Fomin composer of the 18th century. The meaning of fomin evstigney in a brief biographical encyclopedia

Evstigney Ipatovich Fomin, the greatest Russian opera composer of the 18th century

E. Fomin (1761 - 1800) is one of the talented Russian musicians of the 18th century, whose efforts created the national school of composers in Russia. Together with his contemporaries - M. Berezovsky, D. Bortnyansky, V. Pashkevich - he laid the foundations of Russian musical art. In his operas and in the melodrama Orpheus, the breadth of the author's interests in the choice of plots and genres, mastery of various styles of the opera theater of that time was manifested. History was unfair to Fomin, as, indeed, to most other Russian composers of the 18th century. The fate of a talented musician was difficult. His life ended untimely, and soon after his death his name was forgotten for a long time. Many of Fomin's writings have not survived. Only in Soviet times did interest in the work of this remarkable musician, one of the founders of Russian opera, increase. Through the efforts of Soviet scientists, his works were brought back to life, some meager data from his biography were found.

Fomin was born into the family of a gunner (artillery soldier) of the Tobolsk Infantry Regiment. He lost his father early, and when he was 6 years old, his stepfather I. Fedotov, a soldier of the Life Guards of the Izmailovsky regiment, brought the boy to the Academy of Arts. April 21, 1767 Fomin became a student of the architectural class of the famous Academy, founded by Empress Elizaveta Petrovna. All the famous artists of the 18th century studied at the Academy. - V. Borovikovsky, D. Levitsky, A. Losenko, F. Rokotov, F. Shchedrin and others. Within the walls of this educational institution, attention was paid to the musical development of students: the students learned to play various instruments, to sing. An orchestra was organized at the Academy, operas, ballets, and dramatic performances were staged.

Fomin's bright musical abilities manifested themselves even in the elementary grades, and in 1776 the Council of the Academy sent a student of "architectural art" Ipatiev (as Fomin was often called then) to the Italian M. Buini to learn instrumental music - playing the clavichord. Since 1777, Fomin's education continued in the music classes that opened at the Academy of Arts, headed by the famous composer G. Paypakh, author of the popular opera The Good Soldiers. Fomin studied music theory and the basics of composition with him. Since 1779, the harpsichordist and bandmaster A. Sartori became his musical mentor. In 1782 Fomin brilliantly graduated from the Academy. But as a student of the music class, he could not be awarded a gold or silver medal. The Council noted him only with a cash prize of 50 rubles.

After graduating from the Academy, as a pensioner, Fomin was sent for improvement for 3 years to Italy, to the Bologna Philharmonic Academy, which was then considered the largest musical center in Europe. There, under the guidance of Padre Martini (teacher of the great Mozart), and then S. Mattei (with whom G. Rossini and G. Donizetti later studied), a modest musician from distant Russia continued his musical education. In 1785, Fomin was admitted to the exam for the title of academician and passed this test perfectly. Full of creative energy, with the high title of “master of composition,” Fomin returned to Russia in the autumn of 1786. Upon arrival, the composer received an order to compose the opera “Novgorod Bogatyr Boeslaevich” to the libretto of Catherine II herself. The premiere of the opera and Fomin's debut as a composer took place on 27 November 1786 at the Hermitage Theatre. However, the empress did not like the opera, and this was enough for the career of a young musician at court to be unfulfilled. During the reign of Catherine II, Fomin did not receive any official position. Only in 1797, 3 years before his death, he was finally accepted into the service of the theater directorate as a tutor of opera parts.

It is not known how Fomin's life proceeded in the previous decade. However, the creative work of the composer was active. In 1787, he composed the opera “Coachmen on a Frame” (to a text by N. Lvov), and the following year 2 operas appeared - “Party, or Guess, Guess the Girl” (music and libre have not been preserved) and “The Americans”.

Overture to the opera "The Americans"

They were followed by the opera The Sorcerer, the Soothsayer and the Matchmaker (1791). By 1791-92. Fomin's best work is the melodrama "Orpheus" (text by Y. Knyaznin). In the last years of his life, he wrote a chorus for V. Ozerov's tragedy "Yaropolk and Oleg" (1798), the operas "Clorida and Milan" and "The Golden Apple" (c. 1800).

Fomin's opera compositions are diverse in genres. Here are Russian comic operas, an opera in the Italian buffa style, and a one-act melodrama, where the Russian composer first turned to a lofty tragic theme. For each of the selected genres, Fomin finds a new, individual approach. Thus, in his Russian comic operas, the interpretation of folklore material, the method of developing folk themes, attracts primarily. The type of Russian “choral” opera is especially vividly presented in the opera “Coachmen on a Setup”. Here the composer makes extensive use of different genres of Russian folk songs - drawling, round dance, dance, uses the techniques of under-voice development, juxtaposition of solo melody and choral refrain. The overture, an interesting example of early Russian program symphonism, was also built on the development of folk song dance themes. The principles of symphonic development, based on the free variation of motives, will find wide continuation in Russian classical music, starting with M. Glinka's Kamarinskaya.

In the opera based on the text of the famous fabulist I. Krylov "The Americans" Fomin brilliantly showed mastery of the opera-buffa style. The pinnacle of his work was the melodrama "Orpheus", staged in St. Petersburg with the participation of the famous tragic actor of that time - I. Dmitrevsky.

Fomin - Orpheus and Eurydice - I - Overture

Fomin - Orpheus and Eurydice - IV - Grazioso

Fomin - Orpheus and Eurydice - V - Adagio

Fomin - Orpheus and Eurydice - VIII - Andantino

Fomin - Orpheus and Eurydice - IX - Chorus: Adagio Sostenuto

This performance was based on a combination of dramatic reading with orchestra accompaniment. Fomin created excellent music, full of stormy pathos and deepening the dramatic idea of the play. It is perceived as a single symphonic action, with continuous internal development, directed to a common climax at the end of the melodrama - "Dance of the Furies".

Fomin - Orpheus and Eurydice - XI - Finale: "The Dance of the Furies"

Independent symphonic numbers (Overture and Dance of the Furies) frame the melodrama like a prologue and an epilogue. The very principle of comparing the intense music of the overture, the lyrical episodes located in the center of the composition, and the dynamic finale testify to Fomin's amazing insight, who paved the way for the development of the Russian dramatic symphony.

The melodrama “has been presented several times at the theater and deserved great praise. Mr. Dmitrevsky, in the role of Orpheus, crowned her with his extraordinary acting,” we read in an essay about Knyaznin, prefaced by his collected works. On February 5, 1795, the premiere of Orpheus took place in Moscow.

The second birth of the melodrama "Orpheus" took place already on the Soviet stage. In 1947, it was performed in a series of historical concerts prepared by the Museum of Musical Culture. M. I. Glinka. In the same years, the famous Soviet musicologist B. Dobrokhotov restored the score of Orpheus. The melodrama was also performed in concerts dedicated to the 250th anniversary of Leningrad (1953) and the 200th anniversary of Fomin's birth (1961). And in 1966 it was first performed abroad, in Poland, at the congress of early music.

The breadth and variety of Fomin's creative searches, the bright originality of his talent allow us to rightfully consider him the greatest opera composer of Russia in the 18th century. With his new approach to Russian folklore in the opera "Coachmen on a Set-up" and the first appeal to the tragic theme in "Orpheus", Fomin paved the way for the opera art of the 19th century.

Yestignei Fomin - "A zealous heart is brave", "The nightingale sings not at the father's", "In the field the birch raged"

E. Fomin - "The falcon flies high". Chorus from the opera "Coachmen on the base"

Timofey's song from Evstigney Fomin's opera "Coachmen on a set-up"

Born August 5, 1761 in St. Petersburg, in the family of an artillery soldier. In 1767 he entered the St. Petersburg Academy of Arts, from which he graduated with honors in 1782. At the Academy, along with general education subjects, Fomin studied the clavichord and took composition lessons from Raupakh and Sartori. Upon graduation, Fomin was sent to Bologna for further improvement. In 1785 the composer was elected a member of the Bologna Philharmonic Academy. In the same year he returned to St. Petersburg and devoted his life entirely to musical theater. In 1786, Fomin created the opera-ballet The Novgorod Bogatyr Boeslaevich, based on epic material. In subsequent years, the composer wrote the operas “Coachmen on a setup” (1787), “Parties, or Guess, guess, girl” (1788), “Americans” (1788), “Sorcerer, fortune-teller and matchmaker” (1791), melodrama “Orpheus "(1792), the operas" Clorida and Milon "," The Golden Apple "(the years of creation are not known).

Fomin wrote music for the theater in a variety of genres and did a lot of practical work - he learned parts with singers, instrumented, edited, and added individual scenes for the works of other composers going on stage. In 1797, Fomin was appointed to the position of "tutor of opera parts."

Evstigney Ipatievich Fomin died in April 1800.

Fomin is the forerunner of Russian classical composers, in his work the features of realism and folk were clearly defined. Emotionality, depth, inner richness, significance of musical images, melody based on folk songs distinguish the works of the outstanding Russian composer of the 18th century.

Fomin's deep interest in Russian folk life was especially pronounced in his one-act comic opera "Coachmen on a Set-Up". This is a household sketch from life, realistic, colorful. In her music, the songs of coachmen are widely used; the composer strives to show the beauty and expressiveness of Russian folk songs. Musical scenes in the opera alternate with conversational dialogues that reflect the features of folk speech.

One of Fomin's most remarkable works is the melodrama Orpheus. The ancient mythological plot is embodied by the composer with great artistic truth and vitality. The music of "Orpheus" is distinguished by romantic excitement and loftiness of the narration, the beauty of melodies, and the bright colorfulness of the orchestration.

Fomin owns the musical edition of the famous Russian comic opera "Melnik - a sorcerer, a deceiver and a matchmaker", written by a talented nugget, an orchestra member of the Moscow theater Sokolovsky.

This opera enjoyed the great love of the audience and soon after it was staged, it became one of the most popular works of its time. “This play aroused so much attention from the public that it was played many times in a row, and the theater was always filled: and then in St. twenty-seven times,” noted a contemporary.

The famous Russian poet G. R. Derzhavin highly appreciates Melnik, noting that, in comparison with other modern Russian operas, “... everyone prefers Mr. Ablesimov Melnik, according to his natural plan, plot and simple language.”

(1761-1800) - Russian composer. He studied at the music classes of the Academy of Arts, then for three years he studied in Italy, at the famous Bologna Philharmonic Academy (after graduation he was elected a member of this academy). In the last years of his life he worked as a tutor at court theaters. Fomin's work, appreciated only today, played an outstanding role in the formation and development of the national opera. Fomin's most significant works are the operas "Novgorod Bogatyr Boeslavich", "Coachmen on a Frame", "The Americans" (libretto by A. I. Krylov), "The Golden Apple", the melodrama "Orpheus and Eurydice". In his music, the composer relied on the intonations of Russian folk songs, everyday romance, skillfully combining them with the techniques of European music of the 18th century.

Yu. Buluchevsky, V. Fomin "A short musical dictionary for students", Leningrad, "Music", 1989.
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Evstigney Ipatovich Fomin was born into the family of a gunner of the Tobolsk Infantry Regiment, orphaned early.

At the age of six, he was sent to the Educational School at the Imperial Academy of Arts, then studied at the academy itself, where he mastered playing the harpsichord, music theory and composition. Among his teachers was Hermann Raupach, the author of the then popular singspiel "Good Soldiers".

After graduating from the academy in 1782, Fomin was sent to Bologna to improve his musical skills under the guidance of Padre Giovanni Battista Martini. Martini's health, however, was already weak at that time, he could not devote much time to teaching, and Fomin studied mainly with his student Stanislao Mattei. In 1785, under the name of Eugenio Fomini, Fomin was elected a member of the Bologna Philharmonic Academy.

In 1786, Fomin returned to St. Petersburg, where he wrote his first opera, The Novgorod Bogatyr Vasily Boeslavich, to a libretto by Empress Catherine II. The opera in five acts, completed by the composer unusually quickly - within one month - was already staged in the Hermitage Theater of St. Petersburg in the same year. The details of Fomin's subsequent biography until 1797 are little known. He failed to take a prominent place at the imperial court, according to some sources, in 1786-1788 he served in the office of G. R. Derzhavin, who was in those years at the post of Tambov governor (according to other publications, there are no documentary sources for this). In Tambov, in 1788, the libretto of Fomin's opera Coachmen on the Frame was published anonymously. A copy of the manuscript of the libretto, discovered in Derzhavin's archive in 1933, belongs to Nikolai Lvov, the poet's brother-in-law.

In 1788, Fomin wrote one of his most famous operas, The Americans, to a libretto by 19-year-old Ivan Krylov. The directorate of the imperial theaters did not accept it for staging, and only in 1800 did this opera see the stage. Another famous work of Fomin is the melodrama "Orpheus and Eurydice" based on the text of the playwright Yakov Knyazhnin, written in 1791. In 1797, Fomin was hired as a tutor at court theaters, where he helped singers learn opera parts.

. Russian composers
. Biographies of composers

Soviet composer, who composed mainly hits and romances

Biography

Fomin's musical abilities showed up early: at the age of 4 he learned to play the accordion. His parents initially took this negatively, because they wanted to see him as a major official, officer or scientist, but not a musician.

However, later he was still sent to a real school. At the same time, he took lessons from the pianist A. N. Esipova.

After World War I and the October Revolution of 1917, his father was offered a position in the new state apparatus, and in 1918 the family moved to Moscow.

In 1919 he went to the front, then worked on the restoration of front-line railways. After some time, he began to give concerts right at the front.

Returning to Moscow, he continued composing music and tried himself in many musical genres, such as operetta and ballet. However, his calling was romance.

Upon returning from the front, he immediately declared himself a master of romance. One of the first - the one that later went around the whole world and is still being performed - "Only once in a life there is a meeting." He dedicated it to the gypsy singer Maria Fedorovna Masalskaya. Among other romances known are "Dear long" lyrics by K. Podrevsky (the English version called "Those Were the Days" became a hit in 1968 performed by Mary Hopkin), "Hey guitar friend", "Your eyes are green" and many other.

However, at the All-Russian Music Conference in Leningrad in 1929, the romance was recognized as a counter-revolutionary genre and, accordingly, banned. After that, Fomin's work was consigned to oblivion.

In 1937, Fomin ended up in the Butyrka prison, where he spent about a year.

However, with the outbreak of war, a new upsurge began in his work. During the war years, he composed 150 front-line songs, created, together with friends, the front-line theater "Yastrebok" at the club of the Ministry of Internal Affairs - for many months it was the only theater in Moscow, which also produced concert programs and performances in tune with the times. Many of Fomin's songs - "And not once, not twice", "Wait for me", "Quietly in the hut", "Letter from the front" immediately after the premiere scattered around the country.

At the end of the war, Fomin was overtaken by a new wave of oblivion. He died in 1948. He was buried at the Vvedensky cemetery in Moscow.

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Boris Fomin
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Boris Ivanovich Fomin(, St. Petersburg -, Moscow) - Soviet composer, who composed mainly hits and romances.

Biography

However, later he was still sent to a real school. At the same time, he took lessons from the pianist A. N. Esipova.

Compositions

romances

Russian songs

"Fight, heart", lyrics. Konstantin Podrevsky
"Throw the alarm", op. Konstantin Podrevsky
"Girl's Heart", op. Boris Timofeev
"In love again", op. Anatolia D'Actila
"The Old Is Dropped", op. Konstantin Podrevsky
"Travushka ant", music. treatment

Intimate songs

Songs of World War II

"Tramp-wind", op. Ilya Fink
“Curly-haired accordionist”, lyrics. Ilya Fink
"Guards marching", op. Ilya Fink
"Wait for me", op. Konstantin Simonov
"Courier for Happiness", op. Dolev and Danziger
"Leningradskaya farewell", op. Osip Kolychev
"Minutes of Life", op. N. Kovalya
"Muscovites", op. M. Odintsova
"The Day Will Come", op. Pavel Herman
"First Snow", op. Ilya Fink
"Joke song about love", lyrics. N. Kovalya
"Letter from the Front", op. Pavel Herman
"Along the Garden Ring", op. N. Kovalya
"Let the blizzard", lyrics. Grigory Gridov
"Bright Moscow", op. Ilya Fink
"Happy Age", op. Pavel Herman
"Sons", op. Ilya Fink
"Quiet in the hut", op. Pavel Herman
"Wide Road", op. M. Krimker

Choreographic sketches

"Barbecue-Minor" (one-step)
Azure (tango)
"Moon Dance" (foxtrot)
"Maro" (foxtrot)
Mius Trot (foxtrot)
"Gypsy Hungarian", two variations

ballets

Max and Moritz, libretto by Vadim Shershenevich
"Moydodyr"
"Crystal Slipper"

Operettas

"Spanish tavern" - lost
Pierpoint Black's Career, text by Alexei Faiko and Konstantin Podrevsky
Fooled Eunuch - Lost

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Notes

Literature

Lucky Loser. Aut.-stat. E. L. Ukolova, B.C. Injections. - M.: MAI Publishing House, 2000. - 208 p.: ill. ISBN 5-7035-2389-3

An excerpt characterizing Fomin, Boris Ivanovich (composer)

Of course, I didn't mind!.. On the contrary, I was ready to do anything to distract her from thoughts about our near future.
– Please, tell us, Sever! It will help us cope and give us strength. Tell me what you know my friend...
The North nodded, and we again found ourselves in someone else's, unfamiliar life... In something lived long ago and abandoned in the past.
A quiet spring evening was fragrant with southern scents before us. Somewhere in the distance, the last glare of the fading sunset was still blazing, although the sun, tired of the day, had long since set to have time to rest until tomorrow, when it would again return to its daily circular journey. In the rapidly darkening, velvet sky, unusually huge stars flared up brighter and brighter. The surrounding world was sedately preparing itself for sleep... Only sometimes somewhere the offended cry of a lonely bird could be heard, which could not find peace in any way. Or from time to time a sleepy bark disturbed the silence by the call of local dogs, thus showing their vigilant vigil. But the rest of the night seemed frozen, gentle and calm ...
And only two people were still sitting in the garden, enclosed by a high clay wall. They were Jesus Radomir and his wife Mary Magdalene...
They saw off their last night... before the crucifixion.
Clinging to her husband, laying her tired head on his chest, Maria was silent. She wanted to tell him so much more!.. To say so many important things while there was still time! But I couldn't find the words. All the words have already been said. And they all seemed pointless. Not worth those last precious moments... No matter how hard she tried to persuade Radomir to leave a foreign land, he did not agree. And it was so inhumanly painful!.. The world remained as calm and protected, but she knew that it would not be the same when Radomir left... Without him, everything would be empty and frozen...
She asked him to think... She asked him to return to his distant Northern country, or at least to the Valley of Magicians, in order to start all over again.
She knew that wonderful people were waiting for them in the Valley of Magicians. All of them were gifted. There they could build a new and bright world, as Magus John assured her. But Radomir didn't want to... He didn't agree. He wanted to sacrifice himself so that the blind could see... This was exactly the task that the Father had placed on his strong shoulders. The White Magus... And Radomir did not want to back down... He wanted to gain understanding... from the Jews. Even at the cost of his own life.
None of the nine friends, loyal knights of his Spiritual Temple, supported him. No one wanted to give him into the hands of the executioners. They didn't want to lose him. They loved him too much...
But then the day came when, obeying the iron will of Radomir, his friends and his wife (against their will) vowed not to get involved in what was happening ... Not to try to save him, no matter what happened. Radomir fervently hoped that, seeing the obvious possibility of his death, people would finally understand, see clearly and want to save him themselves, despite the differences in their faith, despite the lack of understanding.
But Magdalene knew that this would not happen. She knew this evening would be their last.
My heart was torn to pieces, hearing his even breathing, feeling the warmth of his hands, seeing his concentrated face, not clouded by the slightest doubt. He was sure he was right. And she could not help it, no matter how much she loved him, no matter how fiercely she tried to convince him that those for whom he went to certain death were unworthy of him.
“Promise me, my fair one, if they still destroy me, you will go Home,” Radomir suddenly demanded very insistently. “You will be safe there. There you can teach. The Knights of the Temple will come with you, they swore to me. You will take Vesta with you, you will be together. And I will come to you, you know it. Do you know?
And then Magdalene finally broke through... She couldn't take it anymore... Yes, she was the strongest Mage. But at this terrible moment, she was just a fragile, loving woman, losing the dearest person in the world ...
Her faithful, pure soul did not understand HOW the Earth could give her most gifted son to be torn to pieces?.. Was there any sense in this sacrifice? She thought it didn't make sense. Accustomed from an early age to an endless (and sometimes hopeless!) struggle, Magdalena was not able to understand this absurd, wild sacrifice! epiphany"! These people (Jews) lived in their isolated and tightly closed world for the rest. They did not care about the fate of the "outsider". And Maria knew for sure that they would not help. Just as she knew, Radomir would die senselessly and in vain. And no one can bring it back. Even if he wants to. It will be too late to change anything...
How can you not understand me? - suddenly, having overheard her sad thoughts, Radomir spoke. “If I don't try to wake them up, they'll destroy the future. Do you remember the Father told us? I must help them! Or at least you should try.
“Tell me, you still don’t understand them, do you?” - Gently stroking his hand, Magdalena whispered softly. Just like they didn't understand you. How can you help people if you don't understand them yourself?! They think in other runes... Yes, and runes?.. This is a different people, Radomir! We do not know their mind and heart. No matter how hard you try, they won't hear you! They do not need your Faith, just as they do not need you yourself. Look around, my Joy, - this is someone else's house! Your land is calling you! Go away, Radomir!
But he didn't want to accept defeat. He wanted to prove to himself and others that he had done everything within his earthly powers. And no matter how hard she tried, she could not save Radomir. And she, unfortunately, knew it ...
The night has already come to the middle ... The old garden, drowned in the world of smells and dreams, was comfortably silent, enjoying the freshness and coolness. The world surrounding Radomir and Magdalena slept sweetly in a carefree sleep, not anticipating anything dangerous and bad. And only for some reason it seemed to Magdalena that next to her, right behind her, chuckling maliciously, there was someone ruthless and indifferent... There was Rock... Relentless and formidable, Rock looked gloomily at the fragile, tender woman, which for some reason he still could not manage to break ... No troubles, no pain.
And Magdalena, in order to protect herself from all this, clung with all her might to her good old memories, as if she knew that only they at the moment could keep her inflamed brain from a complete and irrevocable "eclipse" ... Her tenacious memory still lived so dear to her years spent with Radomir ... Years, it would seem, lived so long ago! .. Or maybe only yesterday? And then their whole bright life will truly become only a memory .... HOW could she come to terms with this ?! HOW could she look with her hands down when the only person on Earth for her on Earth was dying?!
“I want to show you something, Maria,” Radomir whispered softly.
And putting his hand into his bosom, he pulled out ... a miracle!
His thin long fingers shone through with a bright pulsating emerald light!.. The light poured more and more, as if alive, filling the dark night space...
Radomir opened his palm - on it rested an amazingly beautiful green crystal...
- What is this??? - as if afraid to frighten away, Magdalena also quietly whispered.
– The Key of the Gods – Radomir answered calmly. Look, I'll show you...
(I am talking about the Key of the Gods with the permission of the Wanderers, with whom I was lucky enough to meet twice in June and August 2009, in the Valley of the Magicians. Before that, the Key of the Gods was not spoken openly anywhere and never).
The crystal was material. And at the same time truly magical. It was carved from a very beautiful stone, similar to an amazingly transparent emerald. But Magdalena felt that it was something much more complicated than a simple gem, even the purest one. It was diamond-shaped and elongated, the size of the palm of Radomir. Each cut of the crystal was completely covered with unfamiliar runes, apparently even more ancient than those known to Magdalene...
– What is he “talking about”, my joy?.. And why are these runes not familiar to me? They are a little different than those that the Magi taught us. And where did you get it from?
“It was once brought to Earth by our wise Ancestors, our Gods, in order to create the Temple of Eternal Knowledge here,” Radomir began, looking thoughtfully at the crystal. - So that he would help to acquire Light and Truth to the worthy Children of the Earth. It was HE who gave birth on earth to the caste of Magi, Veduns, Vedunias, Darin and other enlightened ones. And it was from him that they drew their KNOWLEDGE and UNDERSTANDING, and from it they once created Meteora. Later, leaving forever, the Gods left this Temple to people, bequeathing to keep and protect it, as they would protect the Earth itself. And the Key to the Temple was given to the Magi, so that it would not accidentally fall into the "dark-thinking" and the Earth would not die from their evil hand. So since then, this miracle has been kept for centuries by the Magi, and they pass it on from time to time to a worthy one, so that an accidental “keeper” does not betray the mandate and faith left by our Gods.

“Is this really the Grail, Sever?” – not holding back, I asked.
No, Isidora. The Grail was never what this amazing Smart Crystal is. It's just that people "attributed" their wish to Radomir... like everything else, "foreign". Radomir, all his conscious life, was the Keeper of the Key of the Gods. But people, of course, could not know this, and therefore did not calm down. First, they were looking for the Chasha allegedly "belonging" to Radomir. And sometimes the Grail was called his children or Magdalene herself. And all this happened only because the "true believers" really wanted to have some kind of proof of the veracity of what they believe in ... Something material, something "holy" that could be touched ... (what, Unfortunately, it is happening even now, after many hundreds of years). So the “dark ones” came up with a beautiful story for them at that time in order to kindle sensitive “believing” hearts with it ... Unfortunately, people have always needed relics, Isidora, and if they were not there, someone simply invented them. Radomir, on the other hand, never had such a cup, because he did not even have the “Last Supper” itself ... at which he allegedly drank from it. The bowl of the “Last Supper” was with the prophet Joshua, but not with Radomir.