When was St. Basil's Cathedral built? St. Basil's Cathedral on Red Square: a brief history
№ 7710342000Coordinates: 55°45′08.88″ n. w. 37°37′23″ E. d. / 55.752467° s. w. 37.623056° E. d.(G) (O) (I)55.752467 , 37.623056
Cathedral of the Intercession of the Blessed Virgin Mary, on the Moat, also called St. Basil's Cathedral- an Orthodox church located on the Red Square of Kitai-Gorod in Moscow. A widely known monument of Russian architecture. Until the 17th century, it was usually called Trinity, since the original wooden church was dedicated to the Holy Trinity; was also known as “Jerusalem”, which is associated both with the dedication of one of the chapels and with the procession of the cross to it from the Assumption Cathedral on Palm Sunday with the “procession on the donkey” of the Patriarch.
Status
St. Basil's Cathedral
Currently, the Intercession Cathedral is a branch of the State Historical Museum. Included in the List of UNESCO World Heritage Sites in Russia.
The Intercession Cathedral is one of the most famous landmarks in Russia. For many, it is a symbol of Moscow and the Russian Federation. Since 1931, in front of the cathedral there has been a bronze Monument to Minin and Pozharsky (installed on Red Square in 1818).
Story
Versions about creation
The Pokrovsky Cathedral was built in 1920 by order of Ivan the Terrible in memory of the capture of Kazan and the victory over the Kazan Khanate. There are several versions about the creators of the cathedral. According to one version, the architect was the famous Pskov master Postnik Yakovlev, nicknamed Barma. According to another, widely known version, Barma and Postnik are two different architects, both participating in the construction; this version is now outdated. According to the third version, the cathedral was built by an unknown Western European master (presumably an Italian, as before - a significant part of the buildings of the Moscow Kremlin), hence such a unique style, combining the traditions of both Russian architecture and European architecture of the Renaissance, but this version is still I never found any clear documentary evidence.
According to legend, the architect(s) of the cathedral were blinded by order of Ivan the Terrible so that they could not build another similar temple. However, if the author of the cathedral is Postnik, then he could not have been blinded, since for several years after the construction of the cathedral he participated in the creation of the Kazan Kremlin.
The cathedral at the end of the 16th - 19th centuries.
- in honor of St. Nicholas the Wonderworker (in honor of his Velikoretskaya icon from Vyatka),
- in honor of the torment. Adrian and Natalia (originally - in honor of St. Cyprian and Justina - October 2),
- St. John the Merciful (until XVIII - in honor of St. Paul, Alexander and John of Constantinople - November 6),
- Alexander Svirsky (April 17 and August 30),
- Varlaam Khutynsky (November 6 and 1st Friday of Peter's Lent),
- Gregory of Armenia (September 30).
All of these eight churches (four axial, four smaller ones between them) are crowned with onion-shaped domes and grouped around the ninth pillar-shaped church towering above them in honor of the Intercession of the Mother of God, completed by a tent with a small dome. All nine churches are united by a common base, a bypass (originally open) gallery and internal vaulted passages.
First floor
Podklet
“Our Lady of the Sign” in the basement
There are no basements in the Intercession Cathedral. Churches and galleries stand on a single foundation - a basement, consisting of several rooms. The strong brick walls of the basement (up to 3 m thick) are covered with vaults. The height of the premises is about 6.5 m.
The design of the northern basement is unique for the 16th century. Its long box vault has no supporting pillars. The walls are cut with narrow holes - by the spirits. Together with the “breathable” building material - brick - they provide a special indoor microclimate at any time of the year.
Previously, the basement premises were inaccessible to parishioners. The deep niches in it were used as storage. They were closed with doors, the hinges of which have now been preserved.
Until 1595, the royal treasury was hidden in the basement. Wealthy townspeople also brought their property here.
One entered the basement from the upper central Church of the Intercession of Our Lady via an internal white stone staircase. Only the initiated knew about it. Later this narrow passage was blocked. However, during the restoration process of the 1930s. a secret staircase was discovered.
In the basement there are icons of the Intercession Cathedral. The oldest of them is the icon of St. St. Basil's at the end of the 16th century, written specifically for the Intercession Cathedral.
The icon “Our Lady of the Sign” is a replica of the façade icon located on the eastern wall of the cathedral. Written in the 1780s. In the XVIII-XIX centuries. The icon was located above the entrance to the chapel of St. Basil the Blessed.
Church of St. Basil the Blessed
Canopy over the tomb of St. Basil the Blessed
The lower church was added to the cathedral in 1588 over the burial place of St. St. Basil's. A stylized inscription on the wall tells about the construction of this church after the canonization of the saint by order of Tsar Fyodor Ioannovich.
The temple is cubic in shape, covered with a cross vault and crowned with a small light drum with a dome. The roof of the church is made in the same style as the domes of the upper churches of the cathedral.
The oil painting of the church was done for the 350th anniversary of the start of construction of the cathedral (1905). The dome depicts the Savior Almighty, the forefathers are depicted in the drum, the Deesis (Savior Not Made by Hands, the Mother of God, John the Baptist) is depicted in the crosshairs of the vault, and the Evangelists are depicted in the sails of the vault.
On the western wall is the temple image of the “Protection of the Blessed Virgin Mary”. In the upper tier there are images of the patron saints of the reigning house: Fyodor Stratelates, John the Baptist, Saint Anastasia, and the Martyr Irene.
On the northern and southern walls there are scenes from the life of St. Basil: “The Miracle of Salvation at Sea” and “The Miracle of the Fur Coat.” The lower tier of the walls is decorated with a traditional ancient Russian ornament in the form of towels.
The iconostasis was completed in 1895 according to the design of the architect A.M. Pavlinova. The icons were painted under the guidance of the famous Moscow icon painter and restorer Osip Chirikov, whose signature is preserved on the icon “The Savior on the Throne”.
The iconostasis includes earlier icons: “Our Lady of Smolensk” from the 16th century. and the local image of “St. Saint Basil against the backdrop of the Kremlin and Red Square" XVIII century.
Above the burial place of St. St. Basil's Church has an arch decorated with a carved canopy. This is one of the revered Moscow shrines.
On the southern wall of the church there is a rare large-sized icon painted on metal - “Our Lady of Vladimir with selected saints of the Moscow circle “Today the most glorious city of Moscow flaunts brightly” (1904)
The floor is covered with Kasli cast iron slabs.
St. Basil's Church was closed in 1929. Only at the end of the 20th century. its decorative decoration was restored. On August 15, 1997, on the day of remembrance of St. Basil the Blessed, Sunday and holiday services were resumed in the church.
Second floor
Galleries and porches
An external bypass gallery runs along the perimeter of the cathedral around all the churches. Initially it was open. In the middle of the 19th century. the glazed gallery became part of the cathedral's interior. Arched entrance openings lead from the external gallery to the platforms between the churches and connect it with internal passages.
The central Church of the Intercession of Our Lady is surrounded by an internal bypass gallery. Its vaults hide the upper parts of the churches. In the second half of the 17th century. the gallery was painted with floral patterns. Later, narrative oil paintings appeared in the cathedral, which were updated several times. Tempera painting is currently unveiled in the gallery. Oil paintings from the 19th century have been preserved on the eastern section of the gallery. - images of saints in combination with floral patterns.
Carved brick entrances leading to the central church organically complement the decor. The portal has been preserved in its original form, without late coatings, which allows you to see its decoration. The relief details are laid out from specially molded pattern bricks, and the shallow decoration is carved on site.
Previously, daylight penetrated into the gallery from windows located above the passages in the walkway. Today it is illuminated by mica lanterns from the 17th century, which were previously used during religious processions. The multi-domed tops of the outrigger lanterns resemble the exquisite silhouette of a cathedral.
The floor of the gallery is made of brick in a herringbone pattern. Bricks from the 16th century have been preserved here. - darker and more resistant to abrasion than modern restoration bricks.
Gallery painting
The vault of the western section of the gallery is covered with a flat brick ceiling. It demonstrates a unique for the 16th century. engineering technique for constructing a floor: many small bricks are fixed with lime mortar in the form of caissons (squares), the edges of which are made of figured bricks.
In this area, the floor is laid out with a special “rosette” pattern, and on the walls the original painting has been recreated, imitating brickwork. The size of the drawn bricks corresponds to the real ones.
Two galleries unite the chapels of the cathedral into a single ensemble. Narrow internal passages and wide platforms create the impression of a “city of churches.” After passing through the labyrinth of the internal gallery, you can get to the porch areas of the cathedral. Their vaults are “carpets of flowers,” the intricacies of which fascinate and attract the attention of visitors.
On the upper platform of the right porch in front of the Church of the Entry of the Lord into Jerusalem, the bases of pillars or columns have been preserved - the remains of the decoration of the entrance. This is due to the special role of the church in the complex ideological program of the cathedral’s dedications.
Church of Alexander Svirsky
Dome of the Church of Alexander Svirsky
The southeastern church was consecrated in the name of St. Alexander of Svirsky.
In 1552, on the day of memory of Alexander Svirsky, one of the important battles of the Kazan campaign took place - the defeat of the cavalry of Tsarevich Yapancha on the Arsk field.
This is one of four small churches 15 m high. Its base - a quadrangle - turns into a low octagon and ends with a cylindrical light drum and a vault.
The original appearance of the church interior was restored during restoration work in the 1920s and 1979-1980s: a brick floor with a herringbone pattern, profiled cornices, stepped window sills. The walls of the church are covered with paintings imitating brickwork. The dome depicts a “brick” spiral - a symbol of eternity.
The iconostasis of the church has been reconstructed. Icons from the 16th - early 18th centuries are located between the wooden beams (tyablas) close to each other. The lower part of the iconostasis is covered with hanging shrouds, skillfully embroidered by craftswomen. On the velvet shrouds there is a traditional image of the Calvary cross.
Church of Varlaam Khutynsky
Royal doors of the iconostasis of the Church of Varlaam Khutynsky
The southwestern church was consecrated in the name of St. Varlaam of Khutyn.
This is one of the four small churches of the cathedral with a height of 15.2 m. Its base has the shape of a quadrangle, elongated from north to south with the apse shifted to the south. The violation of symmetry in the construction of the temple is caused by the need to create a passage between the small church and the central one - the Intercession of the Mother of God.
The four turns into a low eight. The cylindrical light drum is covered with a vault. The church is illuminated by the oldest chandelier in the cathedral from the 15th century. A century later, Russian craftsmen supplemented the work of the Nuremberg masters with a pommel in the shape of a double-headed eagle.
The Tyablo iconostasis was reconstructed in the 1920s. and consists of icons from the 16th – 18th centuries. A feature of the church's architecture - the irregular shape of the apse - determined the shift of the Royal Doors to the right.
Of particular interest is the separately hanging icon “Vision of Sexton Tarasius”. It was written in Novgorod at the end of the 16th century. The plot of the icon is based on the legend about the vision of the sexton of the Khutyn monastery of disasters threatening Novgorod: floods, fires, “pestilence”.
The icon painter depicted the panorama of the city with topographical accuracy. The composition organically includes scenes of fishing, plowing and sowing, telling about the daily life of the ancient Novgorodians.
Church of the Entry of the Lord into Jerusalem
Royal Doors of the Church of the Entry of the Lord into Jerusalem
The Western Church was consecrated in honor of the Feast of the Entry of the Lord into Jerusalem.
One of the four large churches is an octagonal two-tier pillar covered with a vault. The temple is distinguished by its large size and the solemn nature of its decorative decoration.
During the restoration, fragments of architectural decoration from the 16th century were discovered. Their original appearance has been preserved without restoration of damaged parts. No ancient paintings were found in the church. The whiteness of the walls emphasizes the architectural details, executed by architects with great creative imagination. Above the northern entrance there is a trace left by a shell that hit the wall in October 1917.
The current iconostasis was moved in 1770 from the dismantled Alexander Nevsky Cathedral in the Moscow Kremlin. It is richly decorated with openwork gilded pewter overlays, which add lightness to the four-tier structure. In the middle of the 19th century. The iconostasis was supplemented with wooden carved details. The icons in the bottom row tell the story of the Creation of the world.
The church displays one of the shrines of the Intercession Cathedral - the icon “St. Alexander Nevsky in the Life of the 17th century. The icon, unique in its iconography, probably comes from the Alexander Nevsky Cathedral.
In the middle of the icon the noble prince is represented, and around him there are 33 stamps with scenes from the life of the saint (miracles and real historical events: the Battle of the Neva, the prince’s trip to the Khan’s headquarters, the Battle of Kulikovo).
Church of Gregory of Armenia
The northwestern church of the cathedral was consecrated in the name of St. Gregory, the enlightener of Great Armenia (died in 335). He converted the king and the entire country to Christianity, and was the bishop of Armenia. His memory is celebrated on September 30 (October 13 n.st.). In 1552, on this day, an important event in the campaign of Tsar Ivan the Terrible took place - the explosion of the Arsk Tower in Kazan.
One of the four small churches of the cathedral (15m high) is a quadrangle, turning into a low octagon. Its base is elongated from north to south with a displacement of the apse. The violation of symmetry is caused by the need to create a passage between this church and the central one - the Intercession of Our Lady. The light drum is covered with a vault.
The architectural decoration of the 16th century has been restored in the church: ancient windows, half-columns, cornices, brick floor laid out in a herringbone pattern. As in the 17th century, the walls are whitewashed, which emphasizes the severity and beauty of the architectural details.
The tyablovy (tyablas are wooden beams with grooves between which icons were attached) iconostasis was reconstructed in the 1920s. It consists of windows from the 16th-17th centuries. The Royal Doors are shifted to the left - due to a violation of the symmetry of the internal space.
In the local row of the iconostasis is the image of St. John the Merciful, Patriarch of Alexandria. Its appearance is connected with the desire of the wealthy investor Ivan Kislinsky to re-consecrate this chapel in honor of his heavenly patron (1788). In the 1920s the church was returned to its former name.
The lower part of the iconostasis is covered with silk and velvet shrouds depicting Calvary crosses. The interior of the church is complemented by the so-called “skinny” candles - large wooden painted candlesticks of an antique shape. In their upper part there is a metal base in which thin candles were placed.
The display case contains items of priestly vestments from the 17th century: a surplice and a phelonion, embroidered with gold threads. The 19th century candilo, decorated with multi-colored enamel, gives the church a special elegance.
Church of Cyprian and Justina
Dome of the Church of Cyprian and Justina
The northern church of the cathedral has an unusual dedication for Russian churches in the name of the Christian martyrs Cyprian and Justina, who lived in the 4th century. Their memory is celebrated on October 2 (15). On this day in 1552, the troops of Tsar Ivan IV took Kazan by storm.
This is one of the four large churches of the Intercession Cathedral. Its height is 20.9 m. The high octagonal pillar is completed with a light drum and a dome, which depicts Our Lady of the Burning Bush. In the 1780s. Oil painting appeared in the church. On the walls are scenes of the lives of saints: in the lower tier - Adrian and Natalia, in the upper - Cyprian and Justina. They are complemented by multi-figure compositions on the theme of Gospel parables and scenes from the Old Testament.
The appearance of images of martyrs of the 4th century in painting. Adrian and Natalia is associated with the renaming of the church in 1786. Rich investor Natalya Mikhailovna Khrushcheva donated funds for repairs and asked to consecrate the church in honor of her heavenly patrons. At the same time, a gilded iconostasis was made in the style of classicism. It is a magnificent example of skillful wood carving. The bottom row of the iconostasis depicts scenes of the Creation of the World (days one and four).
In the 1920s, at the beginning of scientific museum activities in the cathedral, the church was returned to its original name. Recently, it appeared before visitors updated: in 2007, the wall paintings and iconostasis were restored with the charitable support of the Russian Railways Joint Stock Company.
Church of St. Nicholas Velikoretsky
Iconostasis of the Church of St. Nicholas of Velikoretsky
The southern church was consecrated in the name of the Velikoretsk Icon of St. Nicholas the Wonderworker. The icon of the saint was found in the city of Khlynov on the Velikaya River and subsequently received the name “Nicholas of Velikoretsky”.
In 1555, by order of Tsar Ivan the Terrible, the miraculous icon was brought in a religious procession along the rivers from Vyatka to Moscow. An event of great spiritual significance determined the dedication of one of the chapels of the Intercession Cathedral under construction.
One of the large churches of the cathedral is a two-tier octagonal pillar with a light drum and a vault. Its height is 28 m.
The ancient interior of the church was badly damaged during the fire of 1737. In the second half of the 18th - early 19th centuries. a single complex of decorative and fine arts emerged: a carved iconostasis with full ranks of icons and monumental plot painting of the walls and vault. The lower tier of the octagon presents the texts of the Nikon Chronicle about the bringing of the image to Moscow and illustrations to them.
In the upper tier the Mother of God is depicted on a throne surrounded by prophets, above are the apostles, in the vault is the image of the Savior Almighty.
The iconostasis is richly decorated with stucco floral decoration and gilding. The icons in narrow profiled frames are painted in oil. In the local row there is an image of “St. Nicholas the Wonderworker in the Life” of the 18th century. The lower tier is decorated with gesso engraving imitating brocade fabric.
The interior of the church is complemented by two external double-sided icons depicting St. Nicholas. They made religious processions around the cathedral.
At the end of the 18th century. The floor of the church was covered with white stone slabs. During restoration work, a fragment of the original covering made of oak checkers was discovered. This is the only place in the cathedral with a preserved wooden floor.
In 2005-2006 The iconostasis and monumental paintings of the church were restored with the assistance of the Moscow International Currency Exchange.
Holy Trinity Church
The eastern one is consecrated in the name of the Holy Trinity. It is believed that the Intercession Cathedral was built on the site of the ancient Trinity Church, after which the entire temple was often named.
One of the four large churches of the cathedral is a two-tiered octagonal pillar, ending with a light drum and a dome. Its height is 21 m. During the restoration of the 1920s. In this church, the ancient architectural and decorative decoration was most fully restored: half-columns and pilasters framing the entrance arches of the lower part of the octagon, the decorative belt of the arches. In the vault of the dome, a spiral is laid out with small bricks - a symbol of eternity. Stepped window sills in combination with the whitewashed surface of the walls and vault make the Trinity Church especially bright and elegant. Under the light drum, “voices” are built into the walls - clay vessels designed to amplify sound (resonators). The church is illuminated by the oldest chandelier in the cathedral, made in Russia at the end of the 16th century.
Based on restoration studies, the shape of the original, so-called “tyabla” iconostasis (“tyabla” - wooden beams with grooves, between which the icons were fastened close to each other) was established. The peculiarity of the iconostasis is the unusual shape of the low royal doors and three-row icons, forming three canonical orders: prophetic, Deesis and festive.
“Old Testament Trinity” in the local row of the iconostasis is one of the most ancient and revered icons of the cathedral of the second half of the 16th century.
Church of the Three Patriarchs
The northeastern church of the cathedral was consecrated in the name of the three Patriarchs of Constantinople: Alexander, John and Paul the New.
In 1552, on the day of remembrance of the Patriarchs, an important event of the Kazan campaign took place - the defeat by the troops of Tsar Ivan the Terrible of the cavalry of the Tatar prince Yapanchi, who was coming from the Crimea to help the Kazan Khanate.
This is one of the four small churches of the cathedral with a height of 14.9 m. The walls of the quadrangle turn into a low octagon with a cylindrical light drum. The church is interesting for its original ceiling system with a wide dome, in which the composition “The Savior Not Made by Hands” is located.
The wall oil painting was made in the mid-19th century. and reflects in its plots the then change in the name of the church. In connection with the transfer of the throne of the cathedral church of Gregory of Armenia, it was reconsecrated in memory of the enlightener of Great Armenia.
The first tier of the painting is dedicated to the life of St. Gregory of Armenia, in the second tier - the history of the image of the Savior Not Made by Hands, its bringing to King Abgar in the Asia Minor city of Edessa, as well as scenes from the lives of the Patriarchs of Constantinople.
The five-tier iconostasis combines baroque elements with classical ones. This is the only altar barrier in the cathedral from the mid-19th century. It was made specifically for this church.
In the 1920s, at the beginning of scientific museum activity, the church was returned to its original name. Continuing the traditions of Russian philanthropists, the management of the Moscow International Currency Exchange contributed to the restoration of the interior of the church in 2007. For the first time in many years, visitors were able to see one of the most interesting churches of the cathedral.
Central Church of the Intercession of the Virgin Mary
Iconostasis
Interior view of the central dome drum
Bell tower
Bell tower
The modern bell tower of the Intercession Cathedral was built on the site of an ancient belfry.
By the second half of the 17th century. the old belfry had become dilapidated and unusable. In the 1680s. it was replaced by a bell tower, which still stands today.
The base of the bell tower is a massive high quadrangle, on which an octagon with an open platform is placed. The site is fenced with eight pillars connected by arched spans and crowned with a high octagonal tent.
The ribs of the tent are decorated with multi-colored tiles with white, yellow, blue and brown glaze. The edges are covered with figured green tiles. The tent is completed by a small onion dome with an eight-pointed cross. There are small windows in the tent - the so-called “rumors”, designed to amplify the sound of the bells.
Inside the open area and in the arched openings, bells cast by outstanding Russian craftsmen of the 17th-19th centuries are suspended on thick wooden beams. In 1990, after a long period of silence, they began to be used again.
see also
- The Church of the Savior on Spilled Blood is a memorial temple in memory of Alexander II in St. Petersburg, for which St. Basil's Cathedral served as one of the models
Notes
Literature
- Gilyarovskaya N. St. Basil's Cathedral on Red Square in Moscow: A monument of Russian architecture of the 16th-17th centuries. - M.-L.: Art, 1943. - 12, p. - (Mass Library).(region)
- Volkov A. M. Architects: Novel / Afterword: Doctor of Historical Sciences A. A. Zimin; Drawings by I. Godin. - Reprint. - M.: Children's literature, 1986. - 384 p. - (Library series). - 100,000 copies. (1st edition - )
Links
St. Basil's Cathedral (Russia) - description, history, location. Exact address and website. Tourist reviews, photos and videos.
- Tours for the New Year in Russia
- Last minute tours in Russia
Previous photo Next photo
The unusually beautiful St. Basil's Cathedral, or the Cathedral of the Intercession of the Blessed Virgin Mary, on the Moat, flaunting on Red Square, is one of the most famous architectural monuments of Moscow. At the sight of a multi-colored temple, the tops of which are one more beautiful than the other, foreigners gasp in admiration and grab their cameras, but compatriots proudly declare: yes, that’s what it is - majestic, elegant, standing even in the difficult Soviet times for all churches.
There is even a historical story regarding the last fact. Allegedly, when presenting a project for the reconstruction of Red Square to Stalin, Kaganovich swept away the model of the temple from the diagram, making way for demonstrations of workers, to which the Secretary General sternly replied: “Lazarus, put it in its place.” Whether it was so or not, the temple was one of the few that survived and was constantly restored throughout the second half of the 20th century.
History and modernity
The Intercession Cathedral was built in 1565-1561. by decree of Ivan the Terrible, who vowed to build a church in memory of this event in the event of the successful capture of Kazan. The temple consists of nine churches on one foundation and a bell tower. At first glance, it can be difficult to understand the structure of the temple, but once you imagine that you are looking at it from above (or actually look at the temple from this angle on our live map), everything immediately becomes clear. The main pillar-shaped church in honor of the Intercession of the Mother of God with a tent topped with a small dome is surrounded on four sides by axial churches, between which four more smaller ones are built. The tented bell tower was built later, in the 1670s.
Today the cathedral is both a temple and a branch of the Historical Museum at the same time. In 1990, services were resumed. Architecture, external decorative decoration, monumental painting, frescoes, rare monuments of Russian icon painting - all this makes the cathedral unique in its beauty and significance as a temple in Russia. In 2011, the cathedral turned 450 years old, anniversary events were held throughout the summer, chapels that were previously inaccessible to visitors were opened for the memorable date, and a new exhibition was arranged.
St. Basil's Cathedral
Information
Address: Red Square, 2.
Opening hours: excursions are held daily from 11:00 - 16:00.
Entrance: 250 RUB. Prices on the page are for October 2018.
The central church of the Cathedral is not accessible for inspection due to restoration work.
(St. Basil's Cathedral) is a striking monument of Russian architecture located on Red Square. The magnificent and solemn appearance of the cathedral with unusual multi-colored domes, loved by Muscovites and well remembered by foreigners, made it one of the main symbols not only of Moscow, but of all of Russia.
The temple was built in 1555-1561 by an unknown architect (there are different versions) on the orders of Ivan the Terrible in memory of the victory over the Kazan Khanate and the capture of Kazan, which fell on the day of the Intercession of the Most Holy Theotokos. Subsequently it was rebuilt several times.
The peculiarity of the temple is that it is essentially 9 separate churches united by a common foundation. In the center is the pillarless Church of the Intercession of the Blessed Virgin Mary, around it are grouped 8 smaller churches: Trinity, St. Nicholas the Wonderworker (in honor of the Velikoretsk Icon), Entry of the Lord into Jerusalem, Martyrs Adrian and Natalia, St. John the Merciful, Alexander of Svir, Varlaam of Khutyn, Gregory of Armenia . The altars of the churches were consecrated in honor of Orthodox holidays and days of remembrance of saints that fell on the days of the decisive battles for Kazan.
Architecture
The architectural appearance of the Intercession Cathedral is unique. Pretentious and solemn, like a painted gingerbread, at first glance it seems like a chaotic pile of multi-colored domes, but in reality this is not the case. The cathedral building has a clear structure and is a rhombus inscribed in a square, forming an eight-pointed star in plan. In fact, these are 9 separate churches united by a common base (basement): in the center there is a pillarless Church of the Intercession of the Blessed Virgin Mary, ending with a high tent with a small gilded dome; around it are grouped 8 smaller churches, crowned with relief onion domes of different colors. On the southern side there is a two-tiered tented bell tower, and on the eastern side there is a chapel in honor of St. Basil the Blessed. The building is surrounded by a closed gallery-gulbische, adjacent to which are two massive porches with a hip roof.
The height of the cathedral is 65 meters.
In total, the Intercession Cathedral is decorated with 11 domes, 9 of which are located above the churches, one above the chapel of St. Basil the Blessed, and another (very small) above the bell tower. Of these, 9 domes are distinguished by a unique relief and coloring: colored spikes, rhombuses, ornaments; The meaning of their colors is not known for certain, but it is believed that the temple symbolizes Heavenly Jerusalem. According to the assumption of the Russian writer Nikolai Chaev (1824 - 1914), the color of the domes is explained by the dream of Blessed Andrei the Fool (of Constantinople), who dreamed of the Heavenly Jerusalem with gardens with many flowering trees and fruits of indescribable beauty.
The decorative design of the temple looks magnificent, but laconic: it includes flies, half-columns, kokoshniks and weights traditional for Russian temple architecture. The entire perimeter of the gallery is painted with images of flowers and floral patterns. The walls are decorated with façade icons of the Intercession of the Blessed Virgin Mary with the upcoming Basil and St. John the Blessed (southern wall of the bell tower) and Our Lady of the Sign with saints in the fields (eastern façade).
History of the Intercession Cathedral
The Cathedral of the Intercession of the Blessed Virgin Mary, which is on the Moat, got its name from its location near the city, which passed along Red Square along the eastern wall of the Kremlin in the 16th-19th centuries. However, in colloquial speech the official name of the temple is practically not used: it became better known as St. Basil's Cathedral - in honor of the most famous Moscow holy fool and miracle worker. - legendary personality in the history of Moscow; in the past, on the site of the Intercession Cathedral, there was a wooden Trinity Church (on the Moat), in the cemetery at which the holy fool was buried. After his canonization in 1588, a chapel in his honor was built above the burial place of the wonderworker at the Intercession Cathedral. Subsequently, people began to call the entire cathedral after the miracle worker.
The temple was built in 1555-1561 by order of Ivan the Terrible in memory of the capture of Kazan.
The history of St. Basil's Cathedral is full of mysteries and blank spots: in particular, it is not known for certain who its architect was. According to the most common version, it was built by architects Ivan Barma and Postnik Yakovlev, however, it is considered outdated. There is a version that the legendary Barma and Postnik are the same person (Postnik Yakovlev, nicknamed Barma), as well as a theory that the cathedral could have been built by an unknown Italian architect (since a significant part of the Kremlin buildings were built by Italians), which has not yet been found convincing confirmation. A widespread urban legend says that after construction, Tsar Ivan the Terrible, struck by the beauty of the cathedral, ordered the architects to be blinded so that they would not build anything like that again, however, in reality this is unlikely: if one of the architects was really Postnik Yakovlev, then after the Intercession Cathedral he took participation in the construction of the Kazan Kremlin and, obviously, could not be blinded. Although, again, there is a version that these were different Fasters.
The walls of the temple were built of red brick, which was a rather innovative building material for Moscow at that time. To protect the rare material from exposure to precipitation, the outside walls of the building were painted in red and white tones, emphasizing the masonry. In 1588, by order of Tsar Fyodor Ioannovich, the chapel of St. Basil's was added to the temple, in the form of an independent pillarless church with a separate entrance.
Not much information has been preserved about what the Intercession Cathedral looked like originally. It is known that in the past the bypass gallery surrounding it was open and did not have massive hipped porches and paintings with floral patterns: the vault over the gallery and two porches over the stairs were built in the second half of the 17th century, when the building underwent significant reconstruction. During the same period, new churches were added to the cathedral: the Deposition of the Virgin Mary, the Holy Virgin Theodosius and others. According to the Russian historian Peter Khavsky, by 1722 there were 18 altars in the cathedral: the Life-Giving Trinity, the Entry of the Lord into Jerusalem, St. Nicholas of Velikoretsky, the Beheading of John the Baptist, Paraskeva-Pyatnitsa, Varlaam of Khutyn, Apostle Andronicus, Gregory of Armenia, Cyprian and Justinia, and the Deposition of the Robe. Theotokos, Sergius of Radonezh, Basil the Great, Alexander of Svirsky, Virgin Theodosius, Mary of Egypt, All Saints, Epiphany and the Three Patriarchs.
The domes also looked different: those colored figured domes for which St. Basil's Cathedral is known today appeared only at the end of the 16th century; the former were probably helmet-shaped, and their covering was destroyed by one of the city fires. Even their original number is questionable: it is known that during the restoration of 1784-1786 under the leadership of the architect Ivan Yakovlev, 8 small domes at the base of the tent were dismantled, which were recognized as later additions.
During the Patriotic War of 1812, the cathedral was plundered by the French, but immediately after the war it was repaired and consecrated. In 1817, when Red Square was reconstructed according to the design of Osip Bove, the retaining wall of the temple from Vasilyevsky Spusk and Moskvoretskaya Street was lined with stone, and a cast-iron fence was installed at the top.
During the Soviet years, St. Basil's Cathedral escaped demolition (although services there were still banned) and became one of the first architectural monuments taken under state protection. Its museumification began in 1918, and in 1923 it was decided to create a historical and architectural museum there, which later became part of the State Historical Museum. Initially, the building was in a deplorable state, but already in the 1920s, repair and restoration work began in it, designed to return the cathedral to its original appearance and partially recreate the interiors of the 16-17 centuries. In 1931, the monument to Minin and Pozharsky, previously installed in the central part of Red Square, was moved to the cathedral.
After the collapse of the Soviet Union - since 1991 - the temple building is in joint use of the museum and the Russian Orthodox Church.
Myths and legends
Being one of the most famous sights of Moscow and having at the same time a rather vague history, St. Basil's Cathedral was simply bound to acquire urban legends.
The most widespread legend concerns the construction of the temple: supposedly Tsar Ivan the Terrible, struck by the incredible beauty of the building, ordered its architects - Barma and Postnik - to be blinded, so that they would never be able to build a more beautiful temple anywhere than in Moscow. In reality, this is unlikely: firstly, it is not known for certain which architects erected the building. In addition, it is not clear whether the legendary Barma and Postnik were different people - Ivan Barma and Postnik Yakovlev - or whether it was one person - Postnik Yakovlev, nicknamed Barma. Be that as it may, after the construction of the Intercession Cathedral, Postnik Yakovlev participated in the construction of the Kazan Kremlin, which means he could not have been blinded - unless, again, these were different people.
There is a legend that the image of the historical Kul-Sharif mosque, destroyed by Russian troops during the capture of Kazan in 1552, is “encrypted” in the structure of St. Basil’s Cathedral: 8 of its chapters supposedly symbolize the 8 minarets of the destroyed mosque, and the 9th dominates them to commemorate the victory .
They say that St. Basil the Blessed, foreseeing victory over Kazan, collected money for the construction of the Intercession Cathedral and, shortly before his death in 1552, transferred it to Ivan the Terrible. However, this legend has no evidence.
Not without the library of Ivan the Terrible! According to one legend, it was hidden precisely in the basements of the Intercession Cathedral. Unfortunately, in reality this is impossible: the building simply does not have basements. The cathedral was built on a massive basement, which rests on an artificial hill, and its foundation is not so deep. However, in the basement there were rooms for storing valuables; another urban legend says that they could have housed the royal treasury.
During the Patriotic War of 1812, when French troops were leaving Moscow, Napoleon ordered the cathedral to be blown up, however, the French were unable to do this: supposedly, the rain that started extinguished the wicks and prevented them from preparing the explosion of the building. They say that Napoleon gave such an order in his hearts: he liked the cathedral so much that he wanted to move it to Paris, but he was informed that this was impossible (what a surprise!).
In the 1930s, Lazar Kaganovich proposed demolishing the Intercession Cathedral to make more space for parades and demonstrations on Red Square. According to urban legend, he made a model of Red Square with a removable cathedral building and brought it for demonstration to Stalin to show how the cathedral interfered with the passage of cars and columns. Showing the model, he unexpectedly tore off the Intercession Cathedral from it to clearly show how much better it would be without it, but the surprised Stalin exclaimed: “Lazarus, put it in its place!” - and the cathedral was saved.
Nowadays, St. Basil's Cathedral is one of the most popular attractions in Moscow, a must-see point on the maps of tourists coming to the capital. Its unusual and memorable appearance has made it one of the wonders and symbols of Russia - and even those who have never been to Moscow can easily recognize its domes, which are often printed on postcards and souvenirs, in books, textbooks and encyclopedias. If somewhere they talk or write about Moscow and Russia, the words will most likely be illustrated with a photograph of the Intercession Cathedral.
At the same time, the townspeople truly love him.
Cathedral of the Intercession of the Blessed Virgin Mary, on the Moat located on Red Square, building 2. You can get to it on foot from the metro stations "Okhotny Ryad" Sokolnicheskaya line, "Revolution square" Arbatsko-Pokrovskaya, "Theatrical" Zamoskvoretskaya and "China town" Tagansko-Krasnopresnenskaya and Kaluzhsko-Rizhskaya lines.
The chronicle names the Russian architects Postnik and Barma as the authors of St. Basil's Cathedral, who, quite likely, built the cathedral without any drawings at all. There is a legend according to which Ivan the Terrible, having seen the cathedral built according to their design, was so delighted with its beauty that he ordered the architects to be blinded so that they could not build a temple anywhere else equal in beauty to the Intercession Cathedral. Some modern historians offer a version according to which the architect of the temple was one person - Ivan Yakovlevich Barma, who was nicknamed the Faster because he kept a strict fast. As for the legend about the blinding of Barma and Postnik, its partial refutation can be served by the fact that the name of Postnik later appears in the chronicle in connection with the creation of other significant architectural structures.
St. Basil's Cathedral is a symmetrical ensemble of eight pillar-shaped churches surrounding the ninth - the tallest - temple, topped with a tent. The chapels are connected to each other by a system of transitions. The pillar-shaped churches are topped with onion domes, none of which is identical in architectural decoration to the others. One of them is densely dotted with golden cones, they are like stars in the sky on a dark night; on the other, scarlet belts run in zigzags across a bright field; the third resembles a peeled orange with yellow and green segments. Each dome is decorated with cornices, kokoshniks, windows, and niches.
Until the end of the 17th century, until the Ivan the Great Bell Tower was built on the territory of the Kremlin, St. Basil's Cathedral was the tallest building in Moscow. The height of the cathedral is 60 meters. In total, St. Basil's Cathedral has nine iconostases, which contain about 400 icons of the 16th-19th centuries, representing the best examples of the Novgorod and Moscow icon painting schools.
- Address: Russia, Moscow, Red Square, 2
- Start of construction: 1555
- Completion of construction: 1561
- Number of domes: 10
- Height: 65 m.
- Coordinates: 55°45"09.4"N 37°37"23.5"E
- Object of cultural heritage of the Russian Federation
- Official website: www.saintbasil.ru
On July 12, 2011, the most famous Orthodox church in Russia, the Intercession Cathedral, or St. Basil's Cathedral, celebrated its 450th anniversary.
History of the cathedral
St. Basil's Cathedral is just the popular name for the Cathedral of the Intercession of the Holy Virgin on the Moat. What kind of ditch is this? The fact is that until the 19th century, Red Square was surrounded by a defensive moat, which was filled in in 1813. It was near this ditch that the temple was built.
Until the mid-16th century, there was a small church on the southern side of Red Square. It is not known for certain whether it was stone or wooden, but most researchers are still inclined to the version of the Trinity Church, cut down from wood.
This is probably why one of the churches of the temple was consecrated in the name of the Trinity. In the middle of the 16th century, the wooden church was demolished, and a new one, also wooden, was founded in its place. And only a year later, in 1555, it was dismantled and a stone temple was laid in honor of the capture of Kazan.
And who built St. Basil's Cathedral?
There are several versions of who was the architect of the Russian miracle.
According to one of them, the architects Postnik and Barma worked on the creation of the temple. When they finished construction, Ivan the Terrible allegedly ordered both their eyes to be gouged out so that they could not repeat their masterpiece. However, it is documented that Postnik later participated in the creation of the Kazan Kremlin, which means he did not lose his sight.
According to another version, Postnik and Barma were one person - the Pskov master Postnik Yakovlev, nicknamed Barma. In the chronicles we can find references to both two architects: “... God gave him [Ivan the Terrible] two Russian masters, according to the orders of Postnik and Barm, and was wise and convenient for such a wonderful work,” and about one: “the son of Postnikov, according to the order of Barm "
The third version says that an overseas architect, probably from Italy, worked on St. Basil's Cathedral - hence the unusual appearance of the temple. However, this version has never been confirmed.
10 churches on one foundation.
The temple received its popular name thanks to the parish of St. Basil, which was added at the end of the 16th century. In 1557, the famous holy fool and wonderworker Vasily died, who sat for a long time at the temple and bequeathed to be buried next to it. By order of Fyodor Ioannovich, a church was built in which the relics of the saint rest.
The main advantage of St. Basil's Cathedral is its unusual architecture. If you look at the temple from above, you can see how it was built. In the center is the main pillar-shaped church in honor of the Intercession of the Mother of God.
Around it there are four axial churches and four smaller ones. Each of them is also consecrated in honor of one of the holidays on which the decisive battles during the capture of Kazan took place. All nine churches rise on a common base, with a circular gallery and internal stepped vaults. Additionally, there is St. Basil's Parish and a hipped bell tower, built at the end of the 17th century.
Each church is crowned with an onion dome, traditional for Russian temple architecture. Each onion is unique - carvings, patterns and all kinds of colors create a festive, elegant look. But scientists are still arguing about what exactly this or that paint symbolizes. According to one version, such variegated colors can be explained by the dream of blessed Andrew the Fool, the same one who was honored with a vision of the Most Holy Theotokos. Tradition says that he saw the Heavenly Jerusalem in a dream, and in it were gardens with beautiful trees and fruits of indescribable beauty.
Temple structure
There are only 10 domes. Nine domes over the temple (according to the number of thrones):
- Intercession of the Virgin Mary (central),
- Holy Trinity (East),
- Entry of the Lord into Jerusalem (zap.),
- Gregory of Armenia (north-west),
- Alexander Svirsky (southeast),
- Varlaam Khutynsky (southwest),
- John the Merciful (formerly John, Paul and Alexander of Constantinople) (north-east),
- Nicholas the Wonderworker of Velikoretsky (south),
- Adrian and Natalia (formerly Cyprian and Justina) (northern))
- Plus one dome over the bell tower.
In ancient times, St. Basil's Cathedral had 25 domes, representing the Lord and the 24 elders sitting at His throne.
The cathedral consists of eight churches, the thrones of which were consecrated in honor of the holidays that occurred during the decisive battles for Kazan:
Trinity,
- in honor of St. Nicholas the Wonderworker (in honor of his Velikoretskaya icon from Vyatka),
- Entry into Jerusalem,
- in honor of the martyr. Adrian and Natalia (originally - in honor of St. Cyprian and Justina - October 2),
- St. John the Merciful (until XVIII - in honor of St. Paul, Alexander and John of Constantinople - November 6),
- Alexander Svirsky (April 17 and August 30),
- Varlaam Khutynsky (November 6 and 1st Friday of Peter’s Lent),
- Gregory of Armenia (September 30).
All these eight churches (four axial, four smaller ones between them) are crowned with onion domes and grouped around the ninth pillar-shaped church rising above them in honor of the Intercession of the Mother of God, completed with a tent with a small dome. All nine churches are united by a common base, a bypass (originally open) gallery and internal vaulted passages.
In 1588, a chapel was added to the cathedral from the northeast, consecrated in honor of St. Basil the Blessed (1469-1552), whose relics were located on the site where the cathedral was built. The name of this chapel gave the cathedral a second, everyday name. Adjacent to the chapel of St. Basil's is the chapel of the Nativity of the Blessed Virgin Mary, in which Blessed John of Moscow was buried in 1589 (at first the chapel was consecrated in honor of the Deposition of the Robe, but in 1680 it was reconsecrated as the Nativity of the Theotokos). In 1672, the discovery of the relics of St. John the Blessed took place there, and in 1916 it was reconsecrated in the name of Blessed John, the Moscow wonderworker.
A tented bell tower was built in the 1670s.
The cathedral has been restored several times. In the 17th century, asymmetrical extensions were added, tents over the porches, intricate decorative treatment of the domes (originally they were gold), and ornamental paintings outside and inside (originally the cathedral itself was white).
In the main, Intercession, church there is an iconostasis from the Kremlin Church of the Chernigov Wonderworkers, dismantled in 1770, and in the chapel of the Entrance to Jerusalem there is an iconostasis from the Alexander Cathedral, dismantled at the same time.
The last (before the revolution) rector of the cathedral, Archpriest John Vostorgov, was shot on August 23 (September 5), 1919. Subsequently, the temple was transferred to the disposal of the renovation community.
FIRST FLOOR
Podklet
There are no basements in the Intercession Cathedral. Churches and galleries stand on a single foundation - a basement, consisting of several rooms. The strong brick walls of the basement (up to 3 m thick) are covered with vaults. The height of the premises is about 6.5 m.
The design of the northern basement is unique for the 16th century. Its long box vault has no supporting pillars. The walls are cut with narrow openings - vents. Together with the “breathable” building material - brick - they provide a special indoor microclimate at any time of the year.
Previously, the basement premises were inaccessible to parishioners. The deep niches in it were used as storage. They were closed with doors, the hinges of which have now been preserved.
Until 1595, the royal treasury was hidden in the basement. Wealthy townspeople also brought their property here.
One entered the basement from the upper central Church of the Intercession of Our Lady via an internal white stone staircase. Only the initiated knew about it. Later this narrow passage was blocked. However, during the restoration process of the 1930s. a secret staircase was discovered.
In the basement there are icons of the Intercession Cathedral. The oldest of them is the icon of St. St. Basil's at the end of the 16th century, written specifically for the Intercession Cathedral.
Two 17th-century icons are also on display. - “Protection of the Most Holy Theotokos” and “Our Lady of the Sign”.
The icon “Our Lady of the Sign” is a replica of the façade icon located on the eastern wall of the cathedral. Written in the 1780s. In the XVIII-XIX centuries. The icon was located above the entrance to the chapel of St. Basil the Blessed.
CHURCH OF ST. BASILIUS
The lower church was added to the cathedral in 1588 over the burial place of St. St. Basil's. A stylized inscription on the wall tells about the construction of this church after the canonization of the saint by order of Tsar Fyodor Ioannovich.
The temple is cubic in shape, covered with a cross vault and crowned with a small light drum with a dome. The roof of the church is made in the same style as the domes of the upper churches of the cathedral.
The oil painting of the church was done for the 350th anniversary of the start of construction of the cathedral (1905). The dome depicts the Savior Almighty, the forefathers are depicted in the drum, the Deesis (Savior Not Made by Hands, the Mother of God, John the Baptist) is depicted in the crosshairs of the vault, and the Evangelists are depicted in the sails of the vault.
On the western wall is the temple image of the “Protection of the Blessed Virgin Mary”. In the upper tier there are images of the patron saints of the reigning house: Fyodor Stratelates, John the Baptist, Saint Anastasia, and the Martyr Irene.
On the northern and southern walls there are scenes from the life of St. Basil: “The Miracle of Salvation at Sea” and “The Miracle of the Fur Coat.” The lower tier of the walls is decorated with a traditional ancient Russian ornament in the form of towels.
The iconostasis was completed in 1895 according to the design of the architect A.M. Pavlinova. The icons were painted under the guidance of the famous Moscow icon painter and restorer Osip Chirikov, whose signature is preserved on the icon “The Savior on the Throne”.
The iconostasis includes earlier icons: “Our Lady of Smolensk” from the 16th century. and the local image of “St. Saint Basil against the backdrop of the Kremlin and Red Square" XVIII century.
Above the burial place of St. St. Basil's Church is installed, decorated with a carved canopy. This is one of the revered Moscow shrines.
On the southern wall of the church there is a rare large-sized icon painted on metal - “Our Lady of Vladimir with selected saints of the Moscow circle “Today the most glorious city of Moscow flaunts brightly” (1904)
The floor is covered with Kasli cast iron slabs.
St. Basil's Church was closed in 1929. Only at the end of the 20th century. its decorative decoration was restored. August 15, 1997, on the day of memory of St. Basil the Blessed, Sunday and holiday services were resumed in the church.
SECOND FLOOR
Galleries and porches
An external bypass gallery runs along the perimeter of the cathedral around all the churches. Initially it was open. In the middle of the 19th century. the glass gallery became part of the cathedral's interior. Arched entrance openings lead from the external gallery to the platforms between the churches and connect it with internal passages.
The central Church of the Intercession of Our Lady is surrounded by an internal bypass gallery. Its vaults hide the upper parts of the churches. In the second half of the 17th century. the gallery was painted with floral patterns. Later, narrative oil paintings appeared in the cathedral, which were updated several times. Tempera painting is currently unveiled in the gallery. Oil paintings from the 19th century have been preserved on the eastern section of the gallery. — images of saints in combination with floral patterns.
Carved brick portals-entrances leading to the central church organically complement the decor of the internal gallery. The southern portal has been preserved in its original form, without later coatings, which allows you to see its decoration. The relief details are laid out from specially molded pattern bricks, and the shallow decoration is carved on site.
Previously, daylight penetrated into the gallery from windows located above the passages in the walkway. Today it is illuminated by mica lanterns from the 17th century, which were previously used during religious processions. The multi-domed tops of the outrigger lanterns resemble the exquisite silhouette of a cathedral.
The floor of the gallery is made of brick in a herringbone pattern. Bricks from the 16th century have been preserved here. - darker and more resistant to abrasion than modern restoration bricks.
The vault of the western section of the gallery is covered with a flat brick ceiling. It demonstrates a unique for the 16th century. engineering technique for constructing a floor: many small bricks are fixed with lime mortar in the form of caissons (squares), the ribs of which are made of figured bricks.
In this area, the floor is laid out with a special “rosette” pattern, and on the walls the original painting has been recreated, imitating brickwork. The size of the drawn bricks corresponds to the real ones.
Two galleries unite the chapels of the cathedral into a single ensemble. Narrow internal passages and wide platforms create the impression of a “city of churches.” After passing through the mysterious labyrinth of the internal gallery, you can get to the porch areas of the cathedral. Their vaults are “carpets of flowers,” the intricacies of which fascinate and attract the attention of visitors.
On the upper platform of the northern porch in front of the Church of the Entry of the Lord into Jerusalem, the bases of pillars or columns have been preserved - the remains of the decoration of the entrance.
CHURCH OF ALEXANDER SVIRSKY
The southeastern church was consecrated in the name of St. Alexander of Svirsky.
In 1552, on the day of memory of Alexander Svirsky, one of the important battles of the Kazan campaign took place - the defeat of the cavalry of Tsarevich Yapancha on the Arsk field.
This is one of four small churches 15 m high. Its base - a quadrangle - turns into a low octagon and ends with a cylindrical light drum and a vault.
The original appearance of the church interior was restored during restoration work in the 1920s and 1979-1980s: a brick floor with a herringbone pattern, profiled cornices, stepped window sills. The walls of the church are covered with paintings imitating brickwork. The dome depicts a “brick” spiral - a symbol of eternity.
The iconostasis of the church has been reconstructed. Icons from the 16th - early 18th centuries are located close to each other between the wooden beams (tyablas). The lower part of the iconostasis is covered with hanging shrouds, skillfully embroidered by craftswomen. On the velvet shrouds there is a traditional image of the Calvary cross.
CHURCH OF BARLAM KHUTYNSKY
The southwestern church was consecrated in the name of St. Varlaam of Khutyn.
This is one of the four small churches of the cathedral with a height of 15.2 m. Its base has the shape of a quadrangle, elongated from north to south with the apse shifted to the south. The violation of symmetry in the construction of the temple is caused by the need to create a passage between the small church and the central one - the Intercession of the Mother of God.
The four turns into a low eight. The cylindrical light drum is covered with a vault. The church is illuminated by the oldest chandelier in the cathedral from the 15th century. A century later, Russian craftsmen supplemented the work of the Nuremberg masters with a pommel in the shape of a double-headed eagle.
The Tyablo iconostasis was reconstructed in the 1920s. and consists of icons from the 16th - 18th centuries. A feature of the church’s architecture—the irregular shape of the apse—determined the shift of the Royal Doors to the right.
Of particular interest is the separately hanging icon “The Vision of Sexton Tarasius”. It was written in Novgorod at the end of the 16th century. The plot of the icon is based on the legend about the vision of the sexton of the Khutyn monastery of disasters threatening Novgorod: floods, fires, “pestilence”.
The icon painter depicted the panorama of the city with topographical accuracy. The composition organically includes scenes of fishing, plowing and sowing, telling about the daily life of the ancient Novgorodians.
CHURCH OF THE LORD'S ENTRY INTO JERUSALEM
The Western Church was consecrated in honor of the Feast of the Entry of the Lord into Jerusalem.
One of the four large churches is an octagonal two-tier pillar covered with a vault. The temple is distinguished by its large size and the solemn nature of its decorative decoration.
During the restoration, fragments of the architectural decoration of the 16th century were discovered. Their original appearance has been preserved without restoration of damaged parts. No ancient paintings were found in the church. The whiteness of the walls emphasizes the architectural details, executed by architects with great creative imagination. Above the northern entrance there is a trace left by a shell that hit the wall in October 1917.
The current iconostasis was moved in 1770 from the dismantled Alexander Nevsky Cathedral in the Moscow Kremlin. It is richly decorated with openwork gilded pewter overlays, which add lightness to the four-tier structure.
In the middle of the 19th century. The iconostasis was supplemented with wooden carved details. The icons in the bottom row tell the story of the Creation of the world.
The church displays one of the shrines of the Intercession Cathedral - the icon “St. Alexander Nevsky in the Life of the 17th century. The icon, unique in its iconography, probably comes from the Alexander Nevsky Cathedral.
In the center of the icon the noble prince is represented, and around him there are 33 stamps with scenes from the life of the saint (miracles and real historical events: the Battle of the Neva, the prince’s trip to the khan’s headquarters).
CHURCH OF GREGORY OF ARMENIAN
The northwestern church of the cathedral was consecrated in the name of St. Gregory, the enlightener of Great Armenia (died in 335). He converted the king and the entire country to Christianity, and was the bishop of Armenia. His memory is celebrated on September 30 (October 13 n.st.). In 1552, on this day, an important event in the campaign of Tsar Ivan the Terrible took place - the explosion of the Arsk Tower in Kazan.
One of the four small churches of the cathedral (15m high) is a quadrangle, turning into a low octagon. Its base is elongated from north to south with a displacement of the apse. The violation of symmetry is caused by the need to create a passage between this church and the central one - the Intercession of Our Lady. The light drum is covered with a vault.
The architectural decoration of the 16th century has been restored in the church: ancient windows, half-columns, cornices, brick floor laid out in a herringbone pattern. As in the 17th century, the walls are whitewashed, which emphasizes the severity and beauty of the architectural details.
The tyablovy (tyabla are wooden beams with grooves between which icons were attached) iconostasis was reconstructed in the 1920s. It consists of windows from the 16th-17th centuries. The Royal Doors are shifted to the left - due to a violation of the symmetry of the internal space.
In the local row of the iconostasis is the image of St. John the Merciful, Patriarch of Alexandria. Its appearance is connected with the desire of the wealthy investor Ivan Kislinsky to re-consecrate this chapel in honor of his heavenly patron (1788). In the 1920s the church was returned to its former name.
The lower part of the iconostasis is covered with silk and velvet shrouds depicting Calvary crosses. The interior of the church is complemented by the so-called “skinny” candles - large wooden painted candlesticks of an antique shape. In their upper part there is a metal base in which thin candles were placed.
The display case contains items of priestly vestments from the 17th century: a surplice and a phelonion, embroidered with gold threads. The 19th century candilo, decorated with multi-colored enamel, gives the church a special elegance.
CHURCH OF CYPRIAN AND JUSTINE
The northern church of the cathedral has an unusual dedication for Russian churches in the name of the Christian martyrs Cyprian and Justina, who lived in the 4th century. Their memory is celebrated on October 2 (15). On this day in 1552, the troops of Tsar Ivan IV took Kazan by storm.
This is one of the four large churches of the Intercession Cathedral. Its height is 20.9 m. The high octagonal pillar is completed with a light drum and a dome, which depicts Our Lady of the Burning Bush. In the 1780s. Oil painting appeared in the church. On the walls are scenes of the lives of saints: in the lower tier - Adrian and Natalia, in the upper - Cyprian and Justina. They are complemented by multi-figure compositions on the theme of Gospel parables and scenes from the Old Testament.
The appearance of images of martyrs of the 4th century in painting. Adrian and Natalia is associated with the renaming of the church in 1786. Rich investor Natalya Mikhailovna Khrushcheva donated funds for repairs and asked to consecrate the church in honor of her heavenly patrons. At the same time, a gilded iconostasis was made in the style of classicism. It is a magnificent example of skillful wood carving. The bottom row of the iconostasis depicts scenes of the Creation of the World (days one and four).
In the 1920s, at the beginning of scientific museum activities in the cathedral, the church was returned to its original name. Recently, it appeared before visitors updated: in 2007, the wall paintings and iconostasis were restored with the charitable support of the Russian Railways Joint Stock Company.
CHURCH OF NICHOLAS VELIKORETSKY
The southern church was consecrated in the name of the Velikoretsk Icon of St. Nicholas the Wonderworker. The icon of the saint was found in the city of Khlynov on the Velikaya River and subsequently received the name “Nicholas of Velikoretsky”.
In 1555, by order of Tsar Ivan the Terrible, the miraculous icon was brought in a religious procession along the rivers from Vyatka to Moscow. An event of great spiritual significance determined the dedication of one of the chapels of the Intercession Cathedral under construction.
One of the large churches of the cathedral is a two-tier octagonal pillar with a light drum and a vault. Its height is 28 m.
The ancient interior of the church was badly damaged during the fire of 1737. In the second half of the 18th - early 19th centuries. a single complex of decorative and fine arts emerged: a carved iconostasis with full ranks of icons and monumental plot painting of the walls and vault. The lower tier of the octagon presents the texts of the Nikon Chronicle about the bringing of the image to Moscow and illustrations to them.
In the upper tier the Mother of God is depicted on a throne surrounded by prophets, above are the apostles, in the vault is the image of the Savior Almighty.
The iconostasis is richly decorated with stucco floral decoration and gilding. The icons in narrow profiled frames are painted in oil. In the local row there is an image of “St. Nicholas the Wonderworker in the Life” of the 18th century. The lower tier is decorated with gesso engraving imitating brocade fabric.
The interior of the church is complemented by two external double-sided icons depicting St. Nicholas. They made religious processions around the cathedral.
At the end of the 18th century. The floor of the church was covered with white stone slabs. During restoration work, a fragment of the original covering made of oak checkers was discovered. This is the only place in the cathedral with a preserved wooden floor.
In 2005-2006 The iconostasis and monumental paintings of the church were restored with the assistance of the Moscow International Currency Exchange.
CHURCH OF THE HOLY TRINITY.
The eastern one is consecrated in the name of the Holy Trinity. It is believed that the Intercession Cathedral was built on the site of the ancient Trinity Church, after which the entire temple was often named.
One of the four large churches of the cathedral is a two-tiered octagonal pillar, ending with a light drum and a dome. Its height is 21 m. During the restoration of the 1920s. In this church, the ancient architectural and decorative decoration was most fully restored: half-columns and pilasters framing the entrance arches of the lower part of the octagon, the decorative belt of the arches. In the vault of the dome, a spiral is laid out with small bricks - a symbol of eternity. Stepped window sills in combination with the whitewashed surface of the walls and vault make the Trinity Church especially bright and elegant. Under the light drum, “voices” are built into the walls - clay vessels designed to amplify sound (resonators). The church is illuminated by the oldest chandelier in the cathedral, made in Russia at the end of the 16th century.
Based on restoration studies, the shape of the original, so-called “tyabla” iconostasis was established (“tyabla” are wooden beams with grooves between which the icons were fastened close to each other). The peculiarity of the iconostasis is the unusual shape of the low royal doors and three-row icons, forming three canonical orders: prophetic, Deesis and festive.
“The Old Testament Trinity” in the local row of the iconostasis is one of the most ancient and revered icons of the cathedral of the second half of the 16th century.
CHURCH OF THE THREE PATRIARCHES
The northeastern church of the cathedral was consecrated in the name of the three Patriarchs of Constantinople: Alexander, John and Paul the New.
In 1552, on the day of remembrance of the Patriarchs, an important event of the Kazan campaign took place - the defeat by the troops of Tsar Ivan the Terrible of the cavalry of the Tatar prince Yapanchi, who was coming from the Crimea to help the Kazan Khanate.
This is one of the four small churches of the cathedral with a height of 14.9 m. The walls of the quadrangle turn into a low octagon with a cylindrical light drum. The church is interesting for its original ceiling system with a wide dome, in which the composition “The Savior Not Made by Hands” is located.
The wall oil painting was made in the middle of the 19th century. and reflects in its plots the then change in the name of the church. In connection with the transfer of the throne of the cathedral church of Gregory of Armenia, it was reconsecrated in memory of the enlightener of Great Armenia.
The first tier of the painting is dedicated to the life of St. Gregory of Armenia, in the second tier - the history of the image of the Savior Not Made by Hands, its bringing to King Abgar in the Asia Minor city of Edessa, as well as scenes from the lives of the Patriarchs of Constantinople.
The five-tier iconostasis combines baroque elements with classical ones. This is the only altar barrier in the cathedral from the mid-19th century. It was made specifically for this church.
In the 1920s, at the beginning of scientific museum activity, the church was returned to its original name. Continuing the traditions of Russian philanthropists, the management of the Moscow International Currency Exchange contributed to the restoration of the interior of the church in 2007. For the first time in many years, visitors were able to see one of the most interesting churches of the cathedral.
BELL TOWER
The modern bell tower of the Intercession Cathedral was built on the site of an ancient belfry.
By the second half of the 17th century. the old belfry had become dilapidated and unusable. In the 1680s. it was replaced by a bell tower, which still stands today.
The base of the bell tower is a massive high quadrangle, on which an octagon with an open platform is placed. The site is fenced with eight pillars connected by arched spans and crowned with a high octagonal tent.
The ribs of the tent are decorated with multi-colored tiles with white, yellow, blue and brown glaze. The edges are covered with figured green tiles. The tent is completed by a small onion dome with an eight-pointed cross. There are small windows in the tent - the so-called “rumors”, designed to amplify the sound of the bells.
Inside the open area and in the arched openings, bells cast by outstanding Russian craftsmen of the 17th-19th centuries are suspended on thick wooden beams. In 1990, after a long period of silence, they began to be used again.
The height of the temple is 65 meters.
Currently, the Intercession Cathedral is a branch of the State Historical Museum. Included in the List of UNESCO World Heritage Sites in Russia.
The Intercession Cathedral is one of the most famous landmarks in Russia. For many inhabitants of planet Earth, it is a symbol of Moscow (the same as the Eiffel Tower for Paris).
|
|
