By Derrida Jacques
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As brilliant sunrays in the morning. 22 For Florensky, azure, as captured in Lermontov's transparent luminosity of a sunset, was also the dominant tonality of the icon of the Trinity, perhaps the noblest monument of Russian icon painting (which Andrei Rublev had painted specifIcally for the Church of the Trinity at the Trinity and St Sergius Lavra), because azure imparted a special tone to its religious interpretation: Here is the inexplicable world that flows in a vast torrent straight into the soul ofwhosoever contemplates Rublev's Trinity.
Ivanov with whom skriabin had discussed the first draft of his Prefatory Act,32 and we should remember that in the Revolutionary Petrograd of 1919 Ivanov himself served as consultant to the organisation ofthe mass actions or, from his standpoint, misteria)3 Again, the reference to Skriabin, crucial to 'The Church Ritual as a Synthesis of the Arts', seems curiously out ofplace because, although Skriabin was highly esteemed by most of the Symbolist poets and philosophers, Florensky professed a dislike for his music, preferring that of the 'infantile', and for that reason authentic, genius of Mozart.
14),4 the biologist Pavel Kapterev (illus. 15),5 and the art and military historian Pavel Muratov. 6 Of course, the word 'dilettante' is being used here in the sense that Florensky intended it, for in applying a wide array of professional instruments to investigate a specific art-historical subject he did not hesitate to transcend the immediate boundaries of a discipline in order to reach a thematic intersection of broader resonance. The result is always a synthetic investigation reflecting Florensky's own aspiration to approach his subject fi-om many points of view.