Current status
Architecture
Interior
Necropolis of the Assumption Cathedral
Assumption Cathedral of the Moscow Kremlin- an Orthodox church located on Cathedral Square of the Moscow Kremlin, the Patriarchal Cathedral of the Patriarch of Moscow and All Rus' (since 1991).
Built in 1475-1479 under the leadership of the Italian architect Aristotle Fioravanti. The main temple of the Russian state.
The oldest fully preserved building in Moscow.
Story
The first stone cathedral on the site of the current one was built at the beginning of the 14th century, during the reign of Ivan I: on August 4, 1326, on the site of the former wooden church, the white stone Cathedral of the Assumption of the Blessed Virgin Mary was founded in fulfillment of the wishes of Metropolitan Peter of Kyiv and All Rus', who had recently moved to Moscow .
The Assumption Cathedral of 1326-1327 was the first stone church in Moscow. Archaeological research has shown that it was a four-pillar, three-apse, three-aisle, one-domed temple, built on the model of St. George's Cathedral in Yuryev-Polsky. The temple was built using a technique characteristic of that time: masonry from roughly processed squares of white stone was combined with smooth-hewn elements architectural decor. The temple was crowned with kokoshniks.
Under Ivan III, the temple ceased to correspond to the status of a cathedral of the strengthened centralized Moscow state. Probably, the temple destined for demolition was no longer repaired, and it became very dilapidated, which is reflected in the chronicles. In the summer of 1471, “Metropolitan Philip began to earnestly think about building a new stone cathedral church in Moscow, for the old one, built by Kalita, was already in danger of destruction from antiquity and from many fires, its vaults were already reinforced, supported by thick trees.”
The construction of a new cathedral of enormous size for that time was entrusted to the Russian architects Krivtsov and Myshkin. On April 30, 1471, the foundation stone of the new cathedral took place. The construction that had begun was not completed, since the temple, which had been built to the vaults, collapsed after the earthquake (“coward”) that occurred in Moscow on May 20, 1474. The chronicler testifies: “there was a coward in the city of Moscow and the church of St. The Mother of God, it was already done to the upper chambers, falling at 1 o’clock in the morning, and the temples all shook, just as the earth shook.”
Ivan III invited the architect Aristotle Fioravanti from Italy, who, having completely dismantled the remains of the previous structure, erected the existing building in the likeness of the Assumption Cathedral in Vladimir. The temple was consecrated on August 12, 1479 by Metropolitan Gerontius.
The temple has six pillars, five domes, and five apses. Built of white stone in combination with brick (the vaults, drums, the eastern wall above the altar apses, the eastern square pillars hidden by the altar barrier are made of brick; the rest are round - the pillars are also made of brick, but faced with white stone).
The original paintings of the cathedral were carried out between 1482 and 1515. The famous icon painter Dionysius took part in the painting. In 1642-1644, the cathedral was painted anew, but fragments of the original paintings were preserved, which are the oldest example of fresco painting on the territory of the Kremlin that has come down to us.
The temple suffered from fires many times and was renovated and restored many times. After the fire of 1547, Ivan Vasilyevich ordered the top of the temple to be covered with gilded copper sheets; the relics of Metropolitan Peter were transferred from a silver shrine to a gold one. In 1624, the cathedral vaults, which were threatening to fall, were dismantled and rebuilt according to a changed design, with additional reinforcement with bonded iron and the introduction of additional girth arches.
In 1547, the crowning of Ivan IV took place here for the first time.
The cathedral building hosted Zemsky Sobor 1613, in which Mikhail Fedorovich was elected tsar.
In 1625, the Robe of the Lord, sent as a gift to Tsar Mikhail Feodorovich by the Persian Shah Abbas I, was transferred to the cathedral. In honor of this event, the holiday “Position of the Robe of the Lord” was established in the Russian church (July 10 to Julian calendar). The precious ark with the robe was placed in a bronze tent to store sacred relics.
During the St. Petersburg period, it continued to be the place of coronation of all Russian emperors, starting with Peter II.
In 1812, the cathedral was desecrated and looted by the Napoleonic army, although the most valuable shrines were evacuated to Vologda. Of the tombs of the saints, only the shrine of Metropolitan Jonah has survived. The cathedral was re-consecrated on August 30, 1813 by Bishop Augustin (Vinogradsky) of Dmitrov.
Restorations of the Assumption Cathedral were carried out in 1895-1897 by architect S.K. Rodionov, in the 1900s by architect S.U. Solovyov, in 1911-1915 by architect I.P. Mashkov.
On August 15, 1917, on the patronal feast day, the All-Russian Local Council of the Orthodox Russian Church opened here, which in October adopted a decision to restore the patriarchate in the Russian Church; On November 21 of the same year, Patriarch Tikhon (Bellavin) was enthroned.
Closed to access and worship in March 1918, after the RSFSR government moved to the Kremlin.
The last service before the closure of the temple was performed on Easter 1918 - April 22 (May 5); The service, which served as the initial basis for P. D. Korin’s painting “Departing Rus',” was led by the vicar of the Moscow diocese, Bishop Trifon of Dmitrov (Turkestan).
Current status
Opened as a museum in 1955. In February 1960, it was transferred to the jurisdiction of the USSR Ministry of Culture. Since 1991, it has been part of the State Historical and Cultural Museum-Reserve "Moscow Kremlin".
Since 1990, services have been held in the cathedral on separate days with the blessing of the Patriarch; is called the “Patriarchal Cathedral”.
Architecture
The cathedral has a monolithic, laconic appearance. The unity of the building is emphasized by the equal division of the facades using blades. On smooth walls - narrow windows and an arcature belt. The apses of the cathedral are relatively low and covered from the south and north by pylons. The cathedral is decorated with five powerful domes, shifted to the east. Contemporaries noted that the building looked “like a single stone.”
Carrying out a daunting task to increase the internal volume of the temple, which his predecessors Krivtsov and Myshkin could not cope with, Aristotle Fioravanti, for the first time in Russian architecture, used cross vaults one brick thick and metal intra-wall and opening connections. But his main engineering idea was that thanks to the construction of additional arches behind the iconostasis, the eastern compartments of the temple actually turned into a monolith that absorbed a significant part of the load from the colossal drums. Accordingly, it became possible to erect relatively thin round pillars in the central and western parts of the cathedral, which created a feeling of lightness of construction and integrity (“solidity”) of the part of the naos intended for worshipers.
Interior
Shrines
The Nail of the Lord and the staff of St. Peter, Metropolitan of Kyiv and All Rus' are preserved in the cathedral.
Since 1395 the cathedral housed Vladimir icon Mother of God(since 1930 in Tretyakov Gallery, in the Church of St. Nicholas in Tolmachi).
The cathedral was the burial place of most Moscow saints before the establishment of the Holy Synod.
Necropolis of the Assumption Cathedral
“In the first stone church of the Kremlin - the Assumption of the Mother of God - the formation of the necropolis began in 1326. Moscow Prince Yuri Daniilovich (his grave was lost in antiquity) and St. were buried here. Metropolitan Peter. The tomb was conceived as a burial place for both secular and spiritual rulers of the Moscow principality, but with the construction of the Archangel Cathedral in 1333, the necropolis was divided. Only the heads of the Russian Church began to be buried in the Assumption Cathedral. A total of twenty people were buried in this temple. Graves of metropolitans XIV - mid. XVI century are located in the altar of the cathedral, in the southwestern corner and along the northern wall of the temple. Russian patriarchs of the 17th century are buried near the southern and western walls. Most of the burials are located under the floor of the temple and are marked in the interior by low, rectangular monuments with flat lids (at the end of the 19th century they were enclosed in metal covers). The tombstones of the patriarchs, unlike those of the metropolitans, retained carved white stone slabs with epitaphs, clearly visible through the glazed frames of the covers. The most revered burials of the Assumption Cathedral are the metropolitans: St. Peter, Theognostus, St. Jonah, St. Philip II (Kolychev) and svmch. Patriarch Hermogenes - committed in crayfish.”
Metropolitans of Kyiv
- Peter (d. 1326),
- Theognostus (d. 1353),
- Cyprian (d. 1406),
- Photius (d. 1431),
- Jonah (d. 1461).
Metropolitans of Moscow
- Philip I (d. 1473),
- Gerontius (d. 1489),
- Simon (d. 1511),
- Macarius (d. 1563),
- Philip II (d. 1569).
Patriarchs of Moscow
- Job (d. 1607),
- Hermogenes (d. 1612),
- Filaret (d. 1633),
- Joasaph I (d. 1640),
- Joseph (d. 1652),
- Joasaph II (d. 1672),
- Pitirim (d. 1673),
- Joachim (d. 1690),
- Adrian (d. 1700).
Rulers of Moscow
- Yuri Danilovich (d. 1325), Moscow prince in 1303-1325, Grand Duke Vladimirsky in 1319-1322, Prince of Novgorod in 1322-1325 - the grave is lost
reburied
- Alexy (Byakont) - the relics were in the cathedral from 1929 to 1948, now in the Elokhov Church.
A Catholic by religion, military engineer and brilliant architect Aristotle Fioravanti built main cathedral The Moscow kingdom, the most beautiful fortress in Russia on Borovitsky Hill, survived disgrace, war and prison and remained forever in the history of the Russian state.
Renaissance Man
Almost every Russian has been to the Moscow Kremlin at least once and knows that the main temple is located there on the Cathedral Square of the capital Orthodox Rus'- Patriarchal Cathedral of the Assumption of the Mother of God, or simply the Assumption Cathedral. The same one where the Russian tsars were crowned and where the patriarch now serves. The famous temple has become so integral to our lives that few people think about the amazing historical paradox, because this symbol of Orthodoxy and the cultural traditions of Rus' was built by an Italian, a Catholic by religion, Aristotle Rudolfo Fioravanti.
New era - new challenges
The second half of the 15th century brought truly fateful changes to the life of Rus'. From a conglomerate of small principalities warring among themselves, forced to constantly look back at the Horde, it turned into a strong state, which immediately became one of the largest in Europe. Tatar yoke naturally became a thing of the past - against a single Russian force, the khans were doomed. Probably, formal liberation could have happened earlier, because mentally Rus' was ready for unity even during the Battle of Kulikovo, but the Moscow civil strife prevented it, which essentially stole half a century from our country.
With the birth of a new independent state, the question arose about symbols of power, state regalia and attributes. In medieval society this was taken seriously. The natural course of things dictated a revival Orthodox traditions- Constantinople fell, and Moscow, as it were, picked up the banner crowned with the double-headed Byzantine eagle. Now the city began to be called the “Third Rome”, which means it should have looked like its predecessors.
In fact, the capital of the Grand Duchy of Moscow was completely unpresentable. Century-old white stone Kremlin after numerous wars and the fires looked pitiful, and besides, it was hopelessly outdated from the point of view of fortification - after all, it was built even before the advent of artillery. Built during the reign of Kalita and Metropolitan Peter, the Assumption Cathedral, which was a century and a half old, was in no way suitable for the role of the central temple of the new state, both due to its size and dilapidation. Ivan III and the boyars decided to tighten their belts, but to renew the face of the state. They started with the renovation of the walls (1462), but at the insistence of Metropolitan Philip, they decided to build a new cathedral.
At this time in Rus' there was no experience in building large stone temples. The old, pre-Mongol experience of building great cathedrals in Kyiv, Novgorod and Vladimir sank into oblivion along with their creators, and in the 13th-14th centuries small churches were more often built - this makes heating easier in winter and can be built without drawings
They tried to cope on their own - they invited home-grown masters Krivtsov and Myshkin. In April 1471, the cathedral was founded with all honors. In three years, white stone walls were erected “under the vaults,” but on the night of May 20, 1474, the structure collapsed:
“There was a coward in the city of Moscow and the Church of St. The Mother of God, it was already done to the upper chambers, falling at 1 o’clock in the morning, and the temples all shook, just as the earth shook.”
Earthquakes are rare in our latitudes; no one expects them. And this “shaking” happened at a very unfortunate moment: the walls were already standing, but the roof holding them together was not yet there. This played a fatal role. Although, according to the chronicle, there were complaints about the quality mortar. One way or another, everything had to start again.
This is where the idea of inviting a master from abroad arises. The fact is that at that time in Rus' there was no experience in building large stone temples. The old, pre-Mongol experience of building great cathedrals in Kyiv, Novgorod and Vladimir sank into oblivion along with their creators, and in the 13th-14th centuries small churches were more often built - this way it is easier to heat in winter and can be built without drawings. The specifics of the construction of large buildings with heavy domes required precise calculations, mathematical skills and, most importantly, engineering technologies.
There was no question of where to invite masters from - the trendsetter of world architectural fashion was Italy, where the Renaissance began almost a century earlier than in all of Europe. In addition, it was the Italians who became the successors of the great Byzantine architectural traditions, who moved there along with the fugitives from Constantinople captured by the Turks. And one more important nuance: by this time, Moscow had a direct connection with Italy: in 1472, Ivan III was married (in the temporary wooden Assumption Cathedral) with the niece of the last Byzantine emperor, Zoya (Sophia) Paleologus, who was brought up in Rome. Apparently, it couldn’t have happened without her patronage, especially when there was talk about choosing a specific master.
Hereditary architect
Imaginary portrait of Aristotle Fioravanti by Lorenzo Lotto
Image: ru.wikipedia.org
In pre-revolutionary books one can find the opinion that Aristotle is a nickname that the master deserved for his wisdom. But that's not true. Greek name it was given to him at birth, which is confirmed by documents. It was fashionable during the early Renaissance.
Aristotle was born in Bologna into a family of hereditary architects. Since childhood, the boy had been brewing in a creative spirit, so, in fact, he had no other way. At that time there was no strict division into scientists, craftsmen, mechanics, artists - seeking people tried to do everything. The spirit of revival was all-encompassing, coming from within people, and young Aristotle absorbed it from the cradle.
The first mention of Aristotle as a professional dates back to 1436, when the young man was barely twenty. Then he participated in the casting of the bell for the Aringo tower (by the way, rebuilt by his father) and came up with a cunning device for raising the bell to the very top.
After standing for two days, the tower fell, crushing several people. It turned out that the water had washed away the foundation. The architect was very worried about what happened and promised never to return to Venice
Since 1447, Aristotle has been working independently, constructing rather complex architectural and construction complexes. In 1455, Fioravanti moved the Della Magione bell tower, the first building in Bologna whose move was documented. The 24-meter bell tower was moved 13 meters to make room for the new building of the city magistrate. Since such difficult work was carried out in short term and with great skill, the city council awarded the young master the title of foreman of the masons' lodge and provided lifelong financial support.
Quite quickly, the hometown became too small for the master, and he also had disagreements with representatives of the council. Aristotle restored the ancient bridge in Pavia, built the Parma Canal, and moved the Tower of the Holy Angel in Venice. The last experience was tragic: after standing for two days, the tower fell, crushing several people. It turned out that the water had washed away the foundation. The architect was very worried about what happened and promised never to return to Venice.
Then Aristotle worked in northern Italy for the Duke of Milan Francesco Sforza: he built canals and locks, restored fortress walls, moved towers and bell towers. Seven years later he returned to Bologna, already a famous and respected master throughout the country. In 1464, Fioravanti received an invitation from the Hungarian king Matthias Corvinus, but for three years he could not leave - the Bologna lodge of masons did not let him out. In Budapest, Fioravanti showed himself in all his splendor: he built bridges across the Danube and created modern fortifications. Having earned the king's gratitude and having earned a lot of money, the architect returned to Bologna.
Then there were orders in Rome and another return to Bologna, and then a scandal broke out: the honored master was accused of counterfeiting and imprisoned. He was stripped of all titles and privileges. After some time, the charges seemed to be dropped, but the residue, as they say, remained. It was then that the invitation of the Moscow sovereign arrived, conveyed to the master by the Russian ambassador Semyon Tolbuzin. After some thought, the sixty-year-old master accepted the offer and, in the company of his son Andrea and student Pietro, went to the ends of the world. By the way, the architect had an invitation from the Turkish Sultan, but he chose Moscow.
The most Russian temple in Rus'
And height, and lightness, and sonority, and space, the same has never happened before in Rus', except Vladimir Church; and the master is Aristotle.
Image: wikimedia.org
Perhaps Russia should thank fortune, which sent us one of the most prominent representatives of the Renaissance and, perhaps, the best engineer of his time. Otherwise, Moscow would look completely different.
The main task set before Aristotle in Russia was the construction of a central cathedral, which was supposed to reflect the greatness of the state and Orthodoxy. The second task was the construction of a new fortress on the site of the Moscow Kremlin, in any case, the development of a master plan.
At the same time, Ivan III Vasilyevich wanted the Assumption Cathedral to be typically Orthodox, Russian in appearance. On the way from Italy, Aristotle passed through Novgorod and Pskov (they traveled through German lands and the Baltic Sea), then made a special trip to Suzdal and Vladimir. As a result, it was decided to take the Vladimir Assumption Cathedral as a model. This was a fundamental choice: not the Byzantine motifs of famous St. Sophia Cathedrals Novgorod, Kyiv and Constantinople, namely the cross-domed type of the Vladimir temple.
Never before have Russian masters been able to create such a huge free space to achieve such lightness and freedom
To truly appreciate the grandeur and harmony of this structure, look at it from the south, from the Moscow River. Exit Cathedral Square, cross the road and turn around at the parapet. Notice how slender, light and proportional the temple is. Its huge size does not put pressure on a person, they are completely invisible to the eye... Only when you notice people at the foot of the cathedral, it becomes clear how grandiose it is!
The cathedral stands on the top of Borovitsky Hill. It was built so that it could be seen from a distance, primarily from the Moscow River, which was the main transport route. It towered above Moscow, because the other buildings were much lower. Now the cathedral is surrounded by other buildings and we are deprived of the opportunity to see it in the contextual space that the author intended. Well, you'll have to use your imagination.
From “The Book on the Election to the Kingdom of the Great Sovereign, Tsar and Grand Duke Mikhail Fedorovich”
Image: Global Look Press
Please note that the cathedral does not have the usual apse part protruding to the east. That is, it is there, but hidden by a decorative wall. And if you look closely, you will notice that the wall is not vertical, but inclined, expanding downwards. This is one of the nuances that creates visual lightness and harmony.
But the main thing is inside. Never before have Russian masters been able to create such a huge free space, to achieve such lightness and freedom. The cathedral is “ringing,” as one of his contemporary noted. This became possible thanks to the author’s ingenious sense of harmony and the new technologies he used.
By appearance The Moscow Assumption Cathedral resembles its Vladimir predecessor, but technologically it is completely different. Inside the white stone walls is brickwork, the floors are made of brick. Aristotle had to build brick factories in Moscow (they were located near the Andronnikov Monastery), since the quality of the bricks that we made before did not meet his requirements. The pillars that support the vault, ceilings, and cross vaults are also made of brick, thanks to which the huge drums of the domes seem to hang in the air. Instead of the usual wooden beams, the master used metal clamps, and he personally monitored the quality of the solution.
In external decoration Aristotle used traditionally Russian decorative elements (arcature belt, perspective portal and others), but he brought each of them to the finest harmony. The beauty of the cathedral lies in its amazing proportionality and harmony. This is the spirit of the Renaissance: it is not in any specific architectural details, but in the indescribable feeling of harmony that medieval masters drew from their ancient predecessors. And in this sense, the Assumption Cathedral is one of the most outstanding buildings of the early Renaissance, a real world masterpiece. He is Russian in character and European in spirit.
Assumption Cathedral on Cathedral Square of the Moscow Kremlin. Top view
Photo: Olga Lipunova / Photobank Lori
Interior of the Assumption Cathedral of the Moscow Kremlin
Photo: Dmitry Neumoin / Lori Photobank
The Assumption Cathedral was built phenomenally quickly - the building was erected in two years, another two years were spent on interior decoration. Fioravanti did not take an active part in the design; he was preoccupied with other concerns, primarily the construction of the Kremlin walls. Apparently, the general plan of this grandiose fortification also belongs to Aristotle. In addition, he set up a mint and cannon yards, built cannons, cast bells and even... fought. At the insistence of Ivan III, the elderly master took part in the Novgorod campaign and amazed everyone with how famously he built a pontoon bridge across the Volkhov to transport cannons.
We know little about the master’s last years. It seems that after the execution of his compatriot-doctor, he became sad and wanted to run away, but was caught. It seems that he was even imprisoned. But soon he was mentioned among the participants in the campaign against Tver in 1485... Unfortunately, we do not know how the great master died and where he was buried. We do not know whether he died in Russia or went home. But we are left with the amazing Assumption Cathedral - the best monument to the outstanding architect, who made his memory immortal.
Georgy Oltarzhevsky
The Assumption Cathedral is an integral part of the Moscow Kremlin. For a long time it rightfully bore the proud title of the main temple in the capital.
The cathedral, like other Kremlin buildings, has a rich and interesting historical past. In ancient times, there was a wooden temple in its place, which survived until the 12th century. In 1326, the residence of the Russian metropolitan was moved from Vladimir to the capital. The Bishop advised the Grand Duke of Moscow Ivan Kalita to lay a new cathedral of stone, since old church no longer satisfied the ambitions of the nobility and did not correspond to its high status in size and appearance. In August of the same year the Assumption Cathedral was founded. Now it is difficult to determine which temple was taken as a model during construction. It is believed that it was St. George's Cathedral from Yuryev-Polsky.
And less than a year has passed since a new one appeared stone temple. He settled down on the very high point Kremlin Hill, for which it is called the “Cathedral on Makovitsa”.
We have to admit that nothing is eternal in the world. Buildings deteriorate and collapse with time and natural disasters, first of all – fires. After 150 years, the temple fell into disrepair. An acute question arose: what is better - total reconstruction or new construction. The stone was already crumbling, and some structures were kept “on their word of honor,” even the vault was supported with logs, so the authorities decided to dismantle the old cathedral and build a new one in its place.
Construction began in the spring of 1472 under the leadership of skilled architects - Krivtsov and Myshkin. The building of the Assumption Cathedral in the city of Vladimir was taken as a basis. The updated stone “version” was built so slowly that it was even necessary to build a temporary wooden church to carry out church services. It was there that Tsar Ivan III and the Byzantine princess Sophia Paleologus were married in 1472.
The temple was almost completely completed, when suddenly it collapsed. The technologies for constructing buildings were imperfect at that time, because in Rus' they were just mastering construction from stone. The use of a low-quality liquid solution led to such a sad ending. At first, the tsar wanted to restore the temple on his own, but architects from Pskov refused to carry out the reconstruction and had to invite foreign specialists.
The famous Italian engineer Ridolfo Aristotle Fioravanti was chosen to carry out the restoration work. The new Assumption Cathedral was erected in 1479, after which it was covered with church paintings.
Russian architects have long marveled at the ingenuity of overseas construction techniques used by the stranger. The single-brick vaults seemed fragile to them; the craftsmen predicted that there would be leaks on the ceiling from rain and snow, but this did not happen. What was new was the use of metal rods and their feeding using wheel blocks. Not only individual techniques and technologies have changed, but also the configuration of the temple as a whole. It turned into a single space with several supporting pillars, without side chapels.
The new temple acquired special national significance. In the 15th century, the grandson of Ivan III, Dimitri, was “placed to reign” here, and in the 16th century, the famous Ivan Vasilyevich, nicknamed the Terrible, was crowned king. All Russian emperors were also crowned in the Assumption Cathedral even after St. Petersburg became the capital of Russia. During the Napoleonic War of 1812, the temple was desecrated (the French turned it into a stable) and set on fire, but it was quickly restored.
At the beginning of the 20th century, the Russian Orthodox Church decided to renew the patriarchate. It was in the Assumption Cathedral that Patriarch Tikhon was elevated to the rank of rank. After the revolution, the Assumption Cathedral was closed; the Easter service in 1918 was the last.
Nowadays a museum is opened in the Assumption Cathedral, but during major Orthodox holidays church services are held there.
The exhibition of the Assumption Cathedral contains many items of great historical value. There is a wooden Monomakh throne, on which the first Russian Tsar Ivan IV sat. - the first Russian Tsar. It was made by Novgorod carvers and decorated with bas-reliefs depicting scenes from “The Tale of the Princes of Vladimir.”
There is an interesting fresco in the temple, which depicts the stages of construction of the Assumption Cathedral itself.
And on the iconostasis, created in 1653 with the blessing of Patriarch Nikon, the craftsmen clearly illustrated the entire history of mankind in accordance with biblical stories.
It's no secret that from ancient times in Rus' the starting point for city construction was the Orthodox church. It was the basis of every settlement. Moreover, it was customary for the building to be erected on the spot where the relics of the saint rested. They symbolized the “heart of the city.” And the name of the saint became the “secret name” of the locality.
And, of course, in this regard, the question of which “religious” object was paramount when Moscow was born is of particular interest. Every Russian simply must know that this is the Assumption Cathedral, located on the territory of the capital’s Cathedral Square. However, it also has another name - the Cathedral of the Assumption of the Mother of God. It is not known for certain on which saint’s relics the White Stone was erected. But there is no doubt that the construction of the Assumption Cathedral in Moscow was by no means a spontaneous event. How did it all begin?
History of creation
The history of the construction of the Assumption Cathedral in Moscow is remarkable. Initially, in the 12th century, in its place there was an ordinary wooden church.
One century later, he planned the first construction of the Assumption Cathedral in Moscow. Moreover, he managed to put his idea into practice. But a quarter of a century later, his successor decided to build new temple. And Metropolitan Peter of Kiev and All Rus' advised him to do this. They decided that the building had fallen into disrepair and a new one should appear in its place. And it would be enormous ignorance not to know the answer to the question: “Was the construction of the Assumption Cathedral in Moscow carried out under which prince?” And at the same time he is a major historical figure. It was he who increased the borders of the Russian state and gave the final rebuff to the Golden Horde. For those who have this information, it is not difficult to guess under which ruler the construction of the Assumption Cathedral in Moscow was started. Under Prince Ivan 3, naturally. Moreover, the Russian ruler spent a huge amount of money on this project. But after its implementation, Belokamennaya, from an architectural point of view, became significantly closer to such cities as Kyiv and Vladimir.
Sample for conversions
Surely, anyone who cannot answer the question: “The construction of the Assumption Cathedral in Moscow: under whom did it begin?” does not have the slightest idea of what architectural object was taken as the basis for the construction of the main temple of the capital.
Meanwhile, it can be a stretch to call it the greatness of architectural art. It's about about St. George's Cathedral in the city of Yuryev-Polsky. The latter was erected by Prince Svyatoslav Vsevolodovich in 1234. Previously, this place was occupied by St. George’s Church, which appeared starting point at the base of the city of Yuryev-Polsky.
First stage
The construction of the Assumption Cathedral in Moscow began in 1472. was dismantled, and the architects began construction of a new facility. But in 1474 an earthquake occurred in Belokamennaya. The cathedral, which is under construction, suffered serious damage. Ivan 3 orders to dismantle what was built and start all over again. The work was to be carried out by architects from Pskov - Myshkin and Krivtsov.
For what reasons did our architects refuse?
However, they refused this order. Why? One of the chronicles says that “craftsmen” from the independent republic were simply afraid to carry out the construction of the Assumption Cathedral in Moscow (13th century) due to the complexity of the work itself. However, taking into account the tough temper of the Russian prince, this is hard to believe. There must be another reason, and historians associate it with heresy, which only the Italian Aristotle Fiorovanti could “morally” resist. The fact is that the cathedral, which was ultimately designed by a foreigner, from the point of view of observing the traditions of Russian architecture, was made almost perfectly.
The only thing that was in doubt was the holy relics. Perhaps there were good reasons to believe that the “resting” relics belonged to a person who led a far from righteous lifestyle. At the same time, Sophia Poleolog, having married Ivan 3, brought with her many things of religious significance as a dowry. And if we assume that during the restoration of the cathedral there was a change of relics, then, taking into account the principles of domestic urban planning, the “ secret name” and, accordingly, the “fate” of the locality. Meanwhile, historians note that it was precisely under Ivan 3 that the very rhythm of the country’s development changed dramatically.
Foreigner
One way or another, Sophia Paleolog convinced her husband and his inner circle that the construction of the Assumption Cathedral in Moscow would be carried out by an “overseas” architect. She specially sends ambassadors to Italy to persuade and bring to Belokamennaya the famous Italian engineer Aristotle Fiorovanti, who became famous for being able to move the bell tower in his homeland. Soon the overseas architect arrives in Belokamennaya. It is noteworthy that for a foreign guest the construction Orthodox church was a completely new thing. Before starting work, Fiorovanti traveled to Vladimir to take a closer look at the buildings of Russian architecture. The master decided to first make a trial project and built a brick factory near the Andronikov Monastery.
Afterwards, he began his main job, the payment for which was 10 rubles per month.
Architectural component
So, the construction of the Assumption Cathedral in Moscow by Aristotle Fioravanti began in 1475. The construction process lasted four years.
The Assumption Cathedral in Vladimir was taken as an example of a new architectural masterpiece. Thus, the Russian ruler wanted to demonstrate that Moscow would become Vladimir’s successor in terms of the primacy of cities. The construction of the Assumption Cathedral in Moscow was supposed to be a powerful argument in favor of Belokamennaya becoming the capital of Rus'. Moreover, it was expected that the new temple would raise the international authority of the new capital as the heir of Byzantium and Rome.
The size of the Assumption Cathedral was impressive. Fiorovanti, who adhered to the architectural traditions of the European Renaissance, was able to consolidate into a single whole the traditional forms of the Russian - Byzantine church and the modernist Renaissance, taken as a basis in the arrangement of space. The Italian engineer was not only able to reproduce the splendor and beauty as accurately as possible Vladimir Church, but also to embody in the new Assumption Cathedral the most advanced achievements of Roman-Gothic and Russian-Byzantine architecture.
Without touching the main components Orthodox monastery(altar apses, zakomar coverings, cross-domed combination), Fiorovanti added to architectural project“a good portion” of his own vision, which had few points of contact with traditional Russian architecture. For example, he put into practice the author’s solution in choosing the volumetric-spatial model of the cathedral. The Italian made sure that the branches of the central cross were not massive and attracted attention.
He aligned them both in height and width. Such a non-standard approach created a feeling of solidity and unity of the entire temple, which, as one of the chroniclers put it, was perceived “like one stone.”
The five-domed Assumption Cathedral, consisting of blocks of white stone, delighted descendants with its majestic height, space and clarity of geometric proportions. These parameters became the starting point in the realization that the masterpiece of the Italian master Fiorovanti is the main object of Orthodoxy in Ancient Rus'.
Interior
The construction of the Assumption Cathedral in Moscow under Ivan 3 was completed in 1479. And over the next three years he had no decorative elements. Only then did several masters, including the icon painter Dionysius, begin painting work, which lasted 33 long years. Unfortunately, due to objective reasons, decorating the temple premises took a lot of time. After several decades, dampness and temperature changes damaged the frescoes, and the Assumption Cathedral had to be painted again. In addition to this, the architectural masterpiece of Fiorovanti was repeatedly tested for strength by the natural elements. It burned as a result of fires, so the cathedral regularly needed restoration.
Place for the wedding of kings
Over time, the heirs of Ivan 3 realized that the construction of the Assumption Cathedral in Moscow (date: 1475) was a necessary and timely action. In 1547, a ceremony took place there. And after that, the heirs of the Russian throne were the main participants in this ceremony within the walls of the Assumption Cathedral. And in 1613, the Zemsky Council was held here, at which it was decided that Tsar Mikhail Fedorovich Romanov would rule Russia. In 1624, Fiorovanti’s brainchild was again in danger of collapse: at any moment the vaults could fail. It was necessary to carry out another reconstruction, which involved strengthening the load-bearing structures. But the tests for the strength of the Assumption Cathedral did not end there.
In 1812 it was devastated by the French invaders. Our soldiers managed to save part of the “religious” props and transport them to Vologda.
Temple in the 20th century
In 1917, in an architectural masterpiece created by Fiorovanti, the All-Russian Russian Orthodox Church, who rehabilitated the institution of the patriarchate in the Russian Orthodox Church. And soon, within the walls of the Assumption Church, the enthronement ceremony of the new Patriarch Tikhon took place.
In 1918, after Easter service, the architectural heritage of Ivan 3 was closed to the Orthodox. During the Second World War, the Assumption Cathedral somehow miraculously remained untouched by the Nazis. And only in the mid-50s the temple opened its doors again, but now with the status of a museum. But the temple again needed restoration work, and they continued for several decades. In the early 90s, with the permission of the Russian Orthodox Church and the leadership of the Moscow Kremlin museums, liturgies could again be held in the Assumption Cathedral, and visitors could listen to church hymns. Services are held here on Easter, Christmas, and the Dormition of the Mother of God.
Cultural heritage of the temple
The construction of the Assumption Cathedral in Moscow (1475) was the main prerequisite for Belokamennaya becoming the heart of the Russian state. Naturally, the new temple should have contained the most valuable things for the Russians. Orthodox man relics. And this was indeed true. The Assumption Cathedral previously housed miraculous icon Mother of God of Vladimir. Initially, it was the property of the Vladimir Assumption Cathedral. But for safety purposes, Prince Vasily I transported it to Moscow. Now it is located in the Church-Museum of St. Nicholas in Tolmachi at the Tretyakov Gallery. But in the Assumption Cathedral you can also find an icon of the Vladimir Mother of God, but not the original, but a copy made by Dionysius’ apprentice.
Another invaluable object of the temple’s cultural heritage is the rare icon “Savior on the Throne”. This work by a Byzantine master was previously kept in (Veliky Novgorod). Ivan III himself transported it to the Assumption Cathedral.
One way or another, the collection of holy images from the period of the 11th-12th centuries in the architectural masterpiece of Fiorovanti is considered one of the richest in the world.
It is noteworthy that the decorative work of the masters, which included the icon painter Dionysius, which began three years after the construction of the temple, was so highly appreciated by Ivan 3 (he, in fact, initiated the construction of the Assumption Cathedral in Moscow (year 1475)), and the Metropolitan, that they said with one voice of admiration: “We see heaven.”
There was one more interesting fact. The steward Grigory Gavrilovich Pushkin, who was the direct ancestor of the great Russian poet, took part in the restoration work of the temple in the period from 1642 to 1644.
By order of Ivan the Terrible, immediately in front of the iconostasis, a prayer area was set aside for the ruler (“Monomakh’s Throne”), which is a kind of symbol of the postulate that Moscow is the “third Rome.” The doors and walls of the ruler’s prayer area are decorated with 12 bas-reliefs depicting scenes from “Tales of the Princes of Vladimir.”
The weddings of Russian rulers were held within the walls of the Assumption Cathedral. Here, in the 16th century, the German Catherine II adopted the Orthodox faith.
During the era of Bolshevism, the temple was plundered several times.
Currently, the brainchild of Aristotle Fiorovanti, located within the boundaries of the Moscow Kremlin, has been elevated to the status of a museum. However, this fact does not mean at all that divine services are not held in the Assumption Cathedral; on the contrary, they are initiated into great Christian holidays. But to the number Cathedrals The capital's cultural heritage site Ivan 3 does not apply. Nevertheless, in the list of monuments to Russian Orthodoxy, the Assumption Cathedral occupies one of the places of honor.
