Introduction of the Slavonic Liturgy

The Great Moravian Empire was not a mere loose association of tribes but a united state successfully confronting the aggressive attacks of the Franks. However, in terms of the church, it was subordinated to the Bavarian bishops, and its ruler, Prince Rastislav, understood that the country’s position could only be strengthened if an independent church organisation was established. Therefore, in 860–861 he asked Pope Nicolas I for spiritual assistance but his request was dismissed. So, Rastislav approached Byzantine Emperor Michael III and asked him to send teachers to Moravia who could spread Christianity in a Slavic language. In 863, the educated Constantine, who later took on the name Cyril, arrived from Thessaloniki along with his brother Methodius. They developed the Glagolitic alphabet, which they used for their translation of the Gospel. They chose capable disciples and taught them the alphabet and religious services in a Slavic language. Although Latin priests fiercely opposed these services, Methodius’s consistency prevailed and the Old Slavonic language became an equal language of the church in Great Moravia. The painting shows the capital of Great Moravia, Veligrad. Sitting on a raised throne in the middle of the courtyard is Prince Svatopluk, surrounded by his suite, while the bishops and noblemen are standing in front of him. A deacon is reading the document through which the Pope appoints Methodius the archbishop, subordinates Nitra-based bishop Wiching to him and allows for religious services to be celebrated in the local Slavic language. He is being watched humbly by Frankish knights. In front of the rotunda, painted by Mucha according to Saint George Church in Thessaloniki, leading a procession of his disciples is Methodius, who returned from his third journey to Rome in 880. Cyril entered a monastery in Rome, where he is buried. The group of people in the upper left-hand part symbolises the violent spreading of Christianity by the Franks of that time. Under them, wearing a hood, is Cyril protecting the Moravians from heaven. In the upper right-hand section there are four persons that Mucha uses to represent the liturgic connection of Great Moravia to Kievan Rus – Saint Olga with her husband Igor – and Great Bulgaria – Saint Boris with his wife. The two persons in the central part, sitting on a boat-shaped sword are Saint Vladimir’s sons, Gleb and Boris, patron saints of sailors and merchants. They symbolise all Slavic nations having gradually reached the port of Christianity. The young man with a circle and a clenched fist is a symbol of power and cohesion.