Date of publication or update 04.11.2017
In the 19th century performed by artist E.S. Sorokin. Recreated by a team of artists under the leadership of SV. Filatova.
On the altarpiece of the main altar, on one side is the Nativity of Christ, and on the other, the Iveron Icon of the Mother of God.
Chapel in the name of St. Nicholas the Wonderworker
From the lower corridor of the Temple, passages were made into the corridor, or choirs, by means of four staircases arranged in pylons.
The chapel in the southern wing of the Temple is dedicated to the name of St. Nicholas the Wonderworker, patron of Emperor Nicholas I, under whom construction of the Temple began. This chapel is located on the south side of the Temple, because St. Nicholas lived in a state located to the south of Russia.
This chapel presents in detail the history of the Universal Church from the 3rd to the 9th centuries, that is, before the enlightenment of Russia with the Christian faith, the history of the unrest that happened in the Church of Christ, its persecution and the triumph of Orthodoxy, which established the dogma Orthodox Faith. Presented here are the champions of the truth of the Ecumenical Councils, martyrs who died for the purity of faith and devotion to the Savior, saints who sealed the true confession of faith with their holy lives, and the apostles who spread the teachings of Christ; here there are also pictures of the Christian virtues of St. Nicholas and major events his life.
Altar of the chapel in the name of St. Nicholas
In a marble icon case, on the eastern side of the altar - the Image of the Intercession Holy Mother of God. Performed by Professor T.A. von Neuf.
Left wing, at the top - Annunciation - Archangel Gabriel; below - Evangelists Mark and Matthew.
Local images: the Savior and the Mother of God with the Eternal Child.
St. Ephraim Patriarch of Antioch and St. Reverend Savva the Sanctified;
St. Euthymius the Great and St. Celestine Pope.
In the 19th century performed by academician M.N. Vasiliev; author of the recreation V.G. Vitoshnov.
At the top of the southern wall, on top of three windows, is the sacred painting “The Presentation of the Lord.” Performed by Professor P.M. Shamshin; author of the recreation V.M. Ananyev.
Below this composition, on the sides of the windows, on one side in full-length: St. Eustathius, Archbishop of Antioch; below it is a half-length image of St. Hypatius, Bishop of Gangria.
Painting "Dedication of St. Nicholas to the rank of Priest." The event took place in the city of Myra, in Lycia. Bishop Nicholas of Patara, at the ordination of the Saint, filled with the Holy Spirit, prophetically called the initiate the sun rising above the earth and bringing sweet consolation to the mourning. The face of the Saint, alien to extraneous thoughts, expresses a high sense of faith and reverence for the rank he is receiving.
Under this picture is “The Secret Assistance of St. Nicholas.” From the life of the saint it is known that he saved a family living in the city of Patara, consisting of a father and three daughters, from dishonor and shame, providing this family with invisible help three times. The canvas depicts the moment when St. Nicholas put a wallet with money through an open window on the windowsill at night.
Both of these paintings were performed by Academician I.I. Markov; author of the recreation S.I. Repin.
Further, on the sides of the painting “The Secret Assistance of St. Nicholas”, on the pilasters of two opposite choir walls adjacent to the meal, there are images of the Saints who preceded St. Nicholas. On one side, below, full-length: St. Peter, Bishop of Alexandria, with the Gospel of John opened; above waist Saint Stephen Bishop of Rome, Saint Sixtus II Bishop of Rome, Saint Hippolytus Bishop of Rome.
On the other side, below, full-length: St. Arseny the Great; above the waist: Saint Sisoes the Great, Saint Pachomius the Great, Saint Hilarion the Great. Performed by artist E. N. Altynov; author of the recreation S.N. Repin.
On the eastern stele of the chapel, between the refectory and the small choir arch, at the top: “Deliverance from the storm by St. Nicholas.” Setting off for the Lycian coast, one ship was caught in a strong storm. The sailors saw inevitable death and did not hope for salvation. But, remembering the Saint, whom they knew only by ear as the intercessor of the needy, they began to call on him. St. Nicholas appeared on the ship and, taking the stern oar, began to steer the ship. At the command of the Saint, the storm subsided, and the ship safely reached the pier. The painting depicts the moment when Saint Nicholas, having entered the ship, forbids the winds and the sea to carry out their destructive effects.
Below this picture is “Deliverance from execution by St. Nicholas.” In the city of Mira, hegemon (city governor) Eustathius condemned three innocent citizens to death. St. Nicholas, forewarned of this, hurried to the place of execution, where one of the condemned, kneeling with his neck exposed, bowed his head. The executioner had already raised his sword over him, when suddenly St. Nicholas appeared and stopped the hand of the executioner, who did not dare to resist him. Even the mayor is presented as a silent spectator of this event and an obedient executor of the will of St. Nicholas.
Both of these paintings were executed by the artist I.M. Pryanishnikov; author of the recreation S.N. Repin.
Further, on the sides of the painting “Deliverance from Execution by St. Nicholas”, on the pilasters of two opposite choir walls adjacent to the meal, there are images of the Saints who preceded St. Nicholas. On the one hand, below, full-length: St. Great Martyr Euphemia the All-Praised with a scroll on which is written: “Lord Jesus Christ, true Light and joy to all, do not despise those who call on You”; above the waist: St. Great Martyr Irina, St. Great Martyr Barbara, St. Great Martyr Catherine.
On the other side, below, full-length: St. Zotik the Orphan Presbyter; above the waist: St. Paulinus, the merciful Bishop of Nolan, St. Great Martyr Nikita, St. Great Martyr Theodore Stratilates.
On the northern wall of the chapel, opposite the window and adjacent to the small choir arch, below is “The Repose of St. Nicholas.” The painting depicts the Saint at the moment of his death. The face of St. Nicholas shines with divine grace.
The bishop, the clergy and the laity are in deep sorrow. At the head of the deacon reads the Holy Gospel in front of the icon of the Mother of God, on the table there is a candlestick with three lighted candles, on the stool there are sacred vestments prepared for his vestments.
Above this picture is “The Transfer of the Relics of St. Nicholas from Myra in Lycia to Bargrad.” After the plunder of the city of Mir by the Turks, St. Nicholas appeared in a dream to one priest of the city of Bar and said: “Go tell the clergy and the people so that they take my relics from Mir and transfer them to Bar: for God is not pleased that I remain there in the desert.” The priest fulfilled the will of the Saint, and the residents of the city of Bar equipped three ships to bring the relics of St. Nicholas. On May 9, 1087, the transfer of the relics of St. Nicholas took place. The picture represents the moment when priests and deacons, accompanied by the bishop, with lit lamps and banners, carry the relics of the Saint.
Both paintings were executed by the artist N.K. Bodarevsky; author of the recreation S.N. Repin.
On two opposite walls adjacent to the small choir arch there are sacred paintings depicting the first four Ecumenical Councils. There are no heretics in the depictions of the Councils; Only the Holy Fathers of the Church who sat at the Councils are represented here.
On the top north wall, next to the painting “Transfer of the Relics of St. Nicholas,” depicts the 1st Ecumenical Council (convened in 325 by Emperor Constantine against the teachings of Arius, who rejected the Divinity in Jesus Christ). Around the throne of Emperor Constantine the Great sit the Patriarchs: Alexander of Alexandria, Eustathius of Antioch and Macarius of Jerusalem, Hosea Bishop of Corduba and Alexander Archbishop of Constantinople, Spyridon Bishop of Trimythia, Paphnutius Bishop of Thebaid, James the Confessor, Paul of Neocaesarea, Hypatius of Gangria, Nicholas of Myra and others. St. Athanasius the Great, who was then in the rank of archdeacon, refutes the false teaching of the heretic Arius.
On the lower part of this wall is the 2nd Ecumenical Council (Emperor Theodosius the Great in 381 convened a Council against the teachings of Macedonius, who rejected the Divinity of the Holy Spirit). This Council is composed of the Patriarchs: Timothy of Alexandria, Meletius of Antioch, Cyril of Jerusalem, Gregory the Theologian of Constantinople, Gregory Bishop of Nyssa, Amphilochius of Iconium and others. St. Gregory the Theologian reads the resolution of the Council on the acceptance of all the dogmas of the Council of Nicaea and on the consubstantiality of the Holy Spirit with the Father and the Son.
On the pilasters of two opposite walls adjacent to the small choir arch, on the northern wall, on the sides of the paintings “The First Ecumenical Council” and “The Second Ecumenical Council”, on one side below in full length: St. Theodosius the Great, above the waist: St. Mitrofan Archbishop Constantinople, St. Macarius of Alexandria, St. Macarius of Egypt.
On the other side of the pictures below in full-length: St. Pimen the Great of Egypt with a scroll in his hand, on which is written: “These three chapters are necessary for a person to fear God, pray often and do good to his neighbor”; above the waist: St. Liverius the Pope, St. John Kushchnik, St. Nile of Egypt.
On the upper part of the opposite wall is the 3rd Ecumenical Council of Ephesus (convened in 431 by Emperor Theodosius II in Ephesus against Nestorius, Patriarch of Constantinople, who argued that Christ was born man, the Divinity united with Him for the holiness of His life, and therefore The Blessed Virgin should be called not the Mother of God, but the Mother of Christ). The Holy Patriarchs are present at the Council: Cyril of Alexandria, Juvenal of Jerusalem, Akakios of Miletus, Venerable Auxentius, Abbot Dolmat and others. Patriarch Kirill of Alexandria condemns the Nestorian heresy. In the background of the picture, heretics are seen leaving the cathedral.
On the lower part of the second (southern) wall is the 4th Ecumenical Council of Chalcedon (convened in 451 Chalcedon by the will of Emperor Marcian, against the heresy of Eutyches, who argued that humanity in Jesus Christ was completely absorbed by the Divine, and therefore should be recognized in There is only one Divine nature.At the Council, in the presence of Emperor Marcian and his wife Pulcheria, the saints participate: Gregory of Nyssa, Venerable Auxenius, Patriarchs Anatoly of Constantinople, Juvenal of Jerusalem, Maximus of Antioch, bishops: Flavian of Constantinople, Paschazin and Lucentius and Presbyter Boniface, attorneys locum tenens of Leo the Pope and others. St. Anatoly refutes the false teaching of Eutyches, and the Council affirms the dogma of the union in Christ of the Divine and the human, unchangeably, inseparably and inseparably.
Both paintings were executed by the artist V.I. Surikov; author of the recreation A.K. Bystrov.
On the pilasters of two opposite walls adjacent to the small choir arch, on the southern wall, on the sides of the paintings “The Third Ecumenical Council” and “The Fourth Ecumenical Council”, on one side below in full length: St. Isaac the Syrian: above the waist: St. Kiryak the Hermit , St. Gennady Patriarch of Constantinople. St. Isaac, Dalmatian.
On the other side of the paintings below, full-length: Holy Hieromartyr Archpriest Archbishop of Alexandria; above the waist: St. Jerome of Stridon, St. Isidore Pelusiot, St. Porphyry Bishop of Gaza.
In the 19th century, performed by academician M.D. Bykovsky, the author of the reconstruction is A.K Bystrov.
On the top east wall- 5th Ecumenical Council (convened by Emperor Justinian the Great in 554 in Constantinople. At this Council, the dogma of the Resurrection of the Dead was approved and the writings of 3 teachers of the Syrian Church were considered). The Council was attended by: Eutyches Patriarch of Constantinople, Apollinaris Patriarch of Alexandria, Domnus Patriarch of Antioch, Bishop of Sossa, representative of Eustace of Jerusalem and other saints.
On the lower part of the eastern wall is the 6th Ecumenical Council (convened by Emperor Constantine Pagonat in 680 in Constantinople against Heraclius, who recognized one will in Jesus Christ).
Seated near Emperor Constantine Pagonatus are: St. George the Patriarch of Constantinople, papal locums Theodore and George, Stephen the Lamp, Proclius of Pontus, John of Athens, Andrew of Crete and others. The Council decided to recognize two wills in Christ.
On the pilasters of the walls adjacent to the choir staircase, on the sides of the paintings “The Fifth Ecumenical Council” and “The Sixth Ecumenical Council”, on one side: on the pilaster of the northern wall below in full-length: St. Simeon the Divnogorets; above the waist: St. Benedict of Nurey, St. Mary of Egypt, St. Simeon the Stylite.
On the other side, below, full-length: St. John the Great; above the waist: St. Nikita the Confessor, St. Andrew of Crete, St. Peter of Athos.
On the upper part of the western wall is the 7th Ecumenical Council (convened by Empress Irene, the wife of Leo the Isaurian, the persecutor of icons, in Nicaea. This Council decided to use icons in churches and houses and honor them with worship). Present at the Council are Empress Irene and her son Emperor Constantine; and Saints: Tarasius Patriarch of Constantinople, Eastern Patriarchs, Locum Tenens of the Pope Peter and Bishop Peter. Emperor Constantine holds the icon of the Savior, and Empress Irina holds the icon of the Mother of God. One of the bishops shows a charter on which it is written: “If anyone does not bow to icons and To the Honest Cross, let him be anathema."
On the lower part of the western wall is the 8th Council of Constantinople (convened in 842 by Empress Theodora in Constantinople. At this Council, the Empress approved in full force the resolution of the 7th Ecumenical Council and established the holiday of Orthodoxy). Present at the Council are Empress Theodora and the youth Michael, holding icons in their hands. Saints Methodius Patriarch of Constantinople, Venerable Arseny, John and Isaiah.
Both paintings were executed by the artist I.I. Tvorozhnikov, the author of the recreation of A.K. Bystrov.
On the pilasters of the walls adjacent to the choir staircase, on the sides of the paintings “Seventh Ecumenical Council” and “8th Council of Constantinople”, on one side below in full length: St. Maximus the Confessor, above the waist: St. John the Gracious Patriarch of Alexandria, St. Theodore Sikeot, St. Anastasius of Sinai, Patriarch of Antioch.
On the other side of the paintings below, full-length: St. Athanasius of Athos; above the waist: St. Theophylact Bishop of Nicomedia, St. Stephen Savvait, St. German Patriarch of Constantinople.
Chapel in the name of the Holy Blessed Prince Alexander Nevsky
The chapel in the northern wing of the Temple is dedicated to the name of the Holy Blessed Prince Alexander Nevsky, patron saint of the emperors: Alexander I, who vowed to erect the Temple of the Savior, Alexander II, who built this Temple for 25 years, and Emperor Alexander III, who completed the construction and consecrated the Temple.
In this chapel are depicted the saints and saints who preceded and were contemporary with Saint Alexander; the holy Russian princes are his relatives, companions of the saints and saints in establishing the true faith of Christ in Russia; holy princes, reverends and saints who lived after St. Alexander in different places of his reign and in neighboring principalities, who gathered together the Russian land, who contributed to the strengthening of the faith of Christ and tireless prayer books at the throne of the Most High for the glory and prosperity of the Fatherland; martyrs who suffered and gave their lives in battles for the freedom of the Fatherland; some events from the life of St. Prince Alexander Nevsky; the most important miraculous icons phenomena Mother of God, especially celebrated in Russia.
Altar of the chapel in the name of St. Alexander Nevsky
In a marble icon case, on the eastern wall of the Altar, there is an image of the Pechersk Mother of God. The picture represents the Mother of God sitting on a throne and having the Eternal Child on her lap with raised hands.
Above the throne are two angels. On the sides of the Mother of God are kneeling Saints Anthony and Theodosius of Pechersk.
In the altar arch of the chapel above the iconostasis there are 12 images of Saints, 6 on each side of the arch, 2 in a row. On the arch adjacent to the northern wall, starting from the bottom: St. Ephraim of Novgorod (Novotorzhsky) and St. Ephraim Bishop of Pereyaslavl; St. Sergius of Valaam and St. Herman of Valaam; St. Niphon, Bishop of Novgorod and St. John, Bishop of Novgorod.
On the opposite side of the arch: St. Andrew the Roman and St. Barlaam of Khutyn; St. Constantine, Metropolitan of Kiev and St. Simeon, Bishop of Suzdal; St. James, Bishop of Rostov and St. Dionysius, Archbishop of Suzdal.
Iconostasis of the chapel in the name of St. Alexander Nevsky
On the Royal Doors: Annunciation of the Blessed Virgin and the Four Evangelists.
Local images: the Savior sitting on the throne, the Mother of God with the Eternal Child.
On the northern doors: Archangel Michael: at the top there is the inscription: “Blessed is he who comes in the name of the Lord.”
On the southern doors: Archangel Gabriel; at the top is the inscription: “The Lord will preserve Your coming and going out.”
Above the Royal Doors - “The Last Supper”. In the upper semicircular part of the iconostasis, above this image, there is an inscription: “I am the bread of the living, who comes to Me and will never be thirsty, and whoever believes in Me will never be thirsty.”
Above the southern doors is an icon with three Saints: St. Cyprian, Metropolitan of Kiev, St. Theognostus, Metropolitan of Kiev, St. Photius, Metropolitan of Kiev.
Above the northern doors is an icon with three Saints: St. Nikita of Novgorod, St. Isaiah of Rostov, St. Arseny of Tver.
In the refectory of the Alexander chapel there are festive images: on the northern wall, closer to the Altar - the Holy Blessed Prince Alexander Nevsky. In the upper semicircular part of the marble icon case of this image it is written: “We magnify you, Holy Blessed Prince Alexandra, and honor your honorable memory, for you pray for us to Christ our God.”
On the same wall further from the Altar is the image of St. Mary Magdalene, Equal to the Apostles. In the upper semicircular part of the icon case of this image there is an inscription: “We magnify you, Holy Equal to the Apostles Mary Magdalene, and we honor your Holy memory, you pray for us, Christ our God.”
Side chapel
In the arch of the refectory, opposite the iconostasis, on the side of the arch adjacent to the northern wall, there are 16 images in 4 rows, 2 in a row, i.e. 8 images on each side. On one side: St. Grand Duke Igor of Kiev and St. Prince Konstantin of Murom; St. Constantine, Prince of Yaroslavl-Smolensk and St. David, Prince of Yaroslavl-Smolensk; St. Blessed Procopius of Ustyug and St. Nikolai Kachanov of Novgorod. On the opposite side of the arch: St. Reverend Demetrius of Prilutsky and St. Dionysius of Glushitsky; St. Michael of Klopsky and St. Euphrosynus of Pskov; St. Euthymius Archbishop of Novgorod and St. Euthymius of Suzdal; St. Savva of Vishera and St. Alexander of Svir with a scroll on which it is written: “Endure, O kratiya, sorrows and needs, so that you may escape eternal torment.”
On the north side, under the windows in a semicircular arch, there is “The Baptism of the Lord.” In the 19th century performed by Professor Semiradsky, author of the recreation of V.I. Nesterenko.
Below this picture, on the sides of the windows, on one side, full-length: St. Prince Gleb Andreevich of Vladimir, on the opposite side: St. Prince Theodore Yaroslavich; under it are the belts: St. Prince Vasily Vsevolodovich Yaroslavl, St. Prince Konstantin Yaroslavl.
On the eastern side of the chapel, where there are small choir arches, above the arch: “Vladimir Icon of the Mother of God” with the upcoming Saints (two tall on each side of the icon): St. Martyr Jerome and St. Theodore Tiron; St. Juvenal, Patriarch of Jerusalem and St. John of Ustyuzhensky.
Below, on the sides of the arch, there are 4 images, two on each side, one image under the other, full-length: St. Grand Duchess Olga and St. Blessed Prince Boris; St. Prince Vladimir and St. Blessed Prince Gleb.
St. Mercury of Smolensk, St. Theodore the boyar.
In the arch closest to the middle of the Temple, on one side: St. Prince Nikolai of Chernigov, St. Prince Gabriel of Pskov, St. Prince Roman of Ryazan, St. Princess Juliana of Olshansk; on the opposite wall of the same arch: St. Euphrosyne of Polotsk, St. Prince John (Ignatius) of Vologda, St. Peter of Murom, St. Princess Fevronia of Murom.
Performed by Academician M.N. Vasiliev.
On the walls between the pilasters adjacent to the refectory of this chapel, sacred paintings from the life of St. Alexander Nevsky are depicted. On the east wall: “St. Alexander Nevsky in the Horde." The picture is based on the historical fact when Batu, having learned about the Neva victory, wrote to St. Alexander: “Alexandra! If you want to preserve your land, then come quickly to me and see the honor of my kingdom.” St. Alexander Nevsky came to the Horde, Batu immediately, upon the arrival of St. Alexander, demanded him to come to him.
The Tatars wanted to perform some of the rituals used when receiving foreigners - rituals that were offensive to a religious Christian. St. Alexander, when asked to walk between two fires and worship the sun and idols, refused to fulfill it, despite the anger of the khan’s servants, who reported to Batu about St. Alexander’s refusal. “Tsar, I bow to you,” said St. Alexander, “God has almost given you the kingdom, but I will not bow to the creature: for all things were created for the sake of man. There is only one God, I serve Him and I honor Him, I worship Him.” Batu approved of St. Alexander’s action and released him with great honors and gifts.
In the same place “The Pope's Ambassadors before Alexander Nevsky”. The picture represents the event when Pope Innocent IV, wanting to convert the Russians to the Catholic faith and hoping that difficult circumstances would force the Russian princes to seek the help of the Pope, sent two cunning cardinals Galda and Gemont to St. Alexander in 1248 (depicted in red robes in the picture ) with a letter full of flattery. In this letter, the Pope invites the Blessed Prince Alexander to submit to the Roman throne and promises to recognize him as the most noble among the Catholic princes, also referring to the fact that the father of the Blessed Prince had already promised his obedience to the Roman Church. St. Alexander answered the ambassadors: “We know the true history of the faith and the church from Adam to Christ and from Christ to the 7th Ecumenical Council: we contain the very teaching that was taught by the Apostles and we do not want to accept your teaching.”
Both films were performed by Professor G.I. Semiradsky; author of the recreation A.K. Fast.
On the two pilasters of the walls adjacent to the refectory, princes and princesses, relatives of St. Alexander Nevsky, are depicted. On the sides of the painting “St. Blessed Prince Alexander Nevsky in the Horde" and "The Pope's Ambassadors before Alexander Nevsky", on the one hand, below, full-length: St. Grand Duchess Alexandra (1st wife of St. Alexander); above the waist: St. Grand Duchess Theodosia (mother of St. Alexander), St. Grand Duke Mstislav the Brave, St. Great Martyr Princess Anna of Novgorod.
On the other side of the paintings, below in full-length: St. Dovmont of Pskov (Timothy); above the waist: St. Grand Duke Oleg of Bryansk, St. Great Martyr Princess Anna of Tverskaya, St. Great Martyr Princess Juliana of Vyazemskaya. Performed by artist L.P. Pigulevsky; author of the recreation A.K. Bystrov.
On the walls between the pilasters adjacent to the refectory of this chapel, on the western wall: “The Repose of St. Alexander Nevsky in Gorodets.” The Holy Blessed Prince Alexander Nevsky, returning from his last (sixth) trip to the Horde, fell ill on the way and stopped at the Gorodetsky Feodorovsky Monastery. Feeling his approaching death, he says goodbye to those close to him. Seeing their deep sorrow and sobs, the dying man says: “Go away and do not crush your souls with my pity.” Having accepted the schema on November 14, 1263, he died that same night.
In the same place “Burial of St. Alexander Nevsky in Vladimir”. During the burial of St. Alexander, God gave well-deserved glory to his faithful servant and revealed this glory in the miraculous event when Metropolitan Kirill poured oil on the deceased schema-monk, and the steward Sebastian approached the tomb to place a spiritual letter in his hand, the hand of the Holy Prince, as If she were alive, she would prostrate and accept the letter. Struck by the vision, the Metropolitan reported this phenomenon to the upcoming people. This event took place in the Monastery of the Nativity of the Virgin Mary, where on November 23, 1263, the deceased Blessed Prince was buried, mourned by the entire Russian land.
Both films were performed by Professor G.I. Semiradsky; author of the recreation A.K. Bystrov.
On the sides of the paintings are the Repose of St. Alexander Nevsky and the Burial of St. Alexander Nevsky, on one side below in full-length: St. Grand Duchess Vassa (2nd wife of Alexander Nevsky); above the waist: St. Prince Yaroslav of Novgorod, St. Princess Eupraxia of Pskov, St. Prince Vladimir of Novgorod.
On the other side of the paintings, below in full-length: St. Princess Maria - Martha; above the waist: St. Princess Ksenia, St. Prince Andrei of Smolensk, St. Prince Andrei - Joasaph of Vologda. Performed by artist L.P. Pigulevsky; author of the recreation A.K. Bystrov.
On 2 opposite walls adjacent to the choir staircase, miraculous and revealed icons of the Mother of God are depicted.
The upper part of the northern wall, full-length: Bogolyubskaya-Vladimir Icon of the Mother of God; on the sides are waist-length icons of the Mother of God: St. Nikander of Pskov, St. Joasaph of Svyatogorsk, St. Martyrius of Zelenets, St. Assyap of Mangub.
The main temple of Russia - Cathedral of Christ the Savior in Moscow or Russian Cathedral Orthodox Church. This temple is the largest in Russia and can accommodate 10,000 people.
It is located not far from the Kremlin on the left bank of the Moscow River.
In 1931, the Cathedral of Christ the Savior was destroyed, and then restored in 1994-1997. By the way, the filming of the 2010 film Pop by Vladimir Khotinenko took place in this temple.
The height of the temple is 105 m.
Old view of the Cathedral of Christ the Savior:
Night view from the Patriarchal Bridge:
A huge staircase leads to the Temple:
Along the entire perimeter of the Temple there are sculptures on biblical themes.
and sculptures of angels:
Hall of Church Councils of the Cathedral of Christ the Savior:
Dome (inside view) in the Cathedral of Christ the Savior:
Painting on the main dome of the Temple. 22,000 m² of the Temple area are covered with painting, of which 9,000 m² are gilded.
Altar in the Temple:
Chapel near the Temple: Cross of a solid dome:
Cathedral of Christ the Savior.
The Cathedral of Christ the Savior in Moscow is the cathedral of the Russian Orthodox Church not far from the Kremlin on the left bank of the Moscow River, in a place formerly called Chertolye. The existing structure is an external recreation of the temple of the same name, created in the 19th century, carried out in the 1990s. On the walls of the temple were inscribed the names of officers of the Russian army who died in the War of 1812 and other military campaigns close in time.
The original of the Cathedral of Christ the Savior in Moscow was erected in gratitude to God for saving Russia from the Napoleonic invasion: “to preserve the eternal memory of that unparalleled zeal, loyalty and love for the Faith and the Fatherland, with which the Russian people exalted themselves in these difficult times, and in commemoration of Our gratitude to the Providence of God, which saved Russia from the destruction that threatened it.”
The Cathedral of Christ the Savior was built according to the design of the architect Konstantin Ton. Construction lasted almost 44 years: the temple was founded on September 23, 1839, consecrated on May 26, 1883.
On December 5, 1931, the temple building was destroyed. It was rebuilt on the same site in 1999.
The Cathedral of Christ the Savior in Moscow is the largest in the Russian Church. Designed for 10,000 people.
In plan, the cathedral was an equal-ended cross about 85 m wide.
The outer part was decorated with a double row of marble high reliefs by sculptors Klodt, Loginovsky and Ramazanov. All entrance doors - twelve in total - were made of bronze, and the images of saints decorating them were cast according to the sketches of the famous sculptor Count F. P. Tolstoy.
The height of the temple with the dome and cross is currently 105 m (3.5 m higher than St. Isaac's Cathedral). Built in the traditions of the so-called Russian-Byzantine style, which enjoyed broad government support at the time construction began. The painting inside the temple occupies about 22,000 sq.m., of which about 9,000 sq.m. are gilded.
The modern complex of the Cathedral of Christ the Savior includes:
- “upper temple” - the Cathedral of Christ the Savior itself. It has 3 altars - the main one in honor of the Nativity of Christ and 2 side altars in the choir - in the name of St. Nicholas the Wonderworker (southern) and St. Prince Alexander Nevsky (northern). Consecrated on August 6 (19), 2000.
- “lower temple” - Church of the Transfiguration, built in memory of the Alekseevsky women’s monastery located on this site. It has three altars: the main one - in honor of the Transfiguration of the Lord and two small chapels - in honor of Alexy the man of God and the Tikhvin Icon of the Mother of God. The church was consecrated on August 6 (19), 1996.
Mosaic on the pedestal of the Cathedral of Christ the Savior.
Ceiling painting. Church of the Transfiguration of the Lord in the complex of the Cathedral of Christ the Savior.
On December 25, 1812, when the last Napoleonic soldiers left Russia, Emperor Alexander I signed the Highest Manifesto on the construction of a church in Moscow, which at that time lay in ruins.
After the victory over Napoleon in 1814, the project was refined: it was decided to build a cathedral in the name of Christ the Savior within 10-12 years.
Project by A. Vitberg
Also in 1814, an international open competition was held with the participation of such respected architects as Voronikhin, Quarenghi, Stasov and others. However, to the surprise of many, the project of 28-year-old Karl Magnus Witberg, an artist (not even an architect), freemason and and a Lutheran at that. The project, according to contemporaries, was truly exceptionally beautiful. Compared to the current one, the Witberg temple was three times larger, it included the Pantheon of the dead, a colonnade (600 columns) of captured cannons, as well as monuments to monarchs and prominent commanders. In order to approve the project, Vitberg was baptized into Orthodoxy. It was decided to place the structure on Vorobyovy Gory. Huge funds were allocated for construction: 16 million rubles from the treasury and considerable public donations.
On October 12, 1817, on the 5th anniversary of the French departure from Moscow, in the presence of Tsar Alexander I, the first temple designed by Vitberg was founded on the Sparrow Hills.
Upon the accession of Nicholas I to the throne in 1825, construction had to be stopped, according to the official version, due to insufficient reliability of the soil; Witberg and the construction managers were accused of embezzlement and put on trial.
There was no new competition, and in 1831 Nicholas I personally appointed Konstantin Ton as the architect, whose “Russian-Byzantine” style was close to the tastes of the new emperor. A new place on Chertolye (Volkhonka) was also chosen by Nicholas I himself; the buildings that were there were purchased and demolished. The Alekseevsky convent located there, a monument of the 17th century, was also demolished (transferred to Krasnoye Selo). Moscow rumor preserved the legend that the abbess of the Alekseevsky monastery, dissatisfied with this turn, cursed the place and predicted that nothing would stand on it for long.
Vasily Nesterenko - Epiphany. Painting of the Cathedral of Christ the Savior in Moscow.
Vasily Nesterenko - The Entry of the Lord into Jerusalem.
The second temple, unlike the first, was built almost entirely at public expense.
Vasily Nesterenko - Miracle in Cana of Galilee - Patriarchal refectory of the Cathedral of Christ the Savior.
Vasily Nesterenko - The miraculous multiplication of the loaves - Patriarchal refectory of the Cathedral of Christ the Savior.
The ceremonial laying of the cathedral took place on the day of the 25th anniversary of the Battle of Borodino - in August 1837. However, active construction began only on September 10, 1839 and lasted almost 44 years; the total cost of the Temple extended to 15 million rubles. The vault of the large dome was completed in 1849; in 1860 the outer scaffolding was dismantled. Work on the interior decoration continued for another 20 years; famous masters V. I. Surikov, I. N. Kramskoy, V. P. Vereshchagin and others worked on the painting famous artists Imperial Academy of Arts.
Vasily Nesterenko -Last Supper- Patriarchal refectory of the Cathedral of Christ the Savior.
Vasily Nesterenko - A wonderful catch - Patriarchal refectory of the Cathedral of Christ the Savior.
On May 26 (June 7), 1883, the solemn consecration of the Cathedral of Christ the Savior in Moscow took place, performed by Metropolitan Ioannikiy (Rudnev) of Moscow with a host of clergy and in the presence of Emperor Alexander III, who had been crowned in the Moscow Kremlin shortly before.
Vasily Nesterenko - Christ and the Samaritan Woman Patriarchal refectory of the Cathedral of Christ the Savior.
On December 5, 1931, the temple-monument to military glory was destroyed by an explosion. On June 2, 1931, an order was given to demolish the Cathedral of Christ the Savior for the construction of the Palace of Soviets in its place.
Vasily Nesterenko - "The Resurrection of Christ" and "Apostle Matthew"
Hurried work to dismantle the building continued for several months, but it was not possible to dismantle it to the ground, and then it was decided to blow it up. There were two explosions - after the first explosion the temple stood. Not all contemporaries equally admired the architecture of the huge temple, but Muscovites, who respected their history, saw in it a symbol of the glorious victories of the past and the memory of the dead. According to the recollections of shocked witnesses, powerful explosions not only the nearby buildings shook, but were felt several blocks away. It took almost a year and a half just to dismantle the ruins of the temple left after the explosion.
Nikolai Mukhin - Nativity of Christ. Altar painting of the Cathedral of Christ the Savior.
The construction of the Palace of Soviets, which began in 1937, was not destined to be completed - the Great War began Patriotic War, and from the metal structures prepared for installation, anti-tank hedgehogs were made for the defense of Moscow, and soon, having barely risen from the foundation level, the building had to be completely dismantled.
Fragments of the first Cathedral of Christ the Savior, preserved in the Donskoy Monastery.
Painting inside the temple.
Nikolai Mukhin - Fragments of the painting of four compositions “Miracle-working and revealed icons of the Mother of God with the Forthcoming” (choirs of the Cathedral of Christ the Savior). 1999
Nikolai Mukhin - Fragments of the painting of four compositions “Miracle-working and revealed icons of the Mother of God with the Forthcoming” (choirs of the Cathedral of Christ the Savior). 1999
Nikolai Mukhin - Fragments of the painting of four compositions “Miracle-working and revealed icons of the Mother of God with the Forthcoming” (choirs of the Cathedral of Christ the Savior). 1999
Cathedral of Christ the Savior. Artist Vasily Nesterenko.
F. A. Klages. Interior view of the Cathedral of Christ the Savior (1883)
The Lord Himself gave people in the Old Testament, through the prophet Moses, instructions on what a temple should be like for divine services; The New Testament Orthodox church is built according to the model of the Old Testament.
How the Old Testament temple (initially the tabernacle) was divided into three parts: holy of holies, sanctuary and courtyard; so is Orthodox christian temple is divided into three parts: altar, middle part of the temple and vestibule.
Just as the Holy of Holies then meant, so now the altar means the Kingdom of Heaven.
In the Old Testament, no one could enter the Holy of Holies. Only the high priest could enter, once a year, and then only with the blood of a cleansing sacrifice. After all, the Kingdom of Heaven after the Fall was closed to man. The high priest was a prototype of Christ, and this action of his signified to people that the time would come when Christ, through the shedding of His blood and suffering on the cross, would open the Kingdom of Heaven to everyone. This is why, when Christ died on the cross, the curtain in the temple that covered the Holy of Holies was torn in two: from that moment on, Christ opened the gates of the Kingdom of Heaven for all who come to Him with faith.
The sanctuary corresponds, in our Orthodox church middle part of the temple. None of the people had the right to enter the sanctuary of the Old Testament temple, except the priests. All Christian believers stand in our church, because now the Kingdom of God is closed to no one.
The courtyard of the Old Testament temple, where all the people were, corresponds in the Orthodox church to the vestibule, which now has no significant significance. Previously, catechumens stood here, who, preparing to become Christians, had not yet received the sacrament of baptism. Now, sometimes those who have seriously sinned and apostatized from the Church are temporarily sent to stand in the vestibule for correction.
Orthodox churches are built with the altar facing the east - towards the light, where the sun rises: the Lord Jesus Christ is the “east” for us, from Him the eternal Divine Light has shone for us. In church prayers we call Jesus Christ: “Sun of Truth”, “from the heights of the East” (i.e. “East from above”); "East is His name."
Each temple is dedicated to God, bearing a name in memory of one or another sacred event or saint of God, for example, Trinity Church, Transfiguration, Ascension, Annunciation, Pokrovsky, Michael-Arkhangelsk, Nikolaevsky, etc. If several altars are arranged in the temple, each of They are consecrated in memory of a special event or saint. Then all the altars, except the main one, are called side-altars or aisles.
Temple of God, in its own way appearance, differs from other buildings. For the most part, the temple, at its base, is arranged in the form cross. This means that the temple is dedicated to the Lord crucified on the cross for us and that through the cross the Lord Jesus Christ delivered us from the power of the devil. Often the temple is arranged in the form of an oblong ship, this means that the Church, like a ship, in the image of Noah’s Ark, leads us along the sea of life to a quiet harbor in the Kingdom of Heaven. Sometimes the temple is arranged in the form circle, this reminds us of the eternity of the Church of Christ. The temple can also be built in the form octagon, as if stars, meaning that the Church, like a guiding star, shines in this world.
The temple building usually ends at the top dome, representing the sky. The dome ends at the top head, on which it is placed cross, for the glory of the head of the Church - Jesus Christ. Often, not one, but several chapters are built on a temple, then: two chapters mean two natures (Divine and human) in Jesus Christ; three chapters- three Persons of the Holy Trinity; five chapters- Jesus Christ and the four evangelists, seven chapters- seven sacraments and seven ecumenical councils, nine chapters- nine ranks of angels, thirteen chapters- Jesus Christ and the twelve apostles, and sometimes they build more chapters.
Above the entrance to the temple, and sometimes next to the temple, it is built Bell tower or belfry, that is, the tower on which the bells hang.
Bell ringing is used to call believers to prayer, to Divine services, and also to announce the most important parts of the service performed in the church. The ringing of one bell is called " blagovest"(good, joyful news about the Divine service). All the bells are ringing, expressing Christian joy, on the occasion of solemn holiday etc., is called " pealing". The ringing of bells about a sad event is called " chime"The ringing of bells reminds us of the higher, heavenly world.
The most important part of the temple is altar. Divine services are performed in the altar by the clergy and the holiest place in the entire temple is located - the holy throne, where the sacrament of Holy Communion is performed. The altar is placed on a raised platform. It is higher than other parts of the temple, so that everyone can hear the Divine service and see what is happening in the altar. The very word “altar” means an elevated altar.
Throne is called a specially consecrated quadrangular table located in the middle of the altar and decorated with two clothes: lower- white, linen, and top, - made of more expensive material, mostly brocade. On the throne, mysteriously, invisibly, the Lord Himself is present, as the King and Ruler of the Church. Only clergy can touch and kiss the throne.
On the throne there is an antimension, a Gospel, a cross, a tabernacle and a monstrance.
Antimens is called a silk cloth (shawl) consecrated by the bishop, with an image on it of the position of Jesus Christ in the tomb and, necessarily, with a particle of the relics of some saint sewn on the other side, since in the first centuries of Christianity the Liturgy was always performed at the tombs of martyrs. Without an antimension, the Divine Liturgy cannot be celebrated (The word “antimension” is Greek, meaning “in place of the throne”).
For safety, the antimind is wrapped in another silk board called orton. It reminds us of the sir (plate) with which the Savior’s head was wrapped in the tomb.
It lies on the antimind itself lip(sponge) for collecting particles of the Holy Gifts.
Gospel, this is the word of God, taking into account our Lord Jesus Christ.
Cross, this is the sword of God with which the Lord defeated the devil and death.
Tabernacle called the ark (box) in which the Holy Gifts are stored in case of communion for the sick. Usually the tabernacle is made in the form of a small church.
monstrance called a small reliquary (box), in which the priest carries the Holy Gifts for communion with the sick at home.
Behind the throne is seven-branched candlestick, that is, a candlestick with seven lamps, and behind it altar cross. The place behind the throne at the very eastern wall of the altar is called to the heavenly(high) place; it is usually made sublime.
To the left of the throne, in the northern part of the altar, there is another small table, also decorated on all sides with clothes. This table is called altar. Gifts for the sacrament of communion are prepared on it.
On the altar are sacred vessels with all accessories, namely:
1. St. Bowl, or chalice, into which before the Liturgy wine and water are poured, which are then offered, after the Liturgy, into the blood of Christ.
2. Paten- a small round dish on a stand. Bread is placed on it for consecration at the Divine Liturgy, for its transformation into the body of Christ. The paten marks both the manger and the tomb of the Savior.
3. Zvezditsa, consisting of two small metal arcs connected in the middle with a screw so that they can either be folded together or moved apart crosswise. It is placed on the paten so that the cover does not touch the particles taken out of the prosphora. The star symbolizes the star that appeared at the birth of the Savior.
4. Copy a spear-like knife for removing the lamb and particles from the prosphora. It symbolizes the spear with which the soldier pierced the ribs of Christ the Savior on the Cross.
5. Liar- a spoon used to give communion to believers.
6. Sponge or boards- for wiping blood vessels.
The small covers that cover the bowl and paten separately are called patrons. The large cover that covers both the cup and the paten together is called air, signifying the air space in which the star appeared, leading the Magi to the manger of the Savior. Nevertheless, together the covers represent the shrouds with which Jesus Christ was wrapped at birth, as well as His burial shrouds (shroud).
All these sacred objects must not be touched by anyone except bishops, priests and deacons.
Still on the altar ladle, in which, at the beginning of the proskomedia, wine and water are served to be poured into the holy cup; then, before communion, warmth (hot water) is supplied in it, and the drink after communion is taken out in it.
Still in the altar censer or a censer used for burning incense (incense). Ceremony was established in the Old Testament church by God Himself.
Ceremony before St. the throne and icons expresses our respect and reverence for them. Every prayer addressed to those praying expresses the wish that their prayer would be fervent and reverent and would easily ascend to the sky, like incense smoke, and that the grace of God would overshadow the believers as the smoke of incense surrounds them. Believers must respond to incense with a bow.
The altar also contains dikiriy And trikirium, used by the bishop to bless the people, and ripids.
Dikiriy called a candlestick with two candles, symbolizing the two natures in Jesus Christ - Divine and human.
Trikirium called a candlestick with three candles, symbolizing our faith in the Holy Trinity.
Ripids or fans are metal circles attached to the handles with images of cherubs on them. Deacons blow ripids over the gifts during their consecration. Previously, they were made from peacock feathers and were used to protect St. Gifts from insects. Now the spirit of ripid has a symbolic meaning; it depicts the presence of heavenly forces during the sacrament of Communion.
On the right side of the altar is arranged sacristy. This is the name of the room where vestments are stored, that is, sacred garments used during Divine services, as well as church vessels and books with which Divine services are performed.
The altar is separated from the middle part of the temple by a special partition, which is lined with icons and is called iconostasis.
The iconostasis contains three doors, or three gates. The middle gate, the largest, is located in the very middle of the iconostasis and is called Royal Gates, because through them the Lord Jesus Christ Himself, the King of Glory, invisibly passes in the Holy Gifts. No one is allowed to pass through the royal doors except the clergy. At the royal doors, on the side of the altar, hangs a curtain, which, depending on the course of the service, opens or closes. The Royal Doors are decorated with icons depicting them: Annunciation of the Blessed Virgin Mary and the Four Evangelists, i.e. the apostles who wrote the Gospel: Matthew, Mark, Luke and John. The icon of the Last Supper is placed above the royal doors.
An icon is always placed to the right of the royal doors Savior, and to the left of the royal gates is an icon Mother of God.
To the right of the icon of the Savior is south door, and to the left of the icon of the Mother of God is north door. These side doors depict Archangels Michael and Gabriel, or the first deacons Stephen and Philip, or the high priest Aaron and the prophet Moses. The side doors are also called deacon's gates, since deacons most often pass through them.
Further, behind the side doors of the iconostasis, icons of especially revered saints are placed. The first icon to the right of the icon of the Savior (not counting the southern door) should always be temple icon, that is, an image of that holiday or that saint in whose honor the temple was consecrated.
At the very top of the iconostasis there is cross with the image of our crucified Lord Jesus Christ on it.
If iconostases are arranged in several tiers, i.e. rows, then icons are usually placed in the second tier twelve holidays, in third - icons of the apostles, in the fourth - icons prophets, at the very top there is always a cross.
In addition to the iconostasis, icons are placed along the walls of the temple, in large icon cases, i.e. in special large frames, and are also located on lecterns, that is, on special high narrow tables with an inclined surface.
Elevation, on which the altar and iconostasis stand, protrudes significantly forward into the middle part of the temple. This elevation in front of the iconostasis is called I'm salty.
The middle of the solea, opposite the royal doors, is called pulpit, i.e. by ascent. At the pulpit, the deacon pronounces litanies and reads the Gospel. On the pulpit, Holy Communion is also given to believers.
Interior view of the Cathedral of Christ the Savior
Along the edges of the solea, near the walls of the temple, they arrange choirs for readers and singers.
They stand at the choir banners, i.e. icons on fabric or metal, attached to long shafts, in the form of banners. They are worn during religious processions, like church banners.
The temple also has eve, this is the name of a low table on which there is an image of the crucifixion and a stand for candles. Before the eve, memorial services are served, that is, funeral services for the dead.
Standing in front of icons and lecterns candlesticks, on which believers place candles.
In the middle of the temple, at the top of the ceiling, hangs chandelier, i.e. a large candlestick with many candles. The chandelier is lit during the solemn moments of the Divine service.
In Rus', military victories were traditionally celebrated by laying the foundation of churches. In December 1812, the manifesto of Alexander I was published on the creation of a church in the name of Christ the Savior in the capital city of Moscow. The design of the artist Vitberg won the architectural competition, but he did not turn out to be a business executive. The construction of the temple on Vorobyovy Gory had to be curtailed, and Vitberg himself, accused of embezzlement and negligence, was exiled to Vyatka in 1827.
The history of the Cathedral of Christ the Savior began on December 25, 1812, when Emperor Alexander I signed a manifesto on the creation of a church in the name of the Savior Christ in honor of the victory over Napoleon’s army. On October 12, 1817, the ceremonial foundation stone of the temple on Vorobyovy Gory took place. However, soon construction on this site had to be abandoned - the soil here was fragile due to underground streams. On April 10, 1832, Emperor Nicholas I approved new project temple, compiled by Konstantin Ton. Nicholas I personally chose the location for the temple.
Alekseevsky Convent was transferred to Krasnoye Selo near Sokolniki. All the buildings of the monastery were destroyed. According to legend, the abbess of the monastery cursed the destroyers and predicted that not a single building would stand on this site for long.
The ceremonial laying of the new temple took place on September 10, 1837. It was built for almost 40 years as a temple-monument dedicated to the Patriotic War of 1812. The consecration took place on May 26, 1883, on the day of the coronation of Emperor Alexander III to the throne. Work on the construction of the Cathedral of Christ the Savior was carried out according to the orders of four Russian emperors - Alexander I, Nicholas I, Alexander II, Alexander III. It could accommodate 10,000 people at the same time. Constructed in the so-called Russian-Byzantine style, grandiose in scale (height 103.3 m), the building was distinguished by the luxury of its external and internal decoration.
Construction of the temple. 1852:
Consecration of the temple. 1883:
Cathedral of Christ the Savior. 1918-1931:
After the revolution, troubled times began. Confiscation of church valuables from the temple. 1922-1931:
1931 Dismantling the domes before the explosion of the temple:
The decision to demolish the temple was made according to the Moscow reconstruction plan on June 2, 1931, at a meeting in Molotov’s office. The Cathedral of Christ the Savior was destroyed by several explosions on Saturday, December 5, 1931, within 45 minutes. The original high reliefs were rescued and taken to the Donskoye Cemetery, where they can still be seen.
Instead of a temple, they decided to build the greatest building in the history of mankind. But the construction of the Palace of Soviets, which began in 1937, was not destined to be completed - the Great Patriotic War began, and anti-tank hedgehogs were made from metal structures prepared for installation for the defense of Moscow, and soon the building, which had barely risen from the foundation level, had to be completely dismantled.
1935-1937:
1938-1940:
According to one legend, the foundation pit for the Palace of the Soviets was flooded with water and therefore a swimming pool had to be built instead of the Palace of the Soviets. The Moscow swimming pool (architect Dmitry Chechulin) opened to visitors in July 1960.
According to an employee of the pool, in all 33 years of the existence of the Moscow pool, the sanitary and epidemiological station has never made any complaints about the quality of the water. The water was not only passed through sand filters, but also chlorinated. The pool had its own laboratory constantly working, water samples were taken every three hours (and samples were taken weekly by the sanitary and epidemiological department). In the first ten years, the water treatment cycle included bactericidal installations that irradiate water with ultraviolet light (1.0 kW PRK-7 mercury-quartz lamps). Studies have shown that the water treatment cycle can be carried out without them, without affecting the water quality.
The pool was part of the city’s civil defense system: in the event of a nuclear attack, a washing (disinfecting) point would function here.
From urban legends, one can recall the stories of rescuers who pumped out people - visitors to the pool, who were deliberately drowned by a certain bearded man; they could not catch the villain.
They say that the pool was originally planned as a temporary structure. The builders saw a note on the drawings describing the facility as a “temporary structure with a service life of 15 years.” The Moscow swimming pool was closed in 1994.
The pool was demolished for economic reasons: after 1991, energy costs skyrocketed. Support costs temperature regime in winter they were very high. The price of tickets would not be realistic for the vast majority of Moscow residents. In addition, the time has come for a major overhaul with the replacement of the entire pipeline system.
According to another version, the water vapor from the pool negatively affected the foundations of nearby buildings, and this was an additional reason for the demolition of the pool.
Swimming pool "Moscow". 1969:
Pool demolition. 1994:
The design of the new temple was carried out by architects M.M. Posokhin, A.M. Denisov and others. The construction of the new temple was supported by many community groups, but despite this, it was surrounded by controversy, protests and accusations of corruption by city authorities. The author of the Denisov reconstruction project stepped away from work, giving way to Zurab Tsereteli, who completed the construction, deviating from Denisov’s original project, approved by the Moscow authorities. Under his leadership, not marble compositions (the originals were preserved in the Donskoy Monastery), but bronze compositions (high reliefs) appeared on the white stone walls, which caused criticism, because they were a clear departure from the original. The painting of the temple interiors was carried out by artists recommended by Tsereteli; the cultural value of these murals is also debatable. Instead of the original white stone cladding, the building received marble, and the gilded roof was replaced with a coating based on titanium nitride. It is worth noting that these changes made to the historical project entailed a change in the color scheme of the facade from warm to cooler. Large sculptural medallions on the facade of the temple were made of polymer material. A two-level underground parking lot for 305 cars was located under the temple.
On August 19, 2000, the great consecration of the temple by a council of bishops took place. The modern complex of the Cathedral of Christ the Savior includes: “Upper Temple” - the Cathedral of Christ the Savior itself. It has three altars - the main one in honor of the Nativity of Christ and two side altars in the choir - in the name of St. Nicholas the Wonderworker (southern) and St. Prince Alexander Nevsky (northern). “Lower Temple” is the Church of the Transfiguration, built in memory of the Alekseevsky women’s monastery located on this site. It has three altars: the main one - in honor of the Transfiguration of the Lord and two small chapels - in honor of Alexy the man of God and the Tikhvin Icon of the Mother of God. The stylobate part houses the Temple Museum, the Hall of Church Councils, the Hall of the Supreme Church Council, refectory chambers, as well as technical and service premises.
The land and buildings of the Cathedral of Christ the Savior complex belong to the city of Moscow. On March 14, 2004, at a meeting of the public supervisory board for the restoration of the Cathedral of Christ the Savior, it was announced that the temple would be transferred to the Russian Orthodox Church for indefinite free use; The Board of Trustees of the Cathedral of Christ the Savior was created. In church and administrative terms, the Temple has the status of a metochion of the Patriarch of Moscow and All Rus'.
