Brief description of the Bargrad St. Nicholas Church in Petrograd

Bargrad Church of St. Nicholas of Murliki and St. Blagov. Great. Book Alexander Nevsky. Petrograd, 2nd Rozhdestvenskaya. In the crowd of metropolitan life, near a busy market, in a cramped area at the intersection of several streets, an unexpectedly tall little church arose. She stood up, turned white with a belfry on one of the walls, unprecedented in St. Petersburg; she freely raised her head on the high, light belt of her dome in the form of a military helmet, and stands, stern and joyful, modest and solemn. The builders of the church, seething with their plans, from the first steps imperiously grab you and move you far away, several centuries later. Let us renounce daily life and surrender ourselves to their power. There is a need for a line between the divine and the human, between the vanity of everyday life and the sacred thoughtfulness of the church. A canopy with a narrow cranked staircase, half-lit, with its painted walls: what a wonderful transition from life to a religious dream. Entered them - and the world was already forgotten. Open the old doors that were in the towers and immerse yourself in ancient Russia. The created church embraces you with love and dreams of the past. This iconostasis, with icons that are entirely ancient: what feelings, what tones! Look at the face of the Mother of God in the “Deesis”, in Her mournful and strong eyes, And these colors, sometimes festive, “singing, calling”, sometimes gentle, quiet... This light fawn robe in the crosses on St. Nicholas the Wonderworker: you want to touch with your hands, caress this joyful matter. Several years ago, our famous archaeologist V. T. Georgievsky made a discovery that was an event in the history of Russian archeology: perfectly preserved frescoes in the remote Ferapontov Monastery of the Novgorod diocese, the work of one of the best Russian icon painters, Dionysius (late 15th and early 16th centuries). The bright soul of Dionysius was expressed in the transparent blue background of his creations, in the special joy of his colors. The painting of the walls of the new church represents the first attempt in Russia at an artistic translation of ancient icon painting. The artists Plotnikov and Shcherbakov entered into the fresh, whole soul of that time and in naive images embodied a clear religious dream. The appearance of hoary antiquity of this Pskov-Novgorod temple is matched by the magnificent decoration and utensils. These permanent frames and decorations of everything. iconostasis, a deep icon case for the revered icon of the Quick to Hear, a copy of the icon case where the famous “Vladimirskaya” stands in the Assumption Cathedral in Moscow, the Royal Doors with pillars, a marvelous silver seven-lamps in front of the Throne, armored work (chasing), like overturned small crowns, various authentic ladles, candlesticks, plates, lecterns, ancient shrouds in front of icons - all this whispers tenderly and tenderly: “Old Russia bows to you!” You should look at the remote candlesticks of an unprecedented tetrahedral shape, or at the mirror for the clergy with a frame covered with tin lace. And you walk and walk among this rising in quiet sowing, touching and calling antiquity. You climb the narrow staircase to the steps and from there you look at the play of celebrating colors. Along an even narrower staircase you will spiral down to the “Chamber” for meetings of the Guardianship. You admire the authentic stove with light green tiles, chairs, caskets... Now an arrogant old boyar in a high throated hat will come in and speak... Every little thing here is thought out, loved, and cherished in the soul by that enthusiast of old Russian beauty that Prince A. A. Shirinsky-Shikhmatov is. This is the first joyful cry here, in the northern capital, of old Russia to pale imitation. To the Russian God - a candle in an ancient Russian lamp. In 1867, a villainous attempt took place in Paris on the precious life of Tsar-Liberator ALEXANDER II. Driven by feelings of joy about God’s mercy shown to Russia by preserving the life of its people-loving Tsar, and by their devotion. To the God-protected crowned Monarch, the traders of the Staro-Alexandrovsky market on Kalashnikovsky Prospekt decided, in memory of this event, to erect a chapel in the name of the heavenly patron of this GOVERNOR - St. the blessed Grand Duke Alexander Nevsky and St. the great saint and wonderworker Nicholas, Archbishop of Myra. This chapel, consecrated on May 9, 1879, was therefore given the name Alexander-Nikolaevskaya. In 1875, at the request of the then Russian ambassador in Constantinople, Count N.P. Ignatiev, who dreamed of restoring the Zion Church in Myra Lycia, where the Holy Hierarch and wonderworker Archbishop Nicholas was buried and where his myrrh-streaming relics rested until they were transferred to Italy in 1087 to the city of Bari, they arrived in St. Petersburg, with the permission of His Holiness Synod, two hieromonks of the Russian Panteleimon Monastery on Athos - Athanasius and Barsanuphius - to collect alms for the restoration of the above-mentioned church. At the same time, they brought the following shrines here: part of the Life-Giving Tree of the Lord, particles of the relics of St. Great Martyr and Healer Panteleimon, St. Nicholas, Archbishop of Myra, and others, the icon of the Mother of God Quick to Hear - a copy of the miraculous icon of the same name, kept in the Athos-Dohiarsky monastery, and the icon of St. Nicholas, Archbishop of Myra. The arriving Athonite monks-collectors managed to easily gain the favor and trust of the merchants of the Alexander Market and persuade them to assign the Alexander-Nicholas Chapel, which they were building, to the Zion Church, located in Myrax Lycia (in Asia Minor), so that its income would go towards the restoration of this church. The traders of the Staro-Alexandrovsky market gave their unanimous consent, and the Holy Synod, with the highest permission, fulfilled the will of the builders, subordinating the chapel to the jurisdiction of the local diocesan authorities. The Athos hieromonks Athanasius and Barsanuphius installed the shrines they had brought in this chapel and began to perform prayer services and memorial services for the inhabitants of St. Petersburg. The Russian-Turkish war that began soon prevented their further activities in St. Petersburg, and the monks were recalled to Athos, transferring the 3,605 rubles they collected to the economic administration at the Holy Synod. These funds were continuously replenished by the income of the chapel and by 1885 reached over 70 thousand rubles, transferred to the Orthodox Palestine Society, to which its August Chairman, who died in God, Grand Duke SERGEY ALEXANDROVICH, having received hereditary rights to the Mirlikian plot from its owner: Princess A. M. Golitsina, entrusted the entire “Mirlikian issue”. The society had to take care not only of restoring the destroyed church in Myra, but also to establish rights to the land plot on which this church is located and which was acquired back in the 50s of the last century by the famous pilgrim-writer A. N. Muravyov with money collected in Russia through donations and registered in the name of Princess A. M. Golitsina, mother-in-law of Count N. P. Ignatiev. In view of the fact that the Myralikian church was abandoned by Russian Athonite monks on the occasion of the war: Russia with Turkey, and entered the long-term management of the clergy of the Pisidian Metropolis (in the spiritual subordination of which the Myrlikian church is located), the Turkish government began to challenge Russia’s rights to this site, by statute of limitations, and then directly declared this piece of land inalienable, in view of supposedly military considerations. “The Myra question” remained in such an uncertain position until 1910, when, according to the dying wish of Count N.P. Ignatiev, expressed in his letter addressed to M.P. Stepanov, it was again raised in Constantinople through our ambassador N.V. Charykov. The latter, pointing out the futility of our efforts to achieve a favorable solution to the “Mirliki issue” by the Turkish government, for his part recognized it as quite expedient and possible at the present time to turn this issue into a “bar-city” issue, as having urgent vital significance for our pilgrimage, with the construction of a church in Bari in honor of St. Nicholas and the hosts with him. This idea, which had long been presented to the leaders of the Imperial Orthodox Palestine Society, found full sympathy and lively approval from the august Chairman of Her Imperial Highness Grand Duchess ELIZABETH FYODOROVNA. In order to ensure the maintenance of our Russian institutions in Bari and the proposed construction of the church, it was decided to devote the income of the Alexander Nicholas Chapel to these institutions. The Council of the Imperial Orthodox Palestine Society filed a petition with the Holy Synod to transfer the said chapel, which by this time had been converted into a church, into its jurisdiction. The small Alexander Nicholas Chapel, as you know, burned to the ground in the fall of 1885. In the rubbish of the ashes, an incorrupt icon of the Mother of God “Quick to Hear” was found, painted on thick cardboard, with obvious traces of fiery scorching, which had not yet been erased. Such a miraculous rescue of the church’s shrine made a huge impression on the pious inhabitants of the area surrounding the chapel and the residents of St. Petersburg. Rumor, passing from mouth to mouth, quickly spread not only throughout the capital, but also its remote outskirts. Lines of pilgrims flocked to the icon of the Mother of God of the Quick to Hear: in its temporary location on Kalashnikovsky Prospekt, and prayer services were continuously performed before it. The obvious mercy of God, accompanying the zeal of prayer and firmness in faith with hope of those who resorted to the intercession and emergency help of the Lady, greatly increased the influx of pilgrims into the chapel. As desired by the residents of the capital, the holy icon began to be delivered to their homes every day. A new stone chapel was quickly built on the site of the burnt chapel, much larger in size than the first, and in it, in addition to prayers and memorial services, daily all-night vigils and masses were held with the reading of akathists. The title of honorary ktitor of this chapel in 1888, with the HIGHEST permission, was assumed by the August Chairman of the Imperial Orthodox Palestine Society, Grand Duke SERGEY ALEXANDROVICH, and the management of the economic part of this chapel was entrusted to a special Trustee headed by its chairman and ktitor of the chapel, Count N. F. Heyden. The martyrdom of Grand Duke SERGEY ALEXANDROVICH in 1905 gave Count N.F. Heyden and the Trustee the idea to raise a question with the diocesan authorities about turning the chapel into a church in the name of St. Nicholas, Archbishop of Myra, in prayerful memory of the Grand Duke - an honorary ktitor. This petition was favorably supported by Her Imperial Highness Grand Duchess ELIZABETH FYODOROVNA, who expressed the indispensable wish that in prayers for the deceased Grand Duke the memory of all the faithful servants of the Tsar and the Fatherland, who were killed by sedition, would be united. At this request, the Holy Synod allowed the “Myra Chapel,” surrounded by new walls with five domes and a bell tower, to be turned into a church. The honorary patronage of the church at this time, with the HIGHEST permission, was assumed by His Imperial Highness the Great. Prince MIKHAIL ALEXANDROVICH. The artificiality of turning the chapel into a church soon made itself felt. The church turned out to be cramped and low, extremely inconvenient for worship both in summer and winter: in the hot summer it was stuffy and cramped, and in winter a deadly cold penetrated through the open doors, penetrating pilgrims and clergy, and steam billowed from the top, giving heavy precipitation. In addition, the hastily erected bypass walls showed a threatening crack. In view of this, as soon as the church came under the jurisdiction of the Imperial Orthodox Palestine Society in 1911, with the assignment of its income to support the Russian church in the name of St. Nicholas in Bar-Grad (in Italy) and a hospice with him for Russian pilgrims, the Society and Trusteeship of the church, having at their disposal about 15 thousand rubles donated for the construction of a new church, through the hieromonk of the Valaam Monastery, Fr. George, the late Elena Konovalova, and 28 thousand. rubles collected by the Guardianship for the same item and stored in the Imperial Orthodox Palestine Society, they came up with the idea of ​​​​rebuilding the church in the same place in a more splendid and convenient form. Drawing up proposals for the creation of a new church was entrusted to the architect S. S. Krichinsky, the builder of the church in memory of the 300th anniversary of the House of Romanov on Poltavskaya Street. In view of the almost complete absence of examples of ancient Russian architecture in Petrograd, according to the express desire of Her Highness Grand Duchess Elizabeth Feodorovna and according to the thoughts of the vice-chairman of the Palestine Society and the chairman of the highest institution The Bargrad Committee of Prince A. A. Shirshsky-Shikhmatov, an expert and lover of Russian art, decided to build a new church like small churches with belfries of the 15th-16th centuries. Novgorod-Pskov region. The small size of the space allocated by the city for construction, and the position of the church between the tall buildings of three intersecting streets, led S. S. Krichinsky to the idea of ​​​​developing the appearance of a church of considerable height in a small area, so that the surrounding buildings would not obscure or suppress the church building. In accordance with the appearance of the church, it was decided to decorate the interior walls with paintings. As a sample, the wall paintings discovered by icon painting expert V. T. Georgievsky, which have survived to this day in the Novgorod Ferapont convent and belonged to the brush of the outstanding artist of the time of Grand Duke John III Vasilyevich (1462–1505) Dionysius, who, as is known, worked on the paintings of the walls of the Moscow Assumption Cathedral, were indicated and Joseph Volokolamsk Monastery. The execution of the wall painting of the new church was entrusted to two artists V. A. Plotnikov and V. S. Shcherbakov, whose work, by mutual agreement, was distributed in this way: the entire middle part of the church and the icons outside it were provided to V. A. Plotnikov, and the right and left sides of the church, the stairs to the choir and the entrance porch to V. S. Shcherbakov, and each of them was first required to submit their assumptions for the approval of the vice-chairman of the Imperial Orthodox Palestine Society, Prince A. A. Shirinsky-Shikhmatov, and a special supervisory meeting, which included Professor A. A. Dmitrievsky and art historian V. T. Georgievsky. The shrine of the church is St. The icon of the Mother of God “Quick to Hear” prompted the above-mentioned meeting to provide the main altar semicircle with an image of the Mother of God with kneeling angels, similar to that existing in the Ferapontov Monastery. Under it is written the Holy Table with an eight-pointed cross, and on the walls above the recess is the Protection of the Most Holy Theotokos; on the semicircle connecting the eastern protruding slopes, the Holy prophets are depicted, who predicted the birth of the Savior from the Virgin Mary. On the walls of the north and south in the altar there are images of the Eucharist, or Jesus Christ teaching the six apostles the Most Pure Body, and the other six apostles (on the other side) the Most Pure Blood; in the lower belt of saints are the compilers of the liturgy: St. Apostle James, St. Basil the Great, St. John Chrysostom, St. Gregory the Theologian, St. Gregory Dvoeslov, St. Athanasius of Alexandria, St. Spiridon Trimifundsky and others. The dome depicts the Lord Almighty; There are also archangels between the windows, even lower than St. forefathers, in the sails (at the corners) of St. evangelists, on the choir barrier there is an icon of the Sign of the Mother of God with angels, on the western wall - the Last Judgment; on the semicircle connecting the western pillars, images are written: at the top - St. Zosima and Rev. Mary of Egypt and other Palestinian saints; under the choir on the western wall there is a parable about the rich man and the poor Lazarus, on the vault there are Palestinian saints, and in the corners there is an image of the appearance of Boris and Gleb to a warrior standing guard, with a prediction of the victory of St. Alexander Nevsky over the Germans in the so-called “Battle of the Ice”, and the death of the blessed Grand Duke Alexander Nevsky (northern part). On the small semicircles there are images of the first teachers of the Slavic saints. Cyril and Methodius, St. Vladimir and St. Olga, St. Alexy, Metropolitan of Kyiv, Rev. Anicetas and the Reverend Palestinians. This entire painting belongs to the brush of the artist V. A. Plotnikov. In the sacrificial compartment, in its very recess, there is an image of St. John the Baptist and the altar with its accessories, and the walls are filled with images of St. deacons. In the church on the western pillars are depicted: at the top - St. Alexander Nevsky, below - St. Demetrius of Thessalonica; on the western wall: above - the Magi, “who saw the God-bearing star”, below - the Annunciation of the Most Holy Theotokos and even lower, in medallions, - Sts. Gury and Kiriak the hermit; on the northern wall: at the top - “She rejoices in you,” below - “The Nativity of Christ” and “The Adoration of the Magi” and even lower - “St. Nicholas stops the execution" and "Burial of St. Nicholas." In the vault, on the eastern wall, there are parables about the helpless slave and the contribution of the poor widow. In the southern semicircle, in the dome, there is an image of St. blessing him. Nicholas, with the Gospel in his hand, in a baptized robe, and his walls are filled with images of St. Sergius of Radonezh and the Kyiv Saints. Anthony and Theodosius, Alimpia the icon painter, Kukshi, Rev. Nestor the Chronicler and others. On the southern wall: at the top - Praise of the Most Holy. Theotokos, the life of the Mother of God, Christmas and caress by parents; even lower is the dedication to St. Nicholas as a bishop and his appearance to a certain prince; on the western wall: flight into Egypt, below - the Entry into the Church of the Mother of God, even lower, in circles - St. Herman and St. Elizabeth, on the pillar: St. Great Martyr George the Victorious and St. John the Warrior. In the vault above them is the marriage in Cana of Galilee and Christ at the supper in the house of Simon and the sinner with the alabaster of the world; in semicircles, six on each, depict St. Apostles and Palestinian saints. The staircase leading to the choir is occupied by images of the life and miracles of St. Nicholas: the birth of St. Christ, learning to read and write, freeing convicts, saving a drowning man, saving a ship, a miracle with a carpet, saving a child who drowned in the Dnieper (Nicholas the Wet) and a miracle at a well. On the stairs leading from the street to the church, at the doors are depicted: angels recording the pilgrims entering and leaving, and from the life of St. Nicholas - secret alms to a poor father who decided to betray his three daughters to vile vice. Opposite the entrance door from the street is a church icon: St. Nicholas, Archbishop of Myra, and St. the blessed Grand Duke Alexander Nevsky in military armor, holding in his hands an image of the Nikolo-Alexandrovsky Church. Northern Russian saints are placed on the camps and in circles: St. Nikita, architect Novgorod, St. John, arch. Novgorodsky, Rev. Zosima and Savvaty of Solovetsky, Herman and Sergius of Valaam, Arseny Konevsky, Dovmont, Prince of Pskov, Euphrosim of Pskov, Nil Sorsky, Bishop Leonty of Rostov and friend. The painting of the side ships and both staircases belongs to the brush of the artist V. S. Shcherbakov. Both named artists used the services and cooperation of their comrades, which explains the inscription on the window in the western wall of the porch: “This church was built with the support and diligence of the Imperial Orthodox Palestine Society in the summer of Christ 1915. Wall letter by Valentin Shcherbakov and Vladimir Plotnikov and comrades.” The most precious attraction of the church is its four-tiered iconostasis and the icons along the walls of the church and in the altar. The assembled iconostasis and the honor of its collection belong entirely to the vice-chairman of the Imperial Orthodox Palestine Society, Prince A. A. Shirinsky-Shikhmatov. In his search for artistic antiquities, he was lucky enough to come across the diligent and conscientious Moscow collector and connoisseur of ancient icon writing M.I. Tyulin, who was the closest executor of the instructions of Prince A.A. Shirinsky-Shikhmatov. The assembly of the iconostasis into one whole and its decoration with a basma, following the example of the iconostasis of the Moscow Assumption Cathedral, was entrusted to the well-deserved “Partnership of I. P. Khlebnikov and Sons” in Moscow. In its present composition, the iconostasis appears as follows: The vicarial image is folded - the All-Merciful Savior Not Made by Hands, 16th century, beautiful writing, in a silver frame with decorations. On the doors: on the right - St. Alexy the man of God, an excellent brush of the 16th century, and on the left - Alexy Metropolitan of Moscow, also of the 16th century. The folding area is surrounded by basma. The local image is of the Mother of God “Quick to Hear” from the Greco-Athos letter. the chasuble and the crown are decorated with precious stones of great value - the fruit of the zeal of the church’s pilgrims and admirers of this shrine. The icon, both in its frame and in its basma ark, was installed like the Vladimir Icon of the Mother of God in the Great Moscow Assumption Cathedral. Next to the Savior is an icon of St. Nicholas, Archbishop of Myra, with miracles, excellent writing of the 16th century. Next to the church icon of St. Nicholas there is an icon of the 16th century. Rev. Alexander of Svirsky, whose memory is celebrated on August 30, and below is the icon of the second patron of the church, St. of the Blessed Grand Duke Alexander Nevsky in monastic attire (a rare icon of the 17th century) and on his sides are St. noble prince-martyrs Boris and Gleb. Near the wall behind the southern altar door is an icon of the Dormition of the Mother of God, beautifully painted in the 15th century. To the left of the local image of the Mother of God is a large icon of the Nativity of the Most Holy. Virgin Mary with offerings, 16th century, donated by the Moscow icon painter Guryanov. Nearby there is excellent writing and a very rare icon of the 15th century. St. Nicholas, Archbishop of Myra, and St. Martyr Queen Alexandra. This icon was donated in memory of the consecration of the church by M. I. Tyulin. At the northern wall there is an icon of the Intercession of the Blessed Virgin Mary, beautifully painted from the beginning of the 17th century. The royal doors, lined inside with ancient brocade and dressed with basma, are of excellent brushwork from the 16th century. The sacred images on the pillars on the sides of the Royal Doors are also from the same time. Archangels Michael and Gabriel, on the northern and southern doors of the iconostasis, letters from the 16th century. In the second panel of the iconostasis there are holidays, among which the 16th century icon stands out for its beauty and preservation: the Resurrection of Rights. Lazarus, the Washing of the Apostles' Feet by Jesus Christ, Christ at Pilate's Trial, the Savior's Carrying of the Cross, the Descent from the Cross, the Trinity, the Resurrection of the Savior, the Assurance of Thomas and the Entry of the Lord into Jerusalem. The third chapel is a “rank” of excellent, rare writing from the 16th century. It includes the Deesis, flanked by the archangels Michael and Gabriel, the Moscow wonderworkers Sts. Peter, Alexy, Jonah, Philip, Rev. Serius of Radonezh and his student Ave. Nikon. The fourth table is the prophets and above them the saint. apostles in waist size. Letter from the beginning of the 17th century. The icons for the second, third and fourth panels of the iconostasis were purchased almost exclusively with funds donated by A. N. Zausailov. On the southern wall near the iconostasis there is an icon the size of St. Seraphim of Sarov, with a piece of his mantle. Further on the wall, in a special icon case, there are small icons from the beginning and middle of the 17th century: Icon of the Mother of God “Those Who Suffer From Troubles”, in a silver frame. Along the margins are depicted the Lord of hosts, the archangels Michael and Gabriel, the Moscow saints Peter, Alexy, Jonah and Philip, St. Basil the Great, Gregory the Theologian, St. John Chrysostom, Rev. Nikon, St. Theodore Tiron, Rev. Sergius of Radonezh and St. Nicholas the Wonderworker, Letter and setting from the 18th century. The Nativity of the Blessed Virgin Mary, Moscow letter of the 17th century, is lined with basma with colored stones. Grand Duchess ELIZAVETA FYODOROVNA blessed the Nikolo-Alexandrovsky guardianship with this icon, very rare in content, at the foundation stone of this church on October 8 1913 St. Nicholas the Wonderworker, Yaroslavl letter of the 18th century, in a silver-gilded robe. The Resurrection of Christ with the twelve feasts, modern Palekhov letter. St. John the Warrior, on top the Savior Not Made by Hands, letters from the 18th century, in an antique silver frame. Rev. Paphnutius Borovsky, above the Sign of the Most Holy Theotokos, Letter from the end of the 16th century, in an antique silver basma frame. Rev. Gury, Samon and Aviva, letters from the 17th century, in a silver basma setting. Descent into Hell, Moscow. letters of the 17th century, in a silver basma setting. Icons of the Mother of God and St. John the Evangelist, on boards with gilded carvings, Italo-Greek writing, early 17th century. Icons of the Savior and the Mother of God, under an ancient letter, in silver frames. Rev. Sergius the Wonderworker with the Holy Trinity, letters from the 18th century, in a silver setting. “Depose the mighty from their thrones,” Palekhov’s letter of the 19th century. Our Lady of the Burning Bush, Moscow letter of the 17th century, in an antique silver basma of the same time. next to the icon case, on the same southern wall, there is a large icon of St. Great Martyr George the Victorious, with miracles, northern letters of the 17th century, in frame. On the wall to the west is an icon with two Novgorod Saints Nikita and Moses and the Sign of the Mother of God. On the southern pillar there is an icon of St. St. Nicholas the Wonderworker, northern writing of the late 16th century, and next to it on the arch is an antique icon of the Sign of the Mother of God. letters, in a silver chasuble of the 18th century. On the northern pillar there is an icon of St. John the Warrior in full size with the Savior Not Made by Hands, Yaroslavl letter of the 17th century; next to it on the arch is the Tikhvin Icon of the Mother of God, in a silver frame of the 19th century. On the western wall, near the entrance door, there is an icon of the Tikhvin Mother of God on a tree, with St. Nicholas the Wonderworker. Icons of the Mother of God and St. John the Evangelist, on boards with gilded carvings, Italo-Greek writing, early 17th century. Rev. Sergius the Wonderworker with the Holy Trinity, letters from the 18th century, in a silver setting. “Depose the mighty from the throne,” Palekhov’s letter from the 19th century. Next to the icon case, on the same southern wall, there is a large icon of St. Great Martyr George the Victorious, with miracles, northern letters of the 17th century, in frame. On the northern pillar there is an icon of St. John the Warrior in full size with the Savior Not Made by Hands, Yaroslavl letter of the 17th century; next to her on the arch is an icon of the Tikhvin Mother of God, in a silver frame, 19th century. On the western wall, near the entrance door, there is an icon of the Tikhvin Mother of God on a tree, with St. Nicholas the Wonderworker. In the aisle, on the northern part of the arch, is an icon of the Vladimir Mother of God, in a silver-gilded robe, from the 18th century. Along the northern wall: Saints. next to it, above the eve table, is an equal-armed cross with a crucifix, a letter from the early 17th century. On the sides of the crucifix are the Apostles Peter, Simon, Paul, John the Theologian and Philip and Joseph of Arimathea. Further along the wall, in a special open icon case, there are small icons: Dormition of the Mother of God, Moscow letter of the 17th century, in a modern silver frame. The image of the “Waking Eye”, in the margins of the image of the Saints, letters of the 17th century. The Savior standing in the clouds with angels and the fallen Saints John the Baptist and Bartholomew, in an antique silver frame, letter and frame of the 17th century. Saint Nicholas, the Wonderworker of Myra, modern Pheono-Greek writing, in a silver frame with colored stones. Mother of God "Mammal", Yaroslavl letter of the 17th century, in a silver setting of the same time. The Resurrection of Christ with Passion, Moscow letter of the 17th century. St. John the Baptist, St. Archangel Michael and St. Tikhon, letters of the 18th century, in a modern silver frame, Cathedral of St. John the Baptist, Yaroslavl letters of the 17th century. Sign of the Blessed Virgin Mary with St. the prophet Amos and the Saint, northern letters of the 17th century. 4 icons “It is worthy to eat”, Yaroslavl letter of the 17th century, in a silver frame. The Sign of the Most Holy Theotokos with Righteous Elizabeth, northern letter of the 16th century. The Holy Prophet Elijah, sitting on a stone in a cave, northern writing of the 17th century. Above the icon case, in the middle, is the icon “Sophia the Wisdom of God”, with selected saints, Yaroslavl letter of the 17th century, in a basma setting. Next to the icon case, directly adjacent to the northern end of the lower panel of the iconostasis, there is a large icon of St. Martyr Patriarch Hermogenes of Moscow in full size, with a particle of his relics. Painted in the ancient style by an artist of our days. In the north-east in the corner, in front of the iconostasis, opposite the icon of the Intercession of the Mother of God, there is a Cross made of olive wood, with a particle of the Life-Giving Tree of the Lord, donated by Patriarch Damian of Jerusalem. Banners of the northern letter of the 17th century, decorations with ancient brocade and iron incised ornaments (rarely preserved). One banner depicts the Savior Not Made by Hands, and on the reverse side - the Church of Christ; on the other banner there is an image of St. Nicholas in a baptized robe, and on the reverse - the Savior with the falling saints. The altar contains the following icons; Altar cross of the northern letter of the early 17th century, covered with basma. On the front side of the Cross, in circles, there are images: in the middle the Deesis, above the Archangel Michael and below the Archangel Gabriel; behind the Cross: in the middle of St. Nicholas the Wonderworker, on the sides are the apostles Peter and Paul, at the top is the Evangelist John the Theologian and at the bottom is St. Evangelist Luke. Two altarpiece icons of the Mother of God: I) Signs, on the back side - St. the apostles Peter and Paul and St. Nicholas the Wonderworker, northern letter of the 17th century and 2) Vladimir, on the back side - St. Nicholas the Wonderworker. Both altarpiece icons, of northern writing of the 16th century, are covered with basma. Supplies to the Cross and two icons of the Mother of God were structures similar to the so-called “skinny candles”. On the wall behind the throne, above the high place, is a large icon of the Savior Pantocrator, sitting on a throne in bishop’s robes, surrounded by the forces of cherubim and seraphim, Yaroslavl lettering from the beginning of the 17th century, in a modern basma frame. On the sides of the high place, on special stands, the following icons are located: Akhtyrskaya Mother of God, in a silver frame, 18th century. Prayer of the Holy Fathers to the Lord God and the Mother of God for the whole world. (“Bogolyubskaya B.M.”), Yaroslavl letter from the end of the 17th century. Large icon of the Tikhvin Mother of God, in a rich silver frame. Entry of the Lord in Jerusalem, Yaroslavl letter of the 18th century. Intercession of the Blessed Virgin Mary, Moscow letter of the 17th century. Savior Not Made by Hands, in a silver robe, early 18th century. Iveron Mother of God, in a silver frame. Folding with an icon of the Mother of God of Kazan, in a silver frame, with a table decorated with colored stones. The folding starlings depict the Holy Trinity, the Annunciation, the Nativity of Christ, the Baptism of the Lord and the Transfiguration, a letter from the end of the 17th century. In the altar, on a high place, on a special analogy, there is an icon of the Resurrection of Christ, a Jerusalem work, donated by Patriarch Damian in 1909. On the back of the iconostasis: Holy Trinity under the Oak of Mamre, letter from the end of the 16th century. Guardian angel, modern letter. Three icons with the twelve holidays, Yaroslavl letter of the 17th century, embedded in new disks; one depicts: Meeting, Baptism, Descent of the Holy Spirit on the Apostles and Dormition; on the other: Annunciation of the Most Holy. Theotokos, the Nativity of Christ, the Resurrection and Ascension of the Lord and on the third: the Entry of the Lord into Jerusalem, the Transfiguration, You will bring the Most Holy Theotokos into the church and the Nativity of the Most Holy Theotokos. Deesis waist, in silver crowns. Two icons: Archdeacon Stephen and Archdeacon Philip, both from the Moscow letter of the 16th century. Large image of the Savior Not Made by Hands, in a silver robe. Kazan Mother of God, letter from the 17th century. Hieromartyrs Antipas, Tikhon and Theodore Tiron, letter from the 17th century. Above the altar is an icon of the Resurrection of Christ with the feasts, in a silver robe and frame, a letter from the 17th century. St. Deacons Lawrence and Eupl, Moscow letter of the 16th century. Above the southern entrance door is the icon “Holy Fatherland”, Moscow letter of the 17th century. In the deacon, above the entrance door, there is an icon - the Cathedral of the Archangel Michael. The icons placed on the southern, western and northern walls of the church, as well as on the pillars, under the arches, in the altar, the sacrificial compartment and the deacon, constitute for the most part the reverent gift of O. I. Zubalova. Liturgical accessories for the most part represent artistic reproductions of originals of the 16th and 17th centuries, such as, for example, pure gold vessels, an altar Gospel, a visual cross, prayer Gospels and a cross, lamps, candlesticks, a remote lantern and lanterns in front of external images, external bronze entrance doors, etc., but there are also genuine monuments of ancient Russian coinage and armoring. Silver-gilded dish of the 17th century with a convex colored ornament. Another silver-gilded dish, decorated with chased flowers around the edges. On the bottom of it there is a cross, and on the sides there is a koshe and a cane with the inscriptions: kt Gdn, ko, trot, Tabernacle in the form of a church with images of angels on the narrow sides of the box in which the Lambs are placed; on one long side of the box there is an image of the position in the Tomb of the Savior, and on the other there is an image of a cross, a copy, a lip, lashes, nails, a flagellation post, a noose and a ladder. The inscription on the tabernacle reads as follows: “This note was built through the efforts of Major Mikhail Afonasev, son of the Polamsky village of Kremlya-novo, for the Church of the Archangel Michael in the year 1759, May 27.” A round silver ladle for warmth with an inscription along the edges: “Church cup of the St. Sergius Trinity Monastery, 1773, June 7.” Two silver censers from the 17th century, A jug for washing hands during bishop's services with notches on the outside, made in the 18th century. Dish for blessed breads with two 17th century cups decorated with amethysts on the top (10 nests) and on the trays (4 slots each). Mirror with frame decorated with tin under mica, from the 17th century. Water-blessed bowls of various sizes, a jug for warming warmth, remote and hand-held candlesticks for candles, two large chandeliers in the church and three small ones - one in the altar behind the altar, one in the choir and one under the choir, a metal lectern at the altar, a washstand on chains with a basin and a tripod, a folding carved wooden lectern for readers and others. XVII-XVIII centuries The sacristy is mostly made according to ancient models. Under the church there is a chamber for meetings of the local church guardianship, cells for the hieromonks serving at the church, a psalm-reader and a watchman, and a room for central heating. The chamber was painted according to the model of Moscow Kremlin palace towers of the 17th century by artists V. A. Plotnikov and V. S. Shcherbakov. The chamber has a stove made of 17th-century tiles. and there is a casket from the 17th century. for storing a notebook for honored visitors and the Church Synodic, and an iron-bound chest for documents and the church treasury, 17th century. The chamber is illuminated by a 17th-century chandelier, with electric bulbs in two rows, painted over, in order to bring the light closer to a wax candle. The church chandeliers are filled with similar light bulbs. The furniture of the chamber was built according to ancient models. Right side of the iconostasis Western side of the church with the Ktitro place and the entrance to the choir Chamber under the church for meetings of the Guardianship Praise of the Blessed Virgin Mary - on the northern wall of the church, the work of the artist V. S. Shcherbakov Altarpiece icon of the Mother of God in the altar apse, the work of the artist V. A. Plotnikov St. Nicholas, Archbishop of Myra, with miracles - icon of the 16th century. in the lower slab of the iconostasis St. Nicholas of Myra and St. Martyr Queen Alexandra – rare icon XV in the lower panel of the iconostasis You might be interested in: