stands a vessel in the form of a chalice; in the 4th - righteous Juliana gives alms to 2-3 beggars; in the 5th, her burial: the clergy are visible surrounding the coffin, and in the 6th, the finding of St. her relics with the upcoming clergy and several persons. The writing style is not Italian or Fryazhsky, but rather ancient Greek” (Evgeny (Mertsalov). 1910. pp. 25-26. Note 1).

The iconographic scheme of the image is largely related to the monuments of the Murom circle of the 17th century. The first composition representing the wedding of I. and rights. George in the temple of rights. Lazar in the village. Lazarev, could go back to the mark depicting this sacrament on the Murom icon of 1618 “Blessed Princes. Peter and king. Fevronia in the Life" (MIKHM, publ.: Icons of Murom. 2004. P. 150-167. Cat. 19). The wedding plot is rare in Russian. icons The motif of “salvation in the world” in the family is heard in the Lives of the Blessed Princes. Peter and king. Fevronia, in the Life of I. it becomes the main theme. It is generally accepted that in the wedding scene it is right. George and I. was depicted as a priest. Potapius (Pimen), after tonsure, was appointed archimandrite of the Spaso-Preobrazhensky Monastery in Murom.

Right Juliania Lazarevskaya. Icon. 1925 Artist. D. S. Stelletsky (C. St. Sergius of Radonezh, Paris)

The fourth mark, where I. gives alms, is also close to a similar composition on the icon of the noble princes. Peter and king. Fevronia. They are united by the motive of personal participation in the fate of the “orphan and wretched” and the distribution of alms with their own hands, and not through servants. In the 3rd mark I. was shown as a wife in “respectful service to her husband.” This scene, completely “worldly”, probably resembled scenes on popular prints and objects of decorative and applied art of the 17th-18th centuries, where the correct behavior of a wife in the family circle was shown, corresponding to the instructions of “Domostroi” - lit. monument that influenced the work of Kallistrat Osorin (Buseva-Davydova I.L. Life of Juliania Lazarevskaya: Experience of interpretation // Uvarov Readings-5: Proceedings of the scientific conference, dedicated to the 1140th anniversary of the city of Murom, May 14-16 2002. Moore, 2003. pp. 106-110).

About veneration in the beginning. XVIII century in the village Lazarev I. as a saint is evidenced by the shrine built in 1710 and the canopy over it (1713), as well as the silver reliquary cross (MIHM), placed in 1704 in the c. in honor of the Cathedral of Arch. Mikhail in the village Lazarev to the relics of the righteous woman (see: Sukhova O. A. Reliquary crosses in the collection of the Murom Museum // Stavrografichesky collection. M., 2005. Book 3. P. 534-536. Cat. 3).

In the 2nd half. XVIII century Church authorities began to interfere with the veneration of the righteous woman. In 1801, a secret investigative file was compiled about the coffin of I. From the materials of the case it is known that in the temple of the village. Lazarev, a kind of tombstone complex was formed: “... the shrine was placed on the left choir of the temple, and at the “foot of the tomb” there “stood” an icon of the righteous Juliana with her life, painted, and on the tomb itself there were two shrouds with her image” (Evgeniy (Mertsalov) 1910, p. 19). Probably, the hagiographic image at the tomb was close in the composition of the marks to the revealed icon from the Muska churchyard. Two shrouds with images of the saint lying on the tomb could serve as a sewn cover. It is unclear from the description when they could have been created, but most likely ca. 1710. In addition to these works, the church also had icons with the image of I., 3 of which are mentioned above among those considered “ancient”, and one was “painted on canvas,” apparently in the 2nd half. XVIII century At the end of the investigation, all the icons of I. were removed from the temple and placed in the sacristy of the bishop's house (Ibid. pp. 18-19, II). The diocesan authorities attempted to destroy the tombstone complex and bury the coffin in the ground, but by decision of the Synod, the tomb was left, however, without the icons “painted in the name of that Ulyany” (Ibid. pp. 19, 24).

Descriptions of lost Icons (probably from the 17th-18th centuries) indicate that its iconography developed over several centuries. directions and was as diverse as that of other Russians. saints, including Murom. The first (until the 40s of the 17th century), obviously, was her gravestone icon, then similar works were painted as prayer images. Soon they created an image where I. was presented together with her husband and daughter. Presumably at the same time, icons of the righteous woman appeared in the life. Probably in the 2nd half. XVII century The saint began to be depicted on icons along with other Murom wonderworkers. Early works of the “personal” and hagiographic types have not survived, because they were removed from church use in 1801, and some disappeared after 1917.

The icons on which I. was presented at the Cathedral of the Murom Wonderworkers were, apparently, subject to bans less than others. Several have survived. monuments of the 17th - early XIX century (MIHM), where I am depicted among other Murom saints. They depict the image of the righteous woman, as imagined by people who knew about her from their parents, but at the same time inscribed within the framework of the canon.

The earliest in the iconography of I. is the icon “Murom Wonderworkers, with the Lives of the Blessed Princes. Peter and king. Fevronia" 1669 (MIKHM, see: Icons of Murom. 2004. pp. 218-227. Cat. 39) - a bright and original monument to icon painting of the 2nd half. XVII century, testifying to the original local tradition that had developed by this time. The image was commissioned and executed in Murom for the Posad church of the Great Martyr. George in Kozhevniki (“October 7178 in... day[y] the icons of the Resurrection of Christ and the Murom wonderworkers and martyrs of Christ George and Nikita and Boris and Gleb were painted on the page [as]tyakh according to the promise of Sidor Matveev and Lopatin’s son”). In pre-revolutionary sources, I. is designated as an “unknown person” (Inventory of the ancient churches of the city of Murom and the ancient objects found in them, late XIX - early XX centuries: RKP // Scientific archive of the MIHM. No. 29. L. 50 ).

Holy books Peter and king. Fevronia, right. Juliania Lazarevskaya. Fragment of the icon of the Mother of God “The Most Bright Star”. 1690? Icon painter A. Kazantsev (?) (MIHM)

In the middle of the icon are written the most famous local miracle workers: blgv. Princes Konstantin, Mikhail, Theodore, Peter, king. Fevronia and I. (today this is the oldest surviving image of the Cathedral of Murom Saints). The miracle workers stand in prayer to the image of the Mother of God “of the Sign” in a segment of cinnabar “sky”, below there is dark green soil with herbs and flowers. I. is shown on the far right, full-length, half-turned to the center, next to the faithful princes. Peter and King. Fevronia, whose cut she resembles in height and partly in clothing. I.'s secular attire is almost no different from the monastic vestments of St. princesses, only in brighter colors: on the head there are dresses of a greenish tint, outer clothing is red-orange with a crimson lining, and the lower robe is light green; the right hand is raised in a prayer gesture (the hand is folded into a “handful”, like that of the main king Fevronia), in the left there is a rosary made of white beads, called Ulyaniya. The time of writing the image coincides with the formation and dissemination of the “Murom Collections”, which already included the Life of I.

The next work in time of creation with the image of I. is the icon of the Mother of God “The Blessed Star”, with the falling Murom miracle workers (1690?, MIHM, see: Icons of Murom. 2004. P. 284-287. Cat. 53). A rare icon in terms of iconography (see the articles “The Most Bright Star”, the icon of the Mother of God, “The Most Bright Star”) comes from the Cathedral of the Nativity of the Most Holy. Virgin Mary in Murom and is attributed to the authorship of local isographer A.I. Kazantsev. They fall at the feet of the Mother of God in prayer: on the left - blgv. Princes Konstantin, Mikhail, Theodore, on the right - the noble princes. Peter and king. Fevronia, I. (far right). The latter is depicted by the icon painter half-turned to the center, with her knees slightly bent; she has a beautiful face with large eyes, a thin nose and a small mouth. She also has similarities with blgv. Kng. Fevronia - the color of the righteous woman’s clothes is similar to a monastic robe, a reddish cassock and the dark doll of St. princesses, both have the same hand movement. At the same time, the colors of the vestments, gestures and details of I.’s iconography basically correspond to the indications of the iconographic original: her shawl and lower robe are of a greenish-brownish tone, the upper “chabe” is of a reddish (“cormorant”) color, her right hand is pressed to her chest, in her left - rosary, similar in type to a ladder with sewn leather or woven steps.

On Murom icons I., as a rule, is depicted near the noble princes. Peter and king. Fevronia opposite the group of blgv. princes Constantine, Michael and Theodore. One of the samples is a small holy icon “Cathedral of Murom Saints”, con. XVII century from the collection of I. S. Kulikov (MIKhM, see: Icons of Murom. 2004. pp. 278-279. Cat. 51), created at the time when the composition “Cathedral of Murom” was finally formed in the church tradition, literature and iconography saints." In the center of the middle is the Murom Kremlin with the Cathedral of the Nativity of the Holy One. The Virgin Mary, which has become a symbol of the “God-saved city of Murom” (according to researchers, the wooden Kremlin is depicted with some degree of reliability), on the left and on the right there are 3 figures of Murom saints praying to the Savior for the city. I. occupies the usual place on the far right next to the bldg. Kng. Fevronia (clothing in almost the same tones as the blessed princess), in her left hand is a white rosary.

Judging by its size, the icon could belong to the number of pilgrimage and “distributing” images of the same type. This is confirmed by another icon, similar in iconography, style and time of creation, “The Cathedral of Murom Saints” (CMiAR, brought from Khvalynsk, where it came from Cheremshan; see: Icons of Murom. 2004. P. 29. Ill. 19). Its peculiarity is the image of the figure of I. kneeling in prayer in the foreground, separated from other Murom saints by the Kremlin wall. This corresponds to the sacred topography of Murom and its environs, since the relics of St. Murom princes were in city churches, and I. was buried outside the city, in the church of the village. Lazarev.

Presumably I. is one of the figures on the frame with the Murom Icon of the Mother of God and with the upcoming saints (XVIII century, State Historical Museum). The plot and iconography indicate the Murom origin of the icon: in the middle of the 1st quarter. XVIII century presented by blgv. princes Konstantin, Mikhail, Theodore, to the right of them on the frame are the noble princes. Peter and king. Fevronia, on the left - St. Peter, Metropolitan Moscow (?), and women. a figure in secular attire, probably I. In the upper register - the Murom Icon of the Mother of God with the upcoming St. the passion-bearing princes Boris and Gleb, below - “The Miraculous Voyage of St. Vasily, bishop Ryazansky".

Cathedral of Murom Saints. Icon. Con. XVII century (MIHM)

Blgv. Princes Konstantin, Michael, and Theodore, with the Murom Icon of the Mother of God and selected saints. 1st quarter, 2nd half. XVIII century (GIM)

The cessation of the service of prayers to I., the confiscation of icons and the ban on new images of her influenced the content and composition of the “Cathedral of Murom Saints”. On the icon of this description, with selected saints, con. XVIII - beginning XIX century from the collection of M.K. Levin (MIHM; see: Icons of Murom. 2004. pp. 350-351. Cat. 73) instead of I. next to the faithful prince. Peter and King. Fevronia is depicted as MC. Paraskeva Friday. In the middle of a small 3-leaf folding with the Bogolyubskaya and Muromskaya icons of the Mother of God and the Dormition of the Virgin Mary, beginning. XIX century (MIHM; see: Sukhova O.A. The embroidered cover of the Murom princes // PKNO, 1990. M., 1992. P. 400. Ill.), among the Murom miracle workers on tradition. The figure of I. is placed in this place, but the inscription has been changed (“From Ulyaniya martyr”). On some icons of the 19th century. not 6, but 5 Murom saints are represented (without the image of I.).

After the resumption of veneration of I. bishop. Muromsky Jacob (Krotkov) in 1875, “viewing the church of the village of Lazarev, opened the tomb and instructed to examine the contents in the coffin, and he himself read aloud the handwritten life, cried and recommended the clergy of the village of Lazarev to perform a righteous prayer service. Juliana every Sunday." In 1888, at the expense of the merchant A. M. Nikitin, a new shrine was built, and “in 1889, on October 15, in the church of the village of Lazarev, with a great crowd of people... the transfer of the righteous coffin was solemnly performed. Juliania from the former ancient shrine to the newly built richly decorated one” (Evgeny (Mertsalov). 1910. P. 27. Note 3).

Currently time in c. St. St. Nicholas the Wonderworker (Embankment) in Murom there is an I. shrine with hagiographic scenes, the edge was made in 1888 from cypress wood and decorated with gilded copper chased plates (the image of the Lord of Hosts on the lid has not been preserved; see: Sukhova. 2004. pp. 118-120. Ill. on.). An icon was placed directly on the tomb (not preserved, replaced by a new one) with a straight life-size image of the saint (Dobronravov V.G. Historical and statistical description of churches and parishes of the Vladimir diocese. Vladimir, 1897. Issue 4. pp. 216-217). Scenes from the Life of I. are displayed in 4 stamps on the sides of the shrine in ovals with a floral frame: a voice from the icon of the Mother of God, heard by the priest about I.; I. gives alms; phenomenon of St. Nicholas the Wonderworker I. (depicted with a book in his hands, as in the story about the 1st appearance); repose of I. If the main theme of the hagiographic icon from the Muska churchyard is “salvation in the world,” then here the emphasis is on “salvation in the Church.” This interpretation of the Life is associated with the resumption of veneration of I. (Sazonov, Sazonova. 1995. P. 52). Raku I. can be considered as a kind of hagiographic icon, where the role of the middle was played by the image of a saint lying on the tomb.

In the church with Lazarev, certain traditions have developed in the veneration and iconography of I. In the photograph of the interior of the church before its closure in 1931 (MIKHM; see: Sukhova. 2004. pp. 120-121. Ill. on.) it can be seen that near the shrine there is a large icon of I. in full height, with folded arms hands - obviously, this is an image (presumably the last third of the 19th century), taken directly from the tomb. I. is depicted in very modest peasant clothes, which corresponded to the ideas of the rural population about her. In the last years of her life, I. hardly differed in appearance from her “slaves.” In 1914, in memory of the 300th anniversary of the glorification of I., the clergy and parishioners of the Lazarevsky Church ordered a silver cross with enamel decorations for her relics (MIHM; see: O. A. Sukhova. Silver altar crosses in the collection of the Murom Museum (XVII - early. XX century) // Artistic metal of Russia: Materials of the conference in memory of G. N. Bocharov, April 22-24, 1998. M., 2001. P. 90. Cat. 16; She. 2004. Suppl. 135. Cat. 2. Ill. on).

Right Juliania Lazarevskaya gives alms to the poor. Embossed plate. 1888 (Church of St. Nicholas the Wonderworker, Murom)

Right Juliania Lazarevskaya. Icon. Last third of the 19th century (Cathedral of the Annunciation Monastery, Murom)

Half-length image of I. (with hands folded on his chest) last. third of the 19th century, owned by the priest. Lazarevskaya c. Mikhail Ivanovich Georgievsky, to the end. 80s XX century was kept by a resident of the village. Lazarev E.N. Kalinina, then was presented to the priest of the Murom Church of the Annunciation of the Virgin Mary, who took the icon to the West. Ukraine. In the Annunciation Cathedral in the iconostasis of the warm church before the beginning. 90s XX century (at present in the altar) there was a small prayer image of I. last. third of the 19th century the same version: on her head there is a bluish shawl, the outer clothing is gray, the lower one is green, both hands are pressed to the chest (Chernyshev V. Ya. Muromsky Spassky Monastery: Pages of History. M., 2006. Ill. on) . On the icon (probably 19th century) from the Trinity Church. in the village Dubrovo (Selivanovsky district, Vladimir region, formerly Muromsky district, near Lake Svyato) I. is written in full length. In con. XIX - early XX century in the houses of residents of Murom and the surrounding area there were icons of the Murom saints with the image of I. (in the 2nd half of the 20th century there were 2 similar icons in the collection of local historian A. A. Epanchin).

One of I.’s descendants, Grodno governor M. M. Osorgin, wrote: “The memory of the righteous has always been honored in the family. Juliana, as the ancestor, although her veneration (until 1893) was limited to the family circle... and we didn’t even have an icon of her... I named my daughter, born in 1892, in honor of the righteous Juliana... Due to the lack of an icon of the righteous in the family. Juliana, I turned to the Trinity Lavra of St. Sergius with a request to purchase an icon, and they sent two of them: one for the brotherhood, the other for our family. The righteous one is depicted on a golden background in full height with a prayerful gaze turned to heaven" (Evgeny (Mertsalov). 1910. P. III, 20, 30-31). The icons painted in TSL in 1893 can be judged from modern ones. list (in 1999 brought to Murom from Paris by I.’s descendants, located in the Church of St. Nicholas the Wonderworker (Embassy), see: Sukhova. 2004. P. 124. Ill. on). The iconography differs from the local icons of I. con. XIX century: the righteous woman is presented in ancient Russian. rich red robe (her class affiliation is emphasized) on a golden background.

In Russian In emigrant circles, the icon of I. with hagiographic stamps, painted by the artist, is known. D. S. Stelletsky in 1925 (C. St. Sergius of Radonezh in Paris, see: Tolstaya. 1927; John (Kologrivov), hierome. Essays on the history of Russian holiness. Brussels, 1961; Life of Juliania Lazarevskaya. 1996. Ill. on the region; Sukhova. 2004. Ill. on inc.). According to T. R. Rudy, this artist “was familiar with the description of the “ancient” icon of St. right Juliania, which was once located in the Muskovo churchyard" (Letter from T.R. Rudi dated July 18, 1988 // Personal arch. O.A. Sukhova). According to the iconographic scheme, Stelletsky’s work really corresponds to the ancient revealed image, and the representative appearance of I. in rich patterned clothes follows the tradition of icons from TSL. Dr. The small image of I. was painted in 1930 by the prince. Elena Lvova for the daughter of M. M. Osorgin in Paris (currently in Santa Fe, USA); According to tradition, the half-length image of I. in a white cloth and reddish clothes on a golden background is executed in Old Russian. style.

In the composition “Cathedral of Russian Saints” I. is represented on icons made by masters of the Vygoleksinsky community (a mantle-shaped image in the top rows, on the far right, in lay or monastic attire). This is how she is depicted in the image of the horse. XVIII - beginning XIX century (MIIRK), on the icon of 1814 there are letters from P. Timofeev from the collection of the Central Academy of Music of St. Petersburg and on the Severodvinsk icon of the middle - 2nd half. XIX century from the village M. Gorka, Vinogradovsky district, Arkhangelsk region. (State Russian Museum; see: Images and symbols of the old faith: Monuments of old culture from the collection of the Russian Museum / State Russian Museum. St. Petersburg, 2008. pp. 72-73, 82-85. Cat. 62, 70; see - Markelov. Saints of Ancient Rus'. T. 1. P. 462-463), on the image of the 1st half. XIX century from the village Chazhenga, Kargopol district, Arkhangelsk region. (Tretyakov Gallery, see: Icônes russes: Les saints: [Exposition] fondation P. Gianadda. Martigny (Suisse); Lausanne, 2000. P. 142-143. Cat. 52). The saint is painted with a scroll in her hand (far left in the bottom row, in a green dress and a white scarf) on one of the Russian minaion icons. saints con. XIX century from the Old Believer Danilovskaya prayer house in Kazan (GMIIRT). In profile, with a staff and a candle in his hands, I. appears in one of the groups of ascetics of the 17th century. in the academic mural style of the work of hierodeacons Paisius and Anatoly (late 60s - 70s of the 19th century; renovations in the 70s of the 20th century, ca. 2010) in the Russian gallery. saints, leading to the cave church. St. Job of Pochaevsky in the Pochaev Dormition Lavra.

Mon. Juliania (Sokolova) wrote I. in the group of Murom miracle workers on the icons “All the saints who shone in the Russian land” 1934 (TSL; cell image of St. Athanasius (Sakharov)), beginning. 50s XX century, late 50s XX century (TSL, SDM; see: Aldoshina N. E. Blessed Work. M., 2001. P. 231-239; this version was reproduced by icon painters in the late 20th - early 21st centuries). In the preparatory drawings mon. Juliana to the Russian holy calendar. saints 1959-1962 (private collection, see: Juliania (Sokolova), nun. Russian Saints = Saints of Rus' / Ed. N. Aldošina. [Juväskylä], 2000. P. 46) I. presented on January 2. upright, in boyar clothes (on the head of a scarf), with arms crossed on the chest, together with St. Seraphim of Sarov. For the publication of the liturgical Menaion, Fr. Vyacheslav Savinykh and N.D. Shelyagina proposed a version of the life-size image of I. half-turn to the left, in prayer before the heavenly segment with the blessing right hand of God (Images of the Mother of God and the saints of the Orthodox Church. M., 2001. P. 117).

In the 90s XX century The iconography of Murom saints, including I., was replenished with new images. Priest N. N. Abramov in 1990 painted a large life-size image of I. in the local tradition of horse painting. XIX century, which was placed on the shrine as a tombstone (the original version was made in the ancient Russian style). For Mont-Rei and the temples of Murom, artist. I.V. Sukhov created a number of icons of local miracle workers (see, for example: PE. T. 11. P. 22), in particular, several. variants of the composition “Cathedral of Murom Saints” with the image of I. So, on the icon of 1996 (Trinity Women's Monastery in Murom) local saints stand before the Murom Icon of the Mother of God against the backdrop of 2 cathedrals, I. - in secular clothing, similar in type to the monastic, far left in the 2nd row, above the bldg. Kng. Fevronia. The image is made according to the canon and in the traditions of ancient Russia. painting, but does not copy a specific example, but is an original work. The single image of I. was painted by Sukhov at the request of the parishioners of the Murom Annunciation Cathedral. In 1997, on the day of the consecration of St. source in the name of I. in the village. Dubrove, artist. V. V. Samarova (a novice in the Murom Trinity Monastery) wrote a copy on cardboard from the Stelletsky icon (kept in the collection of O. D. Malova in Murom, see: Malova O. D. The image of the merciful Juliana in my destiny // Gracious : Prav. Juliania Muromskaya (Lazarevskaya). 2004. P. 228. Ill. on the region).

Right Juliania Lazarevskaya. Painting of the Cathedral of the Annunciation Monastery in Murom. 2000–2001 Master A. G. Filippov

In 2000-2001 in the chapel in the name of St. John the Theologian of the Annunciation Cathedral of the Annunciation husband. mon-rya Vladimir artist. A. G. Filippov in the style of academic painting. XIX - early XX century the altar barrier was painted. It represents the Murom miracle workers, I., looking like a peasant woman with a ladder in her hands, is placed separately, outside the altar wall, on the wall on the right. The appearance of the righteous woman in a white dress and a dark “cube” sundress, walking with a bouquet of wild flowers through a meadow against the backdrop of the river and the towers of the Murom Kremlin, goes back to the images on the canvases of M. V. Nesterov (Sukhova. 2004. pp. 128-130. Ill. on on). A half-length image of I. in a medallion is included in the painting of the cathedral in honor of the Kazan Icon of the Mother of God in Optina Pust. (c. 2002, artist S. V. Vasyutina).

On the 400th anniversary of I.'s repose, in 2004, the temple in honor of the Cathedral of Arch. Mikhail in the village Lazarev. Zap. the facade of the church was decorated with a bas-relief by the sculptor I. A. Chernoglazov from Vladimir: I. together with rights. George and etc. Feodosia (youth). At the same time, 2 icons of I. with her husband and daughter were painted (artist Sukhov, Church of the Cathedral of Arch. Michael in the village of Lazarev): a small image with life-size upright figures and an icon for a tomb built over the place where the relics of the rights rest in secret . George. There is also a work by the Vladimir icon painter I. Dronov: I. in prayer before the images of the Savior, St. Nicholas the Wonderworker and in front of the Murom Icon of the Mother of God against the backdrop of Murom (the walls and towers of the Kremlin). Dr. an image of the same version of Dronov’s letter is located in the Sretensky Monastery of Gorokhovets. Vladimir icon painter I. Skurikhin is the author of the temple image of I. (in secular clothes, with a rosary in his hand) for the house ts. Muromsky Institute (branch of Vladimir State University), consecrated in the name of I. in 2004.

In the same year, the chapel in the name of rights was consecrated. wives Anna, Tabitha and I. in the Murom Trinity Monastery, in the iconostasis there are embroidered icons made by the sisters of the monastery. The temple image is right. wives in 2006 were performed by the nuns David (Ovchinnikova) and Augusta (Ostrovnaya): I. is depicted upright, full-length on the far right, with her right hand pressed to her chest, wearing a rosary on her left. I.'s rich robe is skillfully embroidered with spun gold of various shades (from white to bright yellow), the saint's face is filled with traditional flesh-colored silk. satin stitch. In 2008, the walls of the chapel were painted with scenes from the lives of St. wives (artist A. Toporishchev from Krasnoarmeysk, Moscow region). To the north The composition “Right. Juliana distributes alms" (bread), to the south. The righteous Anna, Tabitha and I are written on the wall.

Modern Icons are also created abroad, for example. in the USA, where, on the initiative of the descendants of the ascetic, a c. in the name of I. in Santa Fe (Ibid. P. 130. Ill. on). Icons from this temple are half-length images of I. in rich ancient Russian. outfit (blue dress and a patterned red fur coat, on the head - a white scarf or a hat with fur trim on top of it).

Lit.: The Tale of Ulyania of Murom // Monuments of ancient Rus. literature, ed. gr.G. Kushelev-Bezborodko / Ed.: N. Kostomarov. St. Petersburg, 1860. Issue. 1. pp. 63-67; Evgeniy (Mertsalov), bishop. About the church. glorification and veneration of St. right Juliania Lazarevskaya. Murom, 1910; Tolstaya A.V. Prav. Juliania Lazarevskaya. P., 1927; Sazonov S.V., Sazonova E.I. Iconography of Ulyaniya Lazarevskaya // Rus. ist. figures in the icon: Tez. report scientific Conf., Dec. 1989 / TsMiAR. M., 1995. S. 51-53; Life of Juliania Lazarevskaya: The Tale of Ulyaniya Osoryina / Research. and preparation text: T. R. Rudy. St. Petersburg, 1996; Markelov. Saints Dr. Rus'. T. 1. P. 462-463; T. 2. P. 139-140; Epanchin A. A. “The Lord made me a collector”: From local historian. archive of A. A. Epanchin. Murom, 2002; Icons of Murom. M., 2004; Sukhova O. A. The image of Juliania Lazarevskaya in the art of Ancient Rus' and the church. works of the XIX - early XXI centuries // Gracious: Right. Juliania of Murom (Lazarevskaya): To the 400th anniversary of her repose. Murom, 2004. pp. 92-135.

O. A. Sukhova

Juliania Olshanskaya

Juliana of Olshanskaya, Saint Juliana of Olshanskaya

1550(1550)

Volyn

Death Honored Glorified In the Face of the Shrine Remembrance Day

Juliania Olshanskaya

(secular name
Juliania Yuryevna
; 1550-1566) - saint of the Russian Orthodox Church, righteous princess, maiden, from the Golshansky-Dubrovitsky family, descendants of Lithuanian appanage princes. The memory takes place on June 4 (17) (Belarus), July 6 (19), September 28 (October 11).

Saint Juliana is revered as the first helper to Russian women in healing illnesses of the soul.

Story

She was born into the family of Yuri (George) Olshansky (Golshansky) from Dubrovitsa, one of the generous benefactors of the Kiev Pechersk Lavra, a famous military leader who fought the Tatars more than once.

Juliania lived a short life and died at the age of 16. The princess's body was buried near the Great Lavra Church.

Orthodox tradition ascribes to Saint Juliana virtues corresponding to her age, gender and rank: chastity, obedience to parents, favorable attitude towards inferiors, and especially Christian charity. Indeed, during her earthly life, the young girl discovered high Christian qualities, keeping God’s commandments, and reached the pinnacle of spiritual perfection.

At the beginning of the 17th century (under Archimandrite Elisha Pletenetsky) in Kyiv, near the large cathedral Pechersk Church, they were digging a grave for a deceased girl and came across a coffin.

Attached to it was a silver tablet with the inscription: “Iuliania, Princess Olshanskaya, daughter of Prince George of Olshansky, who died a virgin, in the 16th year of her birth.” When they opened the coffin, they saw the princess - incorrupt.

The coffin with the princess’s body was then transferred to the church.

During the time of Metropolitan of Kyiv, Galicia and All Rus' Peter Mogila, a new shrine was made for the relics of the saint because she appeared to the archimandrite in a dream and reproached him for his lack of faith and neglect of her relics.

It was then that the inscription was made on her tomb: “By the will of the Creator of heaven and earth, Juliana, the helper and great intercessor in Heaven, lives throughout the years.

Here bones are a medicine against all suffering... You decorate the heavenly villages with yourself, Juliania, like a beautiful flower...”

A story has been preserved about an unusual incident that occurred with the relics of the holy virgin. One day an attacker came to the Pechersk Church under the guise of a true believer. He pretended that he was going to visit holy places and venerate the relics of the holy saints of Pechersk.

In the church, he asked permission to venerate the relics of Saint Juliana, that is, to open the shrine with her relics, his request was granted, and he fell to her hand. But when he left the temple, he suddenly screamed in a terrible wild voice and fell dead.

When the villain's body was examined, it turned out that he had taken the ring from the princess's finger, for which he was punished. Since then, the Orthodox Church began to glorify Juliana.

At the reliquary of the relics of Saint Juliana, many miracles and grace-filled healings were performed.

The relics of Juliania were partially burned in 1718 during a fire in the Kiev Pechersk Lavra. Their remains were placed in a shrine and placed in the Near Caves of the Lavra.

The Orthodox Church glorifies the holy virgin in this way: “...I bring to You, All-Bounteous, Juliana, a candle, constantly bright, containing an abundance of oil; Through her prayers preserve us from all evil.”

The holy righteous virgin Juliana became the second of the holy wives of Rus' who were honored to be buried in the Lavra caves. On the icons, Saint Juliana is depicted in the Cathedral of the Holy Fathers of the Kiev Pechersk Lavra.

Notes

↑
Juliania (Princess Olshanskaya) // Russian Biographical Dictionary: in 25 volumes. - SPb.-M., 1896-1918.

Links

Encyclopedia “Russian Civilization”. Juliania Olshanskaya
The heavenly intercessor of the Polish region is the Holy Virgin Juliania (Prince Golshanska) (Ukrainian)

1566(1566)Kyiv

in the Orthodox Church

Russian Orthodox Church

righteous

relics in the Anthony Caves, Kiev-Pechersk Lavra in Kyiv and St. Nicholas Church in Dubrovitsa, Rivne region, Ukraine

July 6(19)

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Juliana of Olshanskaya, Saint Juliana of Olshanskaya

Juliania Olshanskaya Information About

Juliania Olshanskaya

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Biography

Quite little is known about Saint Juliana; moreover, the figure of this woman is one of the most mysterious in Orthodoxy. It is known that she died at the age of 16, unmarried, but remaining pure. The cause of Juliania’s death remains unknown, as well as why the remains of the young princess, discovered in the early 17th century near the Kyiv Lavra, remained incorrupt. Why did God choose this modest, even inconspicuous virgin?

Holy Righteous Juliana of Olshanskaya

Origin and birth

Juliania came from the old family of the Olshanskys (Golshanskys). In those days, Kyiv was part of the Principality of Lithuania and was ruled by the Olshansky princes, among whom was Juliania’s father, Gregory. Little is known about him, for example, that he expressed his patronage of the Kiev Pechersk Lavra with great zeal and was a devout person.

It was in such an Orthodox family that a girl was born, who, according to tradition, was named Juliania. From early childhood, Juliana was surrounded by monks and priests, from whom she bit by bit absorbed the concept of Christian virtues and love for the Lord in general.

More about women glorified in Orthodoxy:

Saint Valentine of Minsk
Holy Martyr Lyudmila
Saint Angelina of Serbia

However, despite her short but righteous life, according to some authors, Juliania was unable to avoid the so-called “curse of the Golshansky family,” due to the fact that by the end of the 16th century there was not a single descendant of this truly noble family.

Interesting! Many women of this kind, even if they died in old age, but, alas, remained childless during their lifetime. According to one assumption, the same fate befell Juliana.

In the 16th century, most girls got married quite early and at the age of 16 were already adult women with children. Historians of Orthodoxy have never solved the riddle - why did the young beautiful Princess Olshanskaya, having lived to the time when the girl was considered “marriageable”, remain undetected?

Juliania Olshanskaya died around the middle of the 16th century, but her body was discovered only at the beginning of the 17th century under Archimandrite Elisha Pletenetsky. Unfortunately, a fire that happened in one of the churches of the Kiev-Pechersk Lavra in 1718 destroyed the holy relics of the Virgin Juliana, and the ministers, placing the remains of them in a shrine, placed them in caves where hermit monks once lived.

After some time, Archimandrite Peter of Kiev began to often see the saint in a dream, who reproached him for the lack of proper attention to her coffin and therefore ordered a new shrine to be made for the relics, as it was decided to do.

Saint Juliana: biography, interesting facts, prayers

In the history of the Orthodox Church, there are many Christian wives who have been canonized. Several of them bore the name Juliana. In Russian Orthodoxy, the most interesting example is Saint Juliana of Lazarus, who was not a nun, blessed or martyr.

An ordinary laywoman from an old noble family, who lost her mother early and was married off at a very young age, she lived in her husband’s family, gave birth to and raised children, and lived a rather long life for those times.

What was her asceticism, what virtues did Saint Juliana possess, that her body after death was not touched by corruption, and the Russian Orthodox Church glorified her among the righteous? The essence of Juliana’s Christian feat was unfeigned love for her neighbor, which she preached and practiced throughout her life.

Primary sources of life

The only list of the discovery of the relics of St. Juliana of Lazarevskaya has been preserved. Also left are acts on the noble family of the Osorins. The main source testifying to the life and deeds of the saint is the Life of Juliania Lazarevskaya.

There are about 60 lists of the life in three different editions: initial (short), lengthy, summary. The initial edition after the discovery of the relics of Juliania (1614–1615) was written by her son Osoryin Druzhina (after the baptism of Kalistrat), who served as lip elder in Murom.

His work “The Tale of Juliania Lazarevskaya” is a classic example of ancient Russian literature, which for the first time describes in such detail the life of a noblewoman of that period.

Simple and unsophisticated, with a rich everyday description, the narrative is a brief and primary edition that was not widely distributed, and today only six lists are known, dating from the 17th - early 18th centuries. It is believed that the saint’s service was also compiled by her son Druzhina.

The original biography of Saint Juliana of Murom, presented by Kalistrat Osorin, in an expanded version and supplemented by stories about miracles that occurred at the tomb or from the relics of the saint, constitutes a lengthy and consolidated edition. The descriptions of miracles in them vary from 6 to 21, of which the last three miracles date back to 1649.

Pedigree

The family of Saint Juliana came from the ancient boyar family of the Nedyurevs, known since the end of the 15th century for their service at the royal court. Father Justin Vasilyevich was a housekeeper.

Mother Stefanida Grigorievna, nee Lukina, was from Murom.

A particularly influential person in the family was Ivan Vasilyevich Nedyurev, Juliania’s uncle, who was an official during the reign of Ivan IV the Terrible.

But the history of Saint Juliana of Murom is connected mainly with the name of her husband Georgy (Yuri) Vasilyevich Osorin. His family, like the Samarins and Osorgins, has not died out to this day. These families always preserved the memory of their holy ancestors and girls were often given the name Ulyana.

It became customary to call one of the Osoryins’ sons, often the eldest, Georgiy. Until 1801, along with the name of Saint Righteous Juliana, on the eve of the day of her memory, members of the Osorin family (George, Dmitry, Juliania’s grandson Abraham of Starodubsky) were remembered in prayers.

According to evidence from the beginning of the 20th century, all Osoryins were distinguished by their deepest religiosity and unshakable faith.

Over the years of the family's existence, including in the 20th century, many representatives of the family left a noticeable mark on the history of Russian Orthodoxy both in their homeland and in emigration.

Biography of childhood

Ulyana Nedyureva was born in 1530 and received the name Juliana at baptism. Her parents, wealthy and very pious nobles, lived in Moscow. Juliana was the youngest among several sisters and brothers. Obviously, the parents instilled in the children a deep religiosity, which the girl showed from an early age.

Her father died first, and her mother died when Ulyana was six years old. The orphaned granddaughter was taken into care and taken to her “Murom region” by her grandmother Anastasia Dubenskaya, who also died six years later.

Twelve-year-old Juliana was taken to her estate by her aunt Natalia Putilova, who had a large family.

The life of Saint Juliana exhaustively describes her inclinations and character in her early years.

The girl was distinguished by a meek and silent disposition; she preferred prayer to children's pastimes; she devoted her free time to needlework, sewing widows and orphans, went out to care for the sick, and fed the beggars.

Biographies note that in the area where the aunt’s estate was located, there was no church, so the girl did not attend services and did not have a spiritual mentor. However, she led a righteous life, observing fasts and spending a lot of time in prayer.

The girl’s asceticism worried her relatives, who were worried about her beauty and health, and therefore forced her to eat hearty breakfasts. Juliania, because of her lifestyle, was sometimes mocked by both household and servants, and her persistent desire to help the disadvantaged often even aroused her aunt’s anger. The girl accepted everything resignedly and humbly:

...We get a lot of laughs from our aunt, but we laugh at her from her daughters.

... She did not give in to their will, but accepted everything with gratitude and walked away in silence, having obedience to every person.

...Respecting my aunt and her daughters a lot, and having obedience and humility in everything, and being diligent in prayer and fasting.

Marriage

16-year-old Juliana was married off. Her husband, Georgy Osorin, was a wealthy Murom votnik who owned the village of Lazarevskoye, in which his estate and the Church of St. Lazarus were located.

There the wedding took place, performed by the priest Potapius (Pimen in monasticism). Osoryin's young wife got along well with her father-in-law and mother-in-law, showing obedience and deep respect towards them.

The daughter-in-law never contradicted the elder Osoryins, humbly and faithfully fulfilling any of their requests.

Her husband’s parents also noticed that the girl was not only virtuous, but also smart; she knew the answer to any question. Paying tribute to her kindness and reasonableness, Osoryina’s father and mother entrusted their daughter-in-law with running the household. The life says that Saint Juliana was merciful to her servants and sometimes took the blame upon herself for their misdeeds, never informing her husband:

... The matter is overpowering and nothing more than a simple name.

When her husband left for Astrakhan for a long time on business with the king, Juliania spent all her nights in prayer. She devoted her free time to needlework, which she sold, and gave the proceeds to build a church and spent it on helping the poor. The young couple lived in virtue, according to the laws of God.

Every day during evening and morning prayers, the spouses performed at least a hundred bows. Despite the fact that Juliania’s father was a literate man and collected handwritten books, she herself did not know how to read and write. Therefore, George read aloud to his wife the Holy Scriptures, the lives of the saints, and the works of Kozma the Presbyter.

Particularly revered by Juliana were the Mother of God and St. Nicholas the Wonderworker, whose images were in the local church of St. Lazarus.

Nicholas the Wonderworker seemed to be the patron of holy righteous Juliana, never leaving the righteous woman and providing miraculous intervention in difficult moments of her life.

Thus, she twice complained that she was haunted by demons who threatened her with death if she did not stop her benefactions. And both times, after Juliania’s desperate prayers, Nicholas the Wonderworker appeared to her, saving the praying woman with his intercession.

Acts of Godly Spouses

The young couple helped the needy a lot, distributing food in Lazarevskoye and sending alms to prisons. The virtue of the spouses spread not only within the Murom estate. The Osoryins also owned the Berezopol estate in Nizhny Novgorod district, where there was a church in the name of St. George the Victorious. Under her, the spouses established temporary shelter and distributed food to the poor:

... Two poor cells, fed from the Church of God.

But many of the good deeds of Saint Juliana of Lazarevskaya-Murom had to be performed in secret from her father-in-law and mother-in-law, especially when her husband, the righteous George, was away on military business. During a terrible famine, she gave the food she received from her mother-in-law for her food to the poor.

And during the plague, without fear of becoming infected, Saint Juliana secretly healed the sick from her loved ones, washed them in the family bathhouse, praying for recovery. She washed the dead, paid for their burial, ordered magpies and prayed for the deceased.

In 1550-1560, having lived to a ripe old age, George's parents died, while he himself was in Astrakhan in the service. According to the customs of the family, the elder Osoryins took monastic vows before their death, and Juliania gave them a proper burial with honor:

... I distributed a lot of alms and forty-ones for them, and commanded that a litorgy be served for them, and in my house I gave peace to the poor and the poor throughout the forty days... and I sent alms to the prisons.

Relics and veneration

“Sleeping Princess” - this is the name given to Juliana of Olshanskaya by the diggers who discovered her remains and opened the coffin for selfish reasons. They were surprised by the unprecedented beauty of the girl and her very strange appearance - despite the fact that her princely attire instantly crumbled into dust from touch and light, she herself looked as if alive.

Icon of Saint Juliana of Olshansk

The Holy Virgin Juliana is revered in Orthodoxy as a healer of women's souls and a deliverer from sorrows. It is believed that she acts as the intercessor of all women before the Virgin Mary and the Lord God.

On icons, Juliana of Olshanskaya is traditionally depicted among the holy fathers of the Kiev Pechersk Lavra. It is worth noting that this saint is the second of the women who are buried in the caves of the Kiev-Pechersk monastery.

Attention! A small part of the saint’s relics is available in the Zhitomir Cathedral Church, as well as in the church located in Golshany.